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"content": "\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/r94pd519Jf4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Domestic dramas have to walk a fine line between sweetness and pathos, and the shaggy-yet-lovable new film \u003cem>Dear Ex\u003c/em> succeeds at this balance more than others. The Taiwanese heartstring-tugger, now available on Netflix after only being acquired by the service a week ago, circles around three complicated, hard-to-love characters, allowing their complexities to cloud their better natures. As in last year’s lovely Israeli drama \u003ca href=\"https://www.npr.org/2018/06/28/624046119/in-the-cakemaker-grieving-is-baked-in\">\u003cem>The Cakemaker\u003c/em>\u003c/a>, the film links these figures via a closeted, recently deceased family man: a specter of authenticity cloaked in secrecy, who forces a reckoning for the loved ones he left behind.\u003c/p>\n\u003cp>The film opens with 13-year-old Chengxi (Joseph Huang) claiming he always knew his dad was gay. It has been three months since his professor father’s death from cancer, and Chengxi learns he’s been written out of his insurance policy. His prone-to-hysterics mother Sanlian (Ying-Xuan Hsieh) knows the truth: that her deceased husband Zhangyuan secretly named his longtime male lover as his benefactor, but that the claim can’t go through unless she signs off on it. So Sanlian drags Chengxi along to the mystery man’s ramshackle apartment, hoping to spur a confrontation that will somehow put the lid back on the wreckage of their lives.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Dear Ex Trailer | SGIFF 2018\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/r94pd519Jf4?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>The first third of \u003cem>Dear Ex\u003c/em> is told from Chengxi’s perspective, and it’s the strongest chunk of the film by far: a strange blend of sullen teen angst and the shock of an uncovered secret. The kid is utterly fascinated by his father’s lover Jay, a thirtysomething community theater director who can be furious one minute and tender the next. (He’s played by a terrific Roy Chiu, whose raw, prickly performance has no trace of the mincing-younger-gay-lover onscreen stereotype.) To escape his mother’s needling, Chengxi moves himself into Jay’s life without asking permission, and the two develop a wary bond as they putter through the city on Jay’s moped, trying to figure out what they mean to each other. Writer-director Mag Hsu and her co-director Chih-Yen Hsu stage these scenes in bright, brilliant hues, with long shots of the characters maneuvering around each other in hallways that bring to mind some of the early work of pioneering Taiwanese auteur Tsai Ming-Liang.\u003c/p>\n\u003cp>As the film broadens in scope, incorporating flashbacks and new dynamics like Jay’s traditionalist mother, it also shifts perspective: first to Sanlian, and then to Jay. But along the way, it loses the spark that came with a teenager’s incomplete-yet-restless worldview, instead entering a world of full-bore melodrama. Sanlian’s storyline, in particular, feels retrograde, both in her views on gay men and in her cartoonish attempts to keep a handle on her son by any means necessary – including an obsession with sending him off to college in Canada.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jay is the one character who defies easy categorization, because even through his slovenly nature and clear distrust of this family intrusion, his genuine devotion to the man he loved shines through. His flashback scenes with Zhangyuan (Spark Chen) are affectionate and sad, particularly when the two men discuss why they must keep their affair a secret to their families. “Not letting them be sad or worried is our responsibility,” Zhangyuan says.\u003c/p>\n\u003cp>A nice bit of linguistic detail: Though Sanlian tries to emasculate Jay by calling him a “mistress,” we quickly learn Zhangyuan, in fact, called him “hubby”… prompting Chengxi to instead refer to his mother as the true “mistress.” Identities shift like this throughout the story, as the three leads develop newfound compassion for each other despite their initial reservations. (As is required by law with every teen movie these days, some of this development must come with onscreen notebook doodles and scribbles to illustrate obvious points.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Taiwan is \u003ca href=\"https://qz.com/1470193/how-taiwan-became-the-most-lgbt-friendly-country-in-asia/\">often recognized\u003c/a> as the most LGBT-friendly region in Asia, making the existence and wide availability of films like \u003cem>Dear Ex\u003c/em> a welcome cultural development. Considering the U.S.’s own mainstream movie industry has been remarkably slow to tell similar stories without patronizing characters like Jay, perhaps American filmmakers could learn something here, as well. The film may pale in comparison to \u003cem>The Cakemaker\u003c/em>, which told its story with more nuance and sensory detail. But\u003cem> Dear Ex\u003c/em>‘s narrative hiccups and tonal missteps seem less blaring by the time it enters its affecting homestretch, which involves Jay taking on large amounts of debt to stage a revival of a play with great emotional significance. Love in this movie is expressed in odd ways, but it is still genuine.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Complete Play-by-Play of the 2019 Grammy Awards",
"headTitle": "A Complete Play-by-Play of the 2019 Grammy Awards | KQED",
"content": "\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[contextly_sidebar id=”NOsRsKhC4dv9SK8p8eDhnDdOqxRkohH3″]\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This is NPR Music’s live blog of the 2019 Grammy Awards. The telecast of the awards show is scheduled to run from 5:00 until 9:00 p.m. PST. We’ll be here the whole time, updating this post with every award or performance.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:44 p.m. \u003c/strong>And, in the night’s final moments, Kacey Musgraves wins the night’s top honor, Album of the Year — her fourth trophy of the evening — for \u003cem>Golden Hour\u003c/em>. There was some speculation that Brandi Carlile’s nomination for album \u003cem>By The Way, I Forgive\u003c/em> \u003cem>You\u003c/em> might cause a vote split between the two roots-rooted artists, but Musgraves’ idiosyncratic work seems to have elevated her above some formidable competition, including the Kendrick Lamar-curated \u003cem>Black Panther: The Album,\u003c/em>Janelle Monáe’s visionary \u003cem>Dirty Computer\u003c/em> and Cardi B’s breakout \u003cem>Invasion of Privacy\u003c/em>. Musgraves seems more shocked than anyone. —\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:42 p.m. \u003c/strong>It’s beginning to sink in just how shocked America still is by Childish Gambino’s “This Is America” — because he’s swept three categories, including one of the night’s biggest prizes in Record of the Year, in what really is a surprise to me. His producer Ludwig Gorannson accepts on his behalf, saying the song “calls out injustice, celebrates life and reunites us all at the same time.” Then, in the spirit of the song, he shouts out the name of one of the many contributors, 21 Savage, who remains under dentention at the hands of ICE since his arrest one week ago in Atlanta. “You should be here tonight,” Gorannson says in reference to 21. It’s just a reminder that everything at the heart of that song is and remains the state of America.\u003c/p>\n\u003cp>Goransson, himself a big winner tonight, won Grammys in association with “This Is America” as well as his score for \u003cem>Black Panther\u003c/em>. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8:35 p.m. \u003c/strong>For a lot of folks in music, 2018 was the Year of Aretha. So it’s no surprise that three singers — Yolanda Adams, Fantasia, and Andra Day — are paying tribute to her on the Grammy telecast. (Both Adams and Fantasia sang at Franklin’s extraordinary homegoing service in Detroit in August.) Singing “Natural Woman,” the three are stadning on a small platform away from the main stage as images of Franklin flash by. How is this so much smaller, and lesser, than Diana Ross’ birthday bash? \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:32 p.m. \u003c/strong>Among those remembered during this year’s In Memoriam tribute: James Ingram, Roy Clark, Nancy Wilson, Charles Aznavour, Vic Damone, Carol Channing, Joe Jackson, James Wright, Gary Burden, Avicii, Ed King, John Perry Barlow, Tony Joe White, Mac Miller, Roy Hargrove, Cecil Taylor, Bill Watrous, Geoff Emerick, Yvonne Staples, Randy Scruggs, Roger Clark, Charles Neville and — of course — Aretha Franklin. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:29 p.m. \u003c/strong>Neil Portnow, in his comments as outgoing president & CEO of the Recording Academy (formerly known as NARAS, or the National Academy of Recording Arts & Sciences), makes a big point of saluting women and that he’s learned from this past year. He announces that he will be leaving the organization this July, when his contract expires. He’s been leading the Academy since 2002. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:24 p.m. \u003c/strong>Best New Artist was a crowded field this year — literally. It’s one of the awards that was widened from five to eight nominees… and the majority of them were female this year. Dua Lipa, who, in a Grammy telecast tradition of sorts, has just stepped off from performing “Masseduction” with St. Vincent, almost starts off her speech by saying, “I guess this year, we’ve really stepped up,” in reference to Neil Portnow’s infamous comments a year ago. She also makes a point of referencing \u003ca href=\"https://www.npr.org/2016/08/31/491948179/dua-lipa-wants-to-break-america\">her personal background\u003c/a> as the England-born daughter of immigrants from Kosovo. But she’s cut off before she can finish her comments. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:16 p.m. \u003c/strong>Dua Lipa and St. Vincent, introduced by Wilmer Valderrama for some reason, delivered a “hashtag-Grammy-moment” with a mashup of St. Vincent’s song “Masseduction” (for which she won Best Rock Song and, less excitingly, Best Recording Package her album of the same name) and Dua Lipa’s single “One Kiss” — a performance that was entirely dominated by St. Vincent, her innate intensity and guitar virtuosity. Hard to blame the onstage cameraman for momentarily losing his balance for a second there. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:12 p.m. \u003c/strong>Well, after a lot of rap wrongs, the Grammy’s got this one right at least. Cardi’s win for Rap Album of the Year comes in a category stacked solid with men as her competition. Her acceptance speech is really highlighting the sacrifices she had to make as a woman who became a mother-to-be at the same time that the spotlight and industry pressure were on her to follow up her No. 1 hit “Bodak Yellow” with an album. That she came through with \u003cem>Invasion of Privacy,\u003c/em> a well-crafted album that maximizes everything fans love about Cardi without turning her into a caricature, is a real breakthrough. She became a serious artist with this album. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:10 p.m. \u003c/strong>“Babe, I can’t breathe,” Cardi B said to husband Offset — who she \u003ca href=\"https://people.com/music/grammys-2019-cardi-b-offset-red-carpet-tongue-photos/\">tongued\u003c/a> on the red carpet earlier — as she was accepting the award for Best Rap Album. It was a rare example of the quickly risen star failing to find words. (You can find some deep background on Cardi’s fast success \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/05/599592959/the-business-of-being-cardi-b\">right here\u003c/a>.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>8:02 p.m. \u003c/strong>A lot more people will be talking about Chloe x Halle — the sister duo signed by Beyonce — after this performance of Donny Hathaway’s “Where Is The Love.” And deservedly so. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:54 p.m. \u003c/strong>Brandi Carlile \u003ca href=\"https://www.npr.org/2018/02/14/582454085/brandi-carlile-on-practicing-forgiveness-even-when-its-hard\">does what she does\u003c/a>, which is absolutely slay songs that are inspirational and heartfelt, tiptoeing right up to the edge of maudlin. If you hadn’t been keeping track of the pre-telecast winners, you might not know that Carlile’s already having a big night, with three awards in the roots and Americana categories for “The Joke,” the song she played with her longtime collaborators Tim and Phil Hanseroth, and the album it comes from, \u003cem>By the Way, I Forgive You. \u003c/em>She has a shot at two more tonight, and they’re both big ones: Record and Album of the Year. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:49 p.m. \u003c/strong>Best R&B Album goes to H.E.R. for her self-titled album — her song “Best Part,” featuring Daniel Caesar, also won Best R&B Performance earlier tonight. H.E.R., born Gabi Wilson, told the audience that she’s been signed since she was 14 years old — which would have been in 2011. Feel old yet? (By the way that was BTS, the biggest K-pop group in the world, who presented her the award. They reached the top 10 of the Hot 100 for the first time last year — something H.E.R. has yet to do.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:40 p.m. \u003c/strong>The Recording Academy would very much like the public to know that they’re staging a Motown tribute in April. A very sweet little moment — in which Alicia Keys duets with Smokey Robinson — turns into a strange, jukebox-musical traversal of Motown’s many eras, featuring an entertainer whom I’ve *never* associated with Detroit: Jennifer Lopez, who courses through at least three outfits. And then Jenny from the block performs some impressively acrobatic salsa to the strains of Ne-Yo. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:32 p.m. \u003c/strong>Travis Scott opens his performance — the ONLY main hip-hop performance of the night — with James Blake and Earth Wind & Fire members, before transitioning into the Grammys’ awkward attempt at the MTV Awards. Scott performs “No Bystanders” in a cage before surfing a seemingly hired crowd. After seeing that and Drake’s acceptance speech, I’d love to see what an overcorrection on hip-hop would look like from the Grammy’s next year. (Interesting to note that Scott was also one of the performers at last weekend’s Super Bowl, amid a lot of controversy and a lot of rap acts declining the invitation. He played the exact same role under the exact same circumstances tonight.) \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:19 p.m. \u003c/strong>Lady Gaga brought to “Shallow” a ’90s alterna-rock interpretation, complete with Alice-In-Chains-ian acoustic guitar tone. She perhaps oversold her energy during the opener, before the song arrived at its Oscar-worthy anthemic energy. It’s a strange sort of meta-cultural exercise to see Lady Gaga, an actual pop star, bringing such energy to the performance of a song that was written for her portrayal of a fake pop star within a movie about the vagaries and pitfalls of… pop stardom. Regardless, the song won for best song written for visual media and Best Pop Duo/Group performance earlier tonight. She also picked up a prize for Best Pop Solo Performance for “Joanne (Where Do You Think You’re Going).” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:12 p.m. \u003c/strong>While we’re enjoying Gaga’s Cooperless performance of “Shallow,” I’ll direct anyone who might have been confused by Diana Ross exclaiming “Happy Birthday to me!” at the end of her set to the Twitter feed of NPR Music’s pop critic Ann Powers (watching the show even though she’s on leave), \u003ca href=\"https://twitter.com/annkpowers/status/1094795066940493830\">who notes\u003c/a> that occasion won’t actually occur until March 26. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Jacob Ganz\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>7:04 p.m. \u003c/strong>Alicia Keys introduces Diana Ross ahead of her 75th birthday celebration in March, with a string that includes 42 No. 1 songs, paired with Ross’ 9-year-old grandson, Raif-Henok. (His appearance feels like that of a young princeling being introduced to society.) Ross — wearing blazing red tulle — belts out “The Best Years of My Life.” While the voice is a bit ragged, there’s no denying her queenliness. She then invites the crowd to “move the energy in the room” while she runs through “Reach Out And Touch (Somebody’s Hand).” Before crowing, “Happy birthday to me!” \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:54 p.m. \u003c/strong>Drake wins Best Rap Song for “God’s Plan,” and surprises everybody by actually being in attendance “I definitely did not think I was winning anything,” Drake says before giving a speech that speaks directly to the huge disconnect between institutions like the Grammys and hip-hop artists like Travis Scott, Cardi B and others, whom he references during his acceptance. It’s a speech that the Recording Academy and many watching at home needed to hear, but apparently the Academy didn’t want to. They cut Drake off without even the benefit of playing wrap-it-up music, after he said, “You don’t need this,” speaking to his peers and striving musicians. It was a direct reference to the trophy he was holding in his hand, one he said he was surprised to collect — which is surprising in itself considering Drake’s outsized success. That might have stung the Grammys, the the move to end the speech will be read like more disrespect in the historic gulf between The Grammys and The Culture. That speech, and the Grammys allowing him to have his say in full, might have gone a long way in righting some historic wrongs. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:50 p.m. \u003c/strong>You might not be familiar with rising country-pop duo Dan + Shay, who just performed their highest-charting single, “Tequila,” for which they won the best country duo/group performance award tonight. Beginning as Nashville songwriters, the pair released their first album, \u003cem>Where It All Began\u003c/em>, in 2014 and have released two since, including last year’s self-titled album that contained that winning single.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:45 p.m. \u003c/strong>When show host Alicia Keys has to fill up an extended set with covers ranging from Nat King Cole to Ella Mai, it just underlines how many big-name nominees turned down the opportunity to perform this year. That race toward irrelevance — the Grammy’s are winning it. Despite it all, she sounded great as she straddled a piano stool rotating between two grand pianos. It felt like a classic Grammy mashup — mixing the old with the new. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:33 p.m. \u003c/strong>It’s been nearly an hour since our last trophy was given out — even by Grammy standards, that was \u003cem>quite \u003c/em>a while. Regardless, we have our winner for best country album: Kacey Musgraves’ \u003cem>Golden Hour\u003c/em>, which she accepted winged by album producers Daniel Tashian and Ian Fitchuk. She’s now won three statues so far tonight. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:30 p.m. \u003c/strong>Cardi B’s lip synch for “Money” was a little asynchronous — but her charisma, in service of a naughty Marlene Dietrich’d cabaret performance that recalled the song’s video, was minimally affected. She’s still up for Best Rap Album, Album of the Year and Record of the Year. Earlier in the night, she lost pop duo/group performance to Lady Gaga and Bradley Cooper’s “Shallow” and best rap performance to Kendrick Lamar, Jay Rock, Future and James Blake’s “King’s Dead” and Anderson .Paak’s “Bubblin.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:21 p.m. \u003c/strong>H.E.R., already a winner in the category of Best R&B Performance, gives a super confident performance. Even knowing her Disney history it’s been amazing to see how seasoned she is as she’s emerged over the past few years. She’s also nominated for a total of five awards, including Best New Artist and Album of the Year. For those who thought her nominations were premature, she proved otherwise with that performance.\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:10 p.m. \u003c/strong>As if the world couldn’t get more plasticine, we had Childish Gambino as an computer-generated avatar reprising his “This Is America” dance moves in an earlier advertisement for a new Google phone. Not to be outdone, Ariana Grande stumped during a commercial break for Apple and their animoji thingamajigs. Neither, it should be noted, are in attendance at the actual award show happening tonight, despite the fact that they’ve both won awards. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>6:08 p.m. \u003c/strong>The Dolly Parton tribute/performance was a mixed bag, from the costumes to the singing — it was clearly meant as a Big Moment, but was less than that. Katy Perry struggled with rhythm. Kacey Musgraves’ light was dimmed in comparison to Parton’s own wattage. But when Miley Cyrus (Parton’s goddaughter) and Maren Morris joined Parton for another trio, things got much, much better as they sang in some really lovely close harmonies. And Little Big Town seemed thrilled just to be sharing the stage with Parton, along with the great Linda Perry — one of the few female producers working in the business — playing guitar in her band, but Parton seemed most sparkling when performing a new song, “Red Shoes” while wearing, of course… red heels..\u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:53 p.m. \u003c/strong>Post Malone, accompanied at first by naught but a guitar and spangles for the opening bars of “Stay,” then pivoted to his hit “Rockstar” and sung it quite ably, no doubt to the surprise of many. Anthony Kiedis, singing the Red Hot Chili Peppers song “Dark Necessities,” perhaps less so. (For what it’s worth, “Rockstar” is up for one of the night’s top prizes, Record of the Year. The featured artist on that release, 21 Savage, is \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">currently sitting in an ICE detention center\u003c/a> in Georgia.)\u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:45 p.m. \u003c/strong>In a shock (to my system at least), Childish Gambino takes away Song of the Year for “This Is America” — which also won Best Music Video having racked up 482 million views. The field was crowded with nominees including Ella Mai, Drake, Kendrick Lamar & SZA …. And the win, though surprising, is interesting from a songwriting perspective. Gambino — a.k.a. Donald Glover — was not present to receive the award. He’s one of many top nominees on the hip-hop side especially — Kendrick Lamar and Drake also included — who are not in attendance tonight. It feels less like a protest on their part than just being fed up with investing so much into an institution that tends to invest so little into hip-hop. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:35 p.m. \u003c/strong>In a performance of “Make Me Feel” that would’ve made her former mentor Prince blush with pride, Janelle Monae just took Black Girl Magic to epic levels with choreographed dancing from her backing chorus, some well-placed air humps, floor crawls and a mic drop. \u003cem>–Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:29 p.m. \u003c/strong>I saw Kacey Musgraves perform in Washington, D.C. a few weeks ago — and was taken with her coolness and poise. She’s got a vibe that’s somehow super-1970s but very current as well — there was a lot of talk about how (relatively) diverse her fanbase is, for a country artist — and this simple, but beautiful performance of her song “Rainbow” felt very authentic to those ideals. \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:25 p.m. \u003c/strong>Nina Dobrev’s appearance to introduce Kacey Musgraves might be the closest, by association, that we get to Drake being onstage this evening — she co-starred with Drake in the show \u003cem>Degrassi: The Next Generation \u003c/em>(and the \u003cem>Degrassi\u003c/em>-checking \u003ca href=\"https://www.youtube.com/watch?v=rIhx2wZ8jnA\">music video for “I’m Upset.”\u003c/a>) \u003cspan class=\"ILfuVd\">—\u003c/span>\u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:22 p.m. \u003c/strong>The award for best pop/duo performance went to Lady Gaga and Bradley Cooper’s song “Shallow,” from the film — oh you know what it’s called. The song already won best song written for visual media earlier this evening. “I’m so proud to be part of a movie that addresses mental health issues — they’re so important. A lot of artists deal with that, and we’ve got to take care of each other. So if you see somebody who’s hurting, don’t look away.” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:19 p.m. \u003c/strong>Shawn Mendes performed his modest hit “In My Blood” alongside Miley Cyrus. The song, which is up for song of the year — spent 23 weeks on the Hot 100 songs chart, topping out at No. 11. Mendes lost the trophy for best pop vocal album earlier tonight to Ariana Grande’s \u003cem>Sweetener\u003c/em>. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:15 p.m. \u003c/strong>Those five mostly talked about how much music means to them, not really about women, or the place of women in the business… even though *that* was \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">the story of last year’s Grammys\u003c/a>. In the days & weeks after last year’s awards, the Grammy organizers — particularly Neil Portnow, the president & CEO of the Recording Academy, and the telecast producer Ken Ehrlich, were the focus of outrage after both men made public statements that many interpreted as belittling women in the music industry. But perhaps the visuals of these five powerful, self-possessed women on stage are enough of a message… until Keys said, in a nod to an immortal Beyonce line: “Who runs the world?” \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:13 p.m. \u003c/strong>The Grammys waste no time acknowledging the elephant in the room as host Alicia Keys kicks off the show by introducing “some of [her] sisters” to the stage: Lady Gaga, Jada Pinkett Smith, Jennifer Lopez and Michelle Obama — met with raucous applause — take turns extolling the value of music. “Music helps us share ourselves, our dignity and sorrows, our hopes and joys,” Obama says as the five women end the opening in a embrace. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Rodney Carmichael\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>5:06 p.m. \u003c/strong>In the sclerotic world of the Grammys, it’s a big move to have an overtly Latinx opening act — Camila Cabello with J Balvin, Ricky Martin, Young Thug and Arturo Sandoval. The performance definitely feels like a statement, even though the set (which, in a pre-show interview with Ryan Seacrest, Cabello said was supposed to evoke a family home — her grandmother’s, I think) felt a little Broadway. \u003cem>\u003cspan class=\"ILfuVd\">—\u003c/span>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:59 p.m. \u003c/strong>The somewhat shambolic, or at least far less buttoned-up, pre-show wrapped up around 6:50 p.m. ET. Notable winners included:\u003c/p>\n\u003cp>\u003cstrong>Brandi Carlile\u003c/strong>, who’s already taken home three trophies, for best American roots performance and best American roots song for “The Joke,” as well as best Americana album for \u003cem>By The Way, I Forgive You\u003c/em>. The song and album is also up for record of the year and album of the year, respectively. (Read \u003ca href=\"https://www.npr.org/2017/11/13/563358018/songs-we-love-brandi-carlile-the-joke\">our chief critic Ann Powers take on “The Joke” here\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>Ariana Grande\u003c/strong> — who \u003ca href=\"https://www.npr.org/2019/02/08/692671099/a-year-after-the-metoo-grammys-women-are-still-missing-in-music\">had a public falling out\u003c/a> with the night’s executive producer, Ken Ehrlich, earlier this week over her choice of song, a year after Lorde was denied the opportunity to perform during the telecast — won best pop vocal album for \u003cem>Sweetener.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Kacey Musgraves\u003c/strong> has won two golden gramophones so far: “Space Cowboy” was voted best country song by the Recording Academy, while “Butterflies” won best country solo performance. She’s also nominated for Album of the Year.\u003c/p>\n\u003cp>\u003cstrong>Lady Gaga\u003c/strong> — who will be performing tonight without Bradley Cooper, who is in Britain, attending the BAFTAs — won best song written for visual media for, of course, “Shallow” from \u003cem>A Star Is Born\u003c/em>. Other cinema winners included Kendrick Lamar, Jay Rock, Future and James Blake for their \u003cem>Black Panther \u003c/em>song “King’s Dead” (shared with Anderson .Paak and his song “Bubblin”); Hugh Jackman (and various other artists) for \u003cem>The Greatest Showman’s \u003c/em>compilation soundtrack; and Ludwig Göransson, who composed the score soundtrack for the visual media of Black Panther; and Terence Blanchard won best instrumental composition for “Blut Und Boden (Blood and Soil),” which you may recognize as the main theme to Spike Lee’s film BlacKkKKlansman.\u003c/p>\n\u003cp>\u003cstrong>The Carters’ \u003c/strong>\u003cem>Everything Is Love\u003c/em> for best urban contemporary album (shockingly, they weren’t present to accept their statue).\u003c/p>\n\u003cp>\u003cstrong>Chris Cornell’s \u003c/strong>children accepted an award on his behalf, for best rock performance of “When Bad Does Good.”\u003c/p>\n\u003cp>Unsurprisingly and well-deservedly, \u003cstrong>Childish Gambino\u003c/strong> was given best music video for “This Is America.”\u003c/p>\n\u003cp>\u003cstrong>Laurie Anderson and Kronos Quartet\u003c/strong> won best chamber music/small ensemble performance for \u003cem>Landfall\u003c/em> — \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\">read our coverage here\u003c/a>.\u003c/p>\n\u003cp>Elder jazz statesman \u003cstrong>Wayne Shorter\u003c/strong> and his Quartet’s \u003cem>Emanon \u003c/em>won for best jazz instrumental album. (We reviewed \u003ca href=\"https://www.npr.org/2018/09/14/647522444/with-emanon-jazz-elder-wayne-shorter-grandly-sweeps-the-stars\">the monumental piece of work\u003c/a>.)\u003c/p>\n\u003cp>Former Tiny Desk Contest winner \u003cstrong>Fantastic Negrito\u003c/strong>‘s \u003cem>Please Don’t Be Dead\u003c/em> won best contemporary blues album.\u003c/p>\n\u003cp>\u003cstrong>The Soweto Gospel Choir\u003c/strong>, who’ve \u003ca href=\"https://www.npr.org/2012/04/16/150511993/soweto-gospel-choir-tiny-desk-concert\">visited the Tiny Desk before\u003c/a>, won best world music album for \u003cem>Freedom\u003c/em>.\u003c/p>\n\u003cp>Widely panned up-and-coming retro-rock group \u003cstrong>Greta Van Fleet\u003c/strong> took best rock album.\u003c/p>\n\u003cp>\u003cstrong>St. Vincent\u003c/strong> won best rock song for “Masseduction,” with producer Jack Antonoff by her side.\u003c/p>\n\u003cp>Matt Pike from the fairly underground metal band \u003cstrong>High On Fire\u003c/strong>, who likely didn’t ever expect to be ascending to the stage during the Grammys, accepted an award for best metal performance behind \u003cem>Electric Messiah\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>Dave Chappelle\u003c/strong>‘s \u003cem>Equanimity & The Bird Revelation \u003c/em>won best comedy album. \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:55 p.m.\u003c/strong> Out of 84 total awards, here are the nine that will be awarded during the telecast tonight:\u003cbr>\nBest country album\u003cbr>\nBest rap album\u003cbr>\nBest rap song\u003cbr>\nBest R&B album\u003cbr>\nBest pop duo/group performance\u003cbr>\nBest new artist\u003cbr>\nSong of the year\u003cbr>\nAlbum of the year\u003cbr>\nRecord of year\u003cbr>\n\u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>4:50 p.m. \u003c/strong>Welcome to NPR’s live blog for the 61st annual Grammy Awards, where you’ll find commentary, context and pithy quips from our team. Going into the main show — with but nine awards left to give out — here are some things to keep in mind and look forward to:\u003c/p>\n\u003cp>The night is, mostly, all about the performances. There will be awkward moments, but a planned tribute to Aretha Franklin, which will be performed by Yolanda Adams, Fantasia and Andra Day, had better be one to remember.\u003c/p>\n\u003cp>What will the final speech from Neil Portnow — who caused more than a little consternation last year when he said women needed to “step up” in order to secure broader inclusion — contain? The executive is resigning as president of the Recording Academy this year.\u003c/p>\n\u003cp>Whether the Recording Academy’s task force — \u003ca href=\"https://www.npr.org/sections/therecord/2018/03/06/591213252/times-up-leader-tina-tchen-to-head-recording-academy-s-diversity-task-force\">set up in the wake\u003c/a> of Portnow’s comments and a severely lopsided number of female winners last year — has been successful in its aims to broaden not only the Academy’s membership but also those it honors.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Who doesn’t show up: Kendrick Lamar, Drake Childish Gambino, Ariana Grande, Jay-Z and Beyonce and a host of others are expected to skip this year. (As is Record of the Year nominee 21 Savage, who wasn’t given the choice of attending after being \u003ca href=\"https://www.npr.org/2019/02/05/691725441/lawyers-for-21-savage-explain-dreamer-history-characterize-detention-as-baseless\">taken into custody by ICE\u003c/a> exactly one week ago today.) How many of music’s biggest stars can skip the form’s “biggest night” before it begins to wither? \u003cem>–Andrew Flanagan\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "2019 Grammy Awards: Predictions And Considerations",
"headTitle": "2019 Grammy Awards: Predictions And Considerations | KQED",
"content": "\u003cp>Whatever you think of the Grammy Awards, they do provide an intriguing snapshot of how the music industry wishes to see itself — particularly in terms of its chosen standard-bearers. In one three-and-a-half-hour flurry of awards and performances, you’ll get a cross-genre infomercial and, if you curate your Twitter feed right, an evening-long feast of social-media jokes and commentary.\u003c/p>\n\u003cp>By the end of the night, you may well find yourself shouting your own strongly worded opinions from the virtual mountaintop. But for now, we can only take a few educated stabs at the joys and outrages that await. Here are five storylines to watch as Music’s Biggest Night™ approaches.\u003c/p>\n\u003cp>[contextly_sidebar id=”7eUtSw3O3ZIIvJQn4I0q51c5u0YGVq7R”]\u003c/p>\n\u003cp>\u003cstrong>1) So many nominees. \u003c/strong>The Grammys’ four biggest categories — album of the year, song of the year, record of the year and best new artist — have traditionally been a hash of oddly matched genres, with pop, rock, hip-hop, R&B, country and jazz artists vying for only five nomination slots. This year, the hash naturally remains, but the number of slots has increased from five to eight to accommodate more diversity among the nominees.\u003c/p>\n\u003cp>This year’s nominations bear that out; in album of the year, for example, Cardi B, Brandi Carlile, Drake, H.E.R., Post Malone, Janelle Monáe, Kacey Musgraves and the \u003cem>Black Panther\u003c/em> soundtrack are all in contention. Record of the year will go to a song by either Cardi B; Carlile; Childish Gambino; Drake; Lady Gaga and Bradley Cooper; Kendrick Lamar and SZA; or Zedd, Maren Morris and Grey. (Here’s \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">a fuller rundown\u003c/a> of this year’s nominees.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clutter of names makes gaming out winners trickier than ever. Vote-splitting among similar artists and genres could be a major factor. For example, rootsy singers Brandi Carlile and Kacey Musgraves might siphon off each other’s album of the year votes, leaving an open lane for… it’s hard to tell, really. Monáe’s \u003cem>Dirty Computer\u003c/em> was adored by critics, \u003cem>Black Panther\u003c/em> was a commercial juggernaut spearheaded by Kendrick Lamar (who’s due after a few high-profile snubs in the category), Cardi B dominated both the 2018 pop charts and the cultural conversation. And so on.\u003c/p>\n\u003cp>Traditionally, the Grammys have skewed toward safe and/or legacy artists in the major categories, as evidenced by a quarter-century’s worth of album of the year wins for the likes of Tony Bennett, Celine Dion, Steely Dan, U2, Herbie Hancock, Mumford & Sons, Adele (over Beyoncé’s \u003cem>Lemonade\u003c/em>!), Beck (over Beyoncé’s \u003cem>Beyoncé\u003c/em>!), Taylor Swift (over Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em>!), Bruno Mars (over Kendrick Lamar’s \u003cem>DAMN.\u003c/em>!) and so on. Before this year, Beyoncé, Kendrick Lamar and Kanye West have been nominated in the album of the year category three times apiece, and each has come up empty. Generally speaking, hip-hop has fared poorly in the category over the years — Eminem is also 0-for-3 — so a win for Cardi B, Drake or \u003cem>Black Panther\u003c/em> would represent a notable shift. (A win for Monáe would qualify, as well.)\u003c/p>\n\u003cp>\u003cstrong>2) “Women need to step up.”\u003c/strong> A year ago, Grammys president Neil Portnow spoke those five profoundly stupid words, shoving both loafers straight into his gullet as he opined on what turned out to be a heavily male-dominated slate of Grammy winners. (To refresh your memory on that controversy, here’s some of Anastasia Tsioulcas’ indispensable reporting, from last \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">February\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">November\u003c/a>.)\u003c/p>\n\u003cp>The Recording Academy — the voting body that chooses each year’s Grammy winners — has attempted to broaden and diversify its membership since last year’s debacle, when best new artist winner Alessia Cara was the only woman to pick up her own Grammy during the night’s Bruno Mars-intensive telecast. Portnow announced last year that he will step down this summer, and the Grammys have a history of pivoting immediately after public-relations fiascoes. (See: Kendrick Lamar winning heavily in the hip-hop categories after getting swept by Macklemore in 2014, or Metallica dominating the heavy-metal category after losing to Jethro Tull in 1989.) How and whether those correctives translate to the actual awards this year is and will remain a major Grammy storyline this year.\u003c/p>\n\u003cp>\u003cstrong>3) Whither on-stage activism?\u003c/strong> In 2018, against a backdrop of sexual-misconduct allegations in the entertainment industry (and more wide-ranging objections to Donald Trump and his administration), the Grammys mostly stayed muted, politically speaking. With Alicia Keys replacing genial James Corden, the host’s commentary could certainly get bolder and more cutting this time around. (The name of former Keys collaborator R. Kelly might pop up, for example.) And several of the scheduled A-list performers — the increasingly outspoken Cardi B, for one, as well as Monáe, among others — are unlikely to keep their musical contributions entirely commentary-free.\u003c/p>\n\u003cp>\u003cstrong>4) Which moments will resonate?\u003c/strong> Last year’s Grammys were pretty limp overall, but they still served up a few tableaux that dominated “The Conversation” for a handful of minutes. Kesha’s powerful, choir-backed “Praying” stood out, as did Kendrick Lamar’s show-opening performance. (And remember how they kept trotting out Sting for some reason?)\u003c/p>\n\u003cp>This year, in addition to the aforementioned Cardi B and Monáe, announced performers include Camila Cabello, Brandi Carlile, Miley Cyrus, Dan + Shay, H.E.R., Little Big Town, Post Malone, Ricky Martin, Shawn Mendes, Maren Morris, Kacey Musgraves, Red Hot Chili Peppers, Diana Ross, Chloe x Halle, Lady Gaga, Mark Ronson, Travis Scott, Dua Lipa and St. Vincent, and Yolanda Adams, Fantasia and Andra Day. It’s hard to predict which performers will pop — some artists share the stage and wind up getting far less face time than others — but Cyrus and Gaga have a long history of using awards-show performances to get people talking.\u003c/p>\n\u003cp>\u003cstrong>5) Who, if anyone, will sweep?\u003c/strong> Last year’s telecast was a slog of repeat winners (hello again, Bruno Mars! back already, Chris Stapleton?), as well as prominent shutouts (Jay-Z famously went 0-for-8, SZA went 0-for-5, “Despacito” went 0-for-3, and so on). The Grammys often dole out their trophies in bunches — remember those photos of \u003ca href=\"https://www.gettyimages.com/detail/news-photo/norah-jones-holds-her-five-awards-backstage-at-the-45th-news-photo/97327714\">Norah Jones clutching a giant pile of statuettes\u003c/a> she’d just won? — so we might get a sense of a dominant night early on. Likeliest future pile-clutchers? Cardi B, Kacey Musgraves and Janelle Monáe are all beyond plausible, but don’t be surprised by a string of big wins for Brandi Carlile, a solid dark horse for a Recording Academy that loves sturdy veteran artists.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 2019 Grammy Awards will air Sunday, Feb. 10 at 8 p.m. ET on CBS.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "On Sunday night, social media will overflow with commentary on the night's winners, snubs and baffling moments. But for now, we can take a few educated stabs at the headlines and outrages that await.",
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"description": "On Sunday night, social media will overflow with commentary on the night's winners, snubs and baffling moments. But for now, we can take a few educated stabs at the headlines and outrages that await.",
"title": "2019 Grammy Awards: Predictions And Considerations | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whatever you think of the Grammy Awards, they do provide an intriguing snapshot of how the music industry wishes to see itself — particularly in terms of its chosen standard-bearers. In one three-and-a-half-hour flurry of awards and performances, you’ll get a cross-genre infomercial and, if you curate your Twitter feed right, an evening-long feast of social-media jokes and commentary.\u003c/p>\n\u003cp>By the end of the night, you may well find yourself shouting your own strongly worded opinions from the virtual mountaintop. But for now, we can only take a few educated stabs at the joys and outrages that await. Here are five storylines to watch as Music’s Biggest Night™ approaches.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1) So many nominees. \u003c/strong>The Grammys’ four biggest categories — album of the year, song of the year, record of the year and best new artist — have traditionally been a hash of oddly matched genres, with pop, rock, hip-hop, R&B, country and jazz artists vying for only five nomination slots. This year, the hash naturally remains, but the number of slots has increased from five to eight to accommodate more diversity among the nominees.\u003c/p>\n\u003cp>This year’s nominations bear that out; in album of the year, for example, Cardi B, Brandi Carlile, Drake, H.E.R., Post Malone, Janelle Monáe, Kacey Musgraves and the \u003cem>Black Panther\u003c/em> soundtrack are all in contention. Record of the year will go to a song by either Cardi B; Carlile; Childish Gambino; Drake; Lady Gaga and Bradley Cooper; Kendrick Lamar and SZA; or Zedd, Maren Morris and Grey. (Here’s \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">a fuller rundown\u003c/a> of this year’s nominees.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clutter of names makes gaming out winners trickier than ever. Vote-splitting among similar artists and genres could be a major factor. For example, rootsy singers Brandi Carlile and Kacey Musgraves might siphon off each other’s album of the year votes, leaving an open lane for… it’s hard to tell, really. Monáe’s \u003cem>Dirty Computer\u003c/em> was adored by critics, \u003cem>Black Panther\u003c/em> was a commercial juggernaut spearheaded by Kendrick Lamar (who’s due after a few high-profile snubs in the category), Cardi B dominated both the 2018 pop charts and the cultural conversation. And so on.\u003c/p>\n\u003cp>Traditionally, the Grammys have skewed toward safe and/or legacy artists in the major categories, as evidenced by a quarter-century’s worth of album of the year wins for the likes of Tony Bennett, Celine Dion, Steely Dan, U2, Herbie Hancock, Mumford & Sons, Adele (over Beyoncé’s \u003cem>Lemonade\u003c/em>!), Beck (over Beyoncé’s \u003cem>Beyoncé\u003c/em>!), Taylor Swift (over Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em>!), Bruno Mars (over Kendrick Lamar’s \u003cem>DAMN.\u003c/em>!) and so on. Before this year, Beyoncé, Kendrick Lamar and Kanye West have been nominated in the album of the year category three times apiece, and each has come up empty. Generally speaking, hip-hop has fared poorly in the category over the years — Eminem is also 0-for-3 — so a win for Cardi B, Drake or \u003cem>Black Panther\u003c/em> would represent a notable shift. (A win for Monáe would qualify, as well.)\u003c/p>\n\u003cp>\u003cstrong>2) “Women need to step up.”\u003c/strong> A year ago, Grammys president Neil Portnow spoke those five profoundly stupid words, shoving both loafers straight into his gullet as he opined on what turned out to be a heavily male-dominated slate of Grammy winners. (To refresh your memory on that controversy, here’s some of Anastasia Tsioulcas’ indispensable reporting, from last \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">February\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">November\u003c/a>.)\u003c/p>\n\u003cp>The Recording Academy — the voting body that chooses each year’s Grammy winners — has attempted to broaden and diversify its membership since last year’s debacle, when best new artist winner Alessia Cara was the only woman to pick up her own Grammy during the night’s Bruno Mars-intensive telecast. Portnow announced last year that he will step down this summer, and the Grammys have a history of pivoting immediately after public-relations fiascoes. (See: Kendrick Lamar winning heavily in the hip-hop categories after getting swept by Macklemore in 2014, or Metallica dominating the heavy-metal category after losing to Jethro Tull in 1989.) How and whether those correctives translate to the actual awards this year is and will remain a major Grammy storyline this year.\u003c/p>\n\u003cp>\u003cstrong>3) Whither on-stage activism?\u003c/strong> In 2018, against a backdrop of sexual-misconduct allegations in the entertainment industry (and more wide-ranging objections to Donald Trump and his administration), the Grammys mostly stayed muted, politically speaking. With Alicia Keys replacing genial James Corden, the host’s commentary could certainly get bolder and more cutting this time around. (The name of former Keys collaborator R. Kelly might pop up, for example.) And several of the scheduled A-list performers — the increasingly outspoken Cardi B, for one, as well as Monáe, among others — are unlikely to keep their musical contributions entirely commentary-free.\u003c/p>\n\u003cp>\u003cstrong>4) Which moments will resonate?\u003c/strong> Last year’s Grammys were pretty limp overall, but they still served up a few tableaux that dominated “The Conversation” for a handful of minutes. Kesha’s powerful, choir-backed “Praying” stood out, as did Kendrick Lamar’s show-opening performance. (And remember how they kept trotting out Sting for some reason?)\u003c/p>\n\u003cp>This year, in addition to the aforementioned Cardi B and Monáe, announced performers include Camila Cabello, Brandi Carlile, Miley Cyrus, Dan + Shay, H.E.R., Little Big Town, Post Malone, Ricky Martin, Shawn Mendes, Maren Morris, Kacey Musgraves, Red Hot Chili Peppers, Diana Ross, Chloe x Halle, Lady Gaga, Mark Ronson, Travis Scott, Dua Lipa and St. Vincent, and Yolanda Adams, Fantasia and Andra Day. It’s hard to predict which performers will pop — some artists share the stage and wind up getting far less face time than others — but Cyrus and Gaga have a long history of using awards-show performances to get people talking.\u003c/p>\n\u003cp>\u003cstrong>5) Who, if anyone, will sweep?\u003c/strong> Last year’s telecast was a slog of repeat winners (hello again, Bruno Mars! back already, Chris Stapleton?), as well as prominent shutouts (Jay-Z famously went 0-for-8, SZA went 0-for-5, “Despacito” went 0-for-3, and so on). The Grammys often dole out their trophies in bunches — remember those photos of \u003ca href=\"https://www.gettyimages.com/detail/news-photo/norah-jones-holds-her-five-awards-backstage-at-the-45th-news-photo/97327714\">Norah Jones clutching a giant pile of statuettes\u003c/a> she’d just won? — so we might get a sense of a dominant night early on. Likeliest future pile-clutchers? Cardi B, Kacey Musgraves and Janelle Monáe are all beyond plausible, but don’t be surprised by a string of big wins for Brandi Carlile, a solid dark horse for a Recording Academy that loves sturdy veteran artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2019 Grammy Awards will air Sunday, Feb. 10 at 8 p.m. ET on CBS.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Don't Let Jeff Goldblum Become a Human Meme",
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"content": "\u003cp>Look, I don’t know how it happened, but somewhere along the way, the people decided that Jeff Goldblum was worthy of \u003ca href=\"https://www.youtube.com/watch?v=wJelEXaPhJ8&t=29s\" target=\"_blank\" rel=\"noopener noreferrer\">viral remixes\u003c/a>, enormous \u003ca href=\"https://www.instagram.com/p/BlYvP0sH9Oq/\" target=\"_blank\" rel=\"noopener noreferrer\">shirtless statues\u003c/a> and \u003ca href=\"https://www.inprnt.com/gallery/jlarriva/ian-malcolm-from-chaos/\" target=\"_blank\" rel=\"noopener noreferrer\">sensual oil paintings\u003c/a>. He of the oddly clipped delivery, the casual aside, the perfect pecs—he is no longer an actor, the world has now voted. He is \u003cem>irony’s figurehead\u003c/em>.\u003c/p>\n\u003cp>If I’ve witnessed anything on the internet in the past 20 years, it’s how easily we can elevate someone only to knock them down. Sometimes it’s simple overexposure, sometimes it’s “problematic” revelations, but sometimes it’s just that the joke has run its course and the subject material is out of gas. That’s where we sit with Jeff Goldblum now.\u003c/p>\n\u003cp>Look, I’d ordinarily say that I could revel in Jeff Goldblum infinitely. He sings jazz cabaret! He \u003ca href=\"https://www.kqed.org/arts/11220123/the-gold-standard-jeff-goldblum-talks-fatherhood-jazz-and-aliens-of-course\" target=\"_blank\" rel=\"noopener noreferrer\">genuinely seems like a good guy\u003c/a>! He has an approach to method acting that appears to be based on, I dunno, his past life as a cereal box!\u003c/p>\n\u003cp>But folks, we are approaching a saturation point. We are in danger of turning Jeff Goldblum into that most fragile of cultural creatures: the human meme.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which is why it’s important to kick back, unfollow your Jeff Goldblum fan accounts, and return to what’s important by watching some of the guy’s damn movies. This Sunday, Feb. 3, the Alamo Drafthouse allows you to do just that with \u003cem>\u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">The Goldblum Standard\u003c/a>\u003c/em>, a collection of four of the master’s films.\u003c/p>\n\u003cp>In a twist, you won’t know which ones until you get there, but you know what? Unlike the merciless churning cycle of internet celebrity, the man’s movies have never let me down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>‘The Goldblum Standard: A Jeff Goldblum Mystery Marathon’ runs Sunday, Feb. 3, at the Alamo Drafthouse in San Francisco. \u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Look, I don’t know how it happened, but somewhere along the way, the people decided that Jeff Goldblum was worthy of \u003ca href=\"https://www.youtube.com/watch?v=wJelEXaPhJ8&t=29s\" target=\"_blank\" rel=\"noopener noreferrer\">viral remixes\u003c/a>, enormous \u003ca href=\"https://www.instagram.com/p/BlYvP0sH9Oq/\" target=\"_blank\" rel=\"noopener noreferrer\">shirtless statues\u003c/a> and \u003ca href=\"https://www.inprnt.com/gallery/jlarriva/ian-malcolm-from-chaos/\" target=\"_blank\" rel=\"noopener noreferrer\">sensual oil paintings\u003c/a>. He of the oddly clipped delivery, the casual aside, the perfect pecs—he is no longer an actor, the world has now voted. He is \u003cem>irony’s figurehead\u003c/em>.\u003c/p>\n\u003cp>If I’ve witnessed anything on the internet in the past 20 years, it’s how easily we can elevate someone only to knock them down. Sometimes it’s simple overexposure, sometimes it’s “problematic” revelations, but sometimes it’s just that the joke has run its course and the subject material is out of gas. That’s where we sit with Jeff Goldblum now.\u003c/p>\n\u003cp>Look, I’d ordinarily say that I could revel in Jeff Goldblum infinitely. He sings jazz cabaret! He \u003ca href=\"https://www.kqed.org/arts/11220123/the-gold-standard-jeff-goldblum-talks-fatherhood-jazz-and-aliens-of-course\" target=\"_blank\" rel=\"noopener noreferrer\">genuinely seems like a good guy\u003c/a>! He has an approach to method acting that appears to be based on, I dunno, his past life as a cereal box!\u003c/p>\n\u003cp>But folks, we are approaching a saturation point. We are in danger of turning Jeff Goldblum into that most fragile of cultural creatures: the human meme.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which is why it’s important to kick back, unfollow your Jeff Goldblum fan accounts, and return to what’s important by watching some of the guy’s damn movies. This Sunday, Feb. 3, the Alamo Drafthouse allows you to do just that with \u003cem>\u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">The Goldblum Standard\u003c/a>\u003c/em>, a collection of four of the master’s films.\u003c/p>\n\u003cp>In a twist, you won’t know which ones until you get there, but you know what? Unlike the merciless churning cycle of internet celebrity, the man’s movies have never let me down.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" />\u003c/p>\n\u003cp>\u003cem>‘The Goldblum Standard: A Jeff Goldblum Mystery Marathon’ runs Sunday, Feb. 3, at the Alamo Drafthouse in San Francisco. \u003ca href=\"https://drafthouse.com/sf/show/the-goldblum-standard-a-jeff-goldblum-mystery-marathon\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Oh Yes Son, They're Talking To You: 20 Years Of 'No Scrubs'",
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"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>In 1998, songwriter Kandi Burruss — on hiatus from her R&B group, Xscape — took a drive around Atlanta with a girlfriend, looking for inspiration. In the car, Burruss was playing tracks she’d gotten from a fellow songwriter, Kevin “She’kspere” Briggs, a few days earlier.\u003c/p>\n\u003cp>“No lyrics, no melody, just the music,” Burruss says. “I always like to listen to tracks in my car because I come up with my best ideas when I’m driving.”\u003c/p>\n\u003cp>As Burruss tells it, she and her friend were also trash-talking the guys they were dating at the time. “So I started freestylin’ over the track,” she says. “And I was just like, ‘\u003cem>A scrub is a guy who thinks he’s fly, and is also known as a busta / Always talking about what he wants, and just sits on his fat ass\u003c/em>.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”JZv1mmAiy8qO5eD59P5YMiOuSBAKIk8z”]\u003c/p>\n\u003cp>She knew she had something there. For a title, she remembered something she’d scribbled in her songwriting notebook. The phrase “No Scrubs” came from a term popular in Atlanta at the time, slang for a guy with no purpose, no prospects, no couth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burruss took her idea to fellow Xscape member Tameka “Tiny” Cottle, who loved the freestyle. Together, they quickly fleshed out the entire song and recorded a demo, thinking they’d keep it for their own upcoming joint project. But once the demo was passed to a few other industry figures, the two were persuaded to sell the song to a bigger group — who would end up running with it.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"TLC - No Scrubs (Official HD Video)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/FrLequ6dUdM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15807876/tlc\">TLC\u003c/a>, also from Atlanta, already had its own formula for success. Early hits like “\u003ca href=\"https://www.youtube.com/watch?v=LlZydtG3xqI\">Creep\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=8WEtxJ4-sh4\">Waterfalls\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=XmH4_pr6mH0\">Ain’t 2 Proud 2 Beg\u003c/a>” cultivated an image of being socially aware, and Rozonda “Chilli” Thomas, Tionne “T-Boz” Watkins and Lisa “Left Eye” Lopes were known as bold, confident, independent young women. So when “No Scrubs” landed in their court, a few words were changed to suit that image and make the song their own. (Among them, “fat ass” became “broke ass,” making clear the group’s problem was with men who lacked not just coin, but ambition.)\u003c/p>\n\u003cp>“No Scrubs” was released in early 1999 as the lead single of TLC’s third studio album, \u003cem>FanMail\u003c/em>. The track locked up the No. 1 position on Billboard’s Hot 100 for four weeks and stayed on the chart for months. Chilli Thomas says she knew it would be a hit the first time she heard it, because even though the term was regional, the idea was universal. “A scrub is just a bum guy, you know?” she says. “You don’t want to bring him home.”\u003c/p>\n\u003cp>[contextly_sidebar id=”xuLhWTJpOFn0gzJRyeRcgiHk38kJye3Y”]\u003c/p>\n\u003cp>At the time TLC hadn’t dropped an album in over four years, but two things helped “No Scrubs” take off commercially. For one, it was bolstered by a dope, futuristic \u003ca href=\"https://www.youtube.com/watch?v=FrLequ6dUdM\">video\u003c/a> helmed by director Hype Williams. The visual found the trio in a cruising spaceship and each lady, decked out in a swishy space suit, got the chance to show her individual personality. Chilli remembers the challenges of that now-iconic shoot, in which she performed her verses on a giant swinging platform.\u003c/p>\n\u003cp>“I was looking at it and it’s ginormous — I’m like, ‘Who’s supposed to get on the swing?’ ” Chilli says. “I was so intimidated, but eventually, I did it. I mean, I got on there and I got comfortable, and then I got \u003cem>real\u003c/em> comfortable.” The video would earn TLC a MTV Video Music Award for best group video, \u003ca href=\"https://www.youtube.com/watch?v=4TYosRJA0FU\">beating out\u003c/a> the all-male competition in a category that included both ‘NSync and the Backstreet Boys at their height.\u003c/p>\n\u003cp>Second, LaFace Records was smart about marketing the single. “No Scrubs” was released in two versions, one with Left Eye’s rap verse and one without. This strategy ensured the song would get airplay on a variety of radio stations, regardless of format.\u003c/p>\n\u003cp>[contextly_sidebar id=”lE9sp0yLHtaDLT7BQNVfMGlWTArlXtSH”]\u003c/p>\n\u003cp>While some of the most popular late ’90s hip-hop and R&B tracks were saturated with misogyny and damsel-in-distress plotlines, Burruss says, “No Scrubs” helped flip the script. “This song almost made it to where guys felt they couldn’t ride to an event together anymore,” she remembers.\u003c/p>\n\u003cp>And men weren’t just stopping short of carpooling to the club. “No Scrubs” was a wake-up call for guys like Sean Armstrong, aka DJ Face of the radio station \u003ca href=\"https://mymajicdc.com/\">Majic 102.3\u003c/a>. He remembers hearing the song for the first time at a Baltimore record store and spinning it at D.C.-area clubs when it first came out.\u003c/p>\n\u003cp>“Guys started checking themselves, like, ‘Am I a scrub?,’ ” Face remembers. “You had to really think: ‘I don’t really lean out the window, you know, hollerin’ at women. I have my own car. I got a job. I’m not a scrub.’ Like, you had to take yourself off the list.”\u003c/p>\n\u003cp>Chilli says it’s not guys like DJ Face who have to worry. “I always say, the guys getting upset are the scrubs. If you’re not a scrub, then … a hit dog will holler, right?” she laughs. “So, if that’s not who you are, then you shouldn’t be getting upset.”\u003c/p>\n\u003cp>The feathers of Yonkers, N.Y. rap group Sporty Thievz were so ruffled, the trio released its own response track, “No Pigeons,” in May 1999, a month after “No Scrubs” hit No. 1. But even if some perceived “No Pigeons” as a diss to the song’s originators, it used the same melody as “No Scrubs” — so Burruss, Briggs and Cottle still got paid.\u003c/p>\n\u003cp>“That was a check,” Burruss says. “I thought it was clever. I love the fact that they flipped the song and gave the male point of view. And plus, we ended up getting all the royalties from it.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sporty Thievz - No Pigeons (Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/pP33_uFlzTM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the two decades since the song was released, it’s never really gone away. In 2017, Ed Sheeran added the songwriters of “No Scrubs” to the credits of his own No. 1 hit, “Shape of You,” after some \u003ca href=\"https://www.billboard.com/articles/columns/pop/7735550/ed-sheeran-tlc-no-scrubs-writers-shape-of-you-credits\">drew comparisons\u003c/a> between the two songs’ \u003ca href=\"https://www.youtube.com/watch?v=8OrT52ZToUk\">melodies\u003c/a>. And it’s inspired covers across all genres. British R&B singer Jorja Smith keeps her version \u003ca href=\"https://www.youtube.com/watch?v=XoD8smiAXPI\">stripped down\u003c/a>, while country star Kacey Musgraves adds \u003ca href=\"https://www.youtube.com/watch?v=kdlAZHdAfZc\">a bit of twang\u003c/a>. In January, the four men of Weezer released a \u003ca href=\"https://www.youtube.com/watch?v=55UtG-1os_s\">rock cover\u003c/a>, with all gender pronouns left intact.\u003c/p>\n\u003cp>But at the end of the day, the original is still popular. On Spotify, “No Scrubs” has over 300 million streams to date. NPR intern Sophie Fouladi was born in the early 2000s and says the song was a hit at her junior prom in Northern Virginia just last spring.\u003c/p>\n\u003cp>“I thought it was really interesting that a throwback song was something that got everyone really excited,” Fouladi says. “There was just screams of recognition from a bunch of girls, and they were pulling each other to the dance floor. These are people who were born after the song was released.”\u003c/p>\n\u003cp>[contextly_sidebar id=”05CiLETtYYTrisZV6xEJxG5nBa6jYZQj”]\u003c/p>\n\u003cp>Will Eastman hosts a recurring \u003ca href=\"https://www.930.com/event/1717617-no-scrubs-90s-dance-party-washington/\">90’s dance party\u003c/a> called “No Scrubs” at Washington, D.C.’s 9:30 Club, and says he knows exactly the response he’ll get when he drops the song. “There’s an electricity that exists in the room,” he says. “You can feel it wash over the crowd, and for that three or four minutes, we’re all in it together.”\u003c/p>\n\u003cp>After playing the song for years, Eastman says he finally gets its message: “It’s a pop song, it’s an R&B song, but there’s also a subversive element to ‘No Scrubs’ which is taken from a position of, ‘Look, you are not in charge here. I’m in charge. I have agency here.’ That resonates with people.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”JWY1bRLv8Jd3JIZYbWKW5i0sQKHllZ7Z”]\u003c/p>\n\u003cp>Chilli says she recognized the power of “No Scrubs” back when TLC first recorded it, and she’s proud of its legacy. “I feel really happy because I know that — even though you can jam to it, you dance to it — lyrically, I know that the girls are listening, you know? And the guys are, too,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Kandi Burruss agrees. “As women, we go through things every day, \u003cem>all day\u003c/em>,” she says. “No matter where we go, somebody is gonna try to push up or try to holler at you, and they’re not always a gentleman about it. So I feel like this song put it out there … and it just made women be a little bit more outspoken.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oh+Yes+Son%2C+They%27re+Talking+To+You%3A+20+Years+Of+%27No+Scrubs%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>In 1998, songwriter Kandi Burruss — on hiatus from her R&B group, Xscape — took a drive around Atlanta with a girlfriend, looking for inspiration. In the car, Burruss was playing tracks she’d gotten from a fellow songwriter, Kevin “She’kspere” Briggs, a few days earlier.\u003c/p>\n\u003cp>“No lyrics, no melody, just the music,” Burruss says. “I always like to listen to tracks in my car because I come up with my best ideas when I’m driving.”\u003c/p>\n\u003cp>As Burruss tells it, she and her friend were also trash-talking the guys they were dating at the time. “So I started freestylin’ over the track,” she says. “And I was just like, ‘\u003cem>A scrub is a guy who thinks he’s fly, and is also known as a busta / Always talking about what he wants, and just sits on his fat ass\u003c/em>.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She knew she had something there. For a title, she remembered something she’d scribbled in her songwriting notebook. The phrase “No Scrubs” came from a term popular in Atlanta at the time, slang for a guy with no purpose, no prospects, no couth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burruss took her idea to fellow Xscape member Tameka “Tiny” Cottle, who loved the freestyle. Together, they quickly fleshed out the entire song and recorded a demo, thinking they’d keep it for their own upcoming joint project. But once the demo was passed to a few other industry figures, the two were persuaded to sell the song to a bigger group — who would end up running with it.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"TLC - No Scrubs (Official HD Video)\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/FrLequ6dUdM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15807876/tlc\">TLC\u003c/a>, also from Atlanta, already had its own formula for success. Early hits like “\u003ca href=\"https://www.youtube.com/watch?v=LlZydtG3xqI\">Creep\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=8WEtxJ4-sh4\">Waterfalls\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=XmH4_pr6mH0\">Ain’t 2 Proud 2 Beg\u003c/a>” cultivated an image of being socially aware, and Rozonda “Chilli” Thomas, Tionne “T-Boz” Watkins and Lisa “Left Eye” Lopes were known as bold, confident, independent young women. So when “No Scrubs” landed in their court, a few words were changed to suit that image and make the song their own. (Among them, “fat ass” became “broke ass,” making clear the group’s problem was with men who lacked not just coin, but ambition.)\u003c/p>\n\u003cp>“No Scrubs” was released in early 1999 as the lead single of TLC’s third studio album, \u003cem>FanMail\u003c/em>. The track locked up the No. 1 position on Billboard’s Hot 100 for four weeks and stayed on the chart for months. Chilli Thomas says she knew it would be a hit the first time she heard it, because even though the term was regional, the idea was universal. “A scrub is just a bum guy, you know?” she says. “You don’t want to bring him home.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the time TLC hadn’t dropped an album in over four years, but two things helped “No Scrubs” take off commercially. For one, it was bolstered by a dope, futuristic \u003ca href=\"https://www.youtube.com/watch?v=FrLequ6dUdM\">video\u003c/a> helmed by director Hype Williams. The visual found the trio in a cruising spaceship and each lady, decked out in a swishy space suit, got the chance to show her individual personality. Chilli remembers the challenges of that now-iconic shoot, in which she performed her verses on a giant swinging platform.\u003c/p>\n\u003cp>“I was looking at it and it’s ginormous — I’m like, ‘Who’s supposed to get on the swing?’ ” Chilli says. “I was so intimidated, but eventually, I did it. I mean, I got on there and I got comfortable, and then I got \u003cem>real\u003c/em> comfortable.” The video would earn TLC a MTV Video Music Award for best group video, \u003ca href=\"https://www.youtube.com/watch?v=4TYosRJA0FU\">beating out\u003c/a> the all-male competition in a category that included both ‘NSync and the Backstreet Boys at their height.\u003c/p>\n\u003cp>Second, LaFace Records was smart about marketing the single. “No Scrubs” was released in two versions, one with Left Eye’s rap verse and one without. This strategy ensured the song would get airplay on a variety of radio stations, regardless of format.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While some of the most popular late ’90s hip-hop and R&B tracks were saturated with misogyny and damsel-in-distress plotlines, Burruss says, “No Scrubs” helped flip the script. “This song almost made it to where guys felt they couldn’t ride to an event together anymore,” she remembers.\u003c/p>\n\u003cp>And men weren’t just stopping short of carpooling to the club. “No Scrubs” was a wake-up call for guys like Sean Armstrong, aka DJ Face of the radio station \u003ca href=\"https://mymajicdc.com/\">Majic 102.3\u003c/a>. He remembers hearing the song for the first time at a Baltimore record store and spinning it at D.C.-area clubs when it first came out.\u003c/p>\n\u003cp>“Guys started checking themselves, like, ‘Am I a scrub?,’ ” Face remembers. “You had to really think: ‘I don’t really lean out the window, you know, hollerin’ at women. I have my own car. I got a job. I’m not a scrub.’ Like, you had to take yourself off the list.”\u003c/p>\n\u003cp>Chilli says it’s not guys like DJ Face who have to worry. “I always say, the guys getting upset are the scrubs. If you’re not a scrub, then … a hit dog will holler, right?” she laughs. “So, if that’s not who you are, then you shouldn’t be getting upset.”\u003c/p>\n\u003cp>The feathers of Yonkers, N.Y. rap group Sporty Thievz were so ruffled, the trio released its own response track, “No Pigeons,” in May 1999, a month after “No Scrubs” hit No. 1. But even if some perceived “No Pigeons” as a diss to the song’s originators, it used the same melody as “No Scrubs” — so Burruss, Briggs and Cottle still got paid.\u003c/p>\n\u003cp>“That was a check,” Burruss says. “I thought it was clever. I love the fact that they flipped the song and gave the male point of view. And plus, we ended up getting all the royalties from it.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sporty Thievz - No Pigeons (Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/pP33_uFlzTM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the two decades since the song was released, it’s never really gone away. In 2017, Ed Sheeran added the songwriters of “No Scrubs” to the credits of his own No. 1 hit, “Shape of You,” after some \u003ca href=\"https://www.billboard.com/articles/columns/pop/7735550/ed-sheeran-tlc-no-scrubs-writers-shape-of-you-credits\">drew comparisons\u003c/a> between the two songs’ \u003ca href=\"https://www.youtube.com/watch?v=8OrT52ZToUk\">melodies\u003c/a>. And it’s inspired covers across all genres. British R&B singer Jorja Smith keeps her version \u003ca href=\"https://www.youtube.com/watch?v=XoD8smiAXPI\">stripped down\u003c/a>, while country star Kacey Musgraves adds \u003ca href=\"https://www.youtube.com/watch?v=kdlAZHdAfZc\">a bit of twang\u003c/a>. In January, the four men of Weezer released a \u003ca href=\"https://www.youtube.com/watch?v=55UtG-1os_s\">rock cover\u003c/a>, with all gender pronouns left intact.\u003c/p>\n\u003cp>But at the end of the day, the original is still popular. On Spotify, “No Scrubs” has over 300 million streams to date. NPR intern Sophie Fouladi was born in the early 2000s and says the song was a hit at her junior prom in Northern Virginia just last spring.\u003c/p>\n\u003cp>“I thought it was really interesting that a throwback song was something that got everyone really excited,” Fouladi says. “There was just screams of recognition from a bunch of girls, and they were pulling each other to the dance floor. These are people who were born after the song was released.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Will Eastman hosts a recurring \u003ca href=\"https://www.930.com/event/1717617-no-scrubs-90s-dance-party-washington/\">90’s dance party\u003c/a> called “No Scrubs” at Washington, D.C.’s 9:30 Club, and says he knows exactly the response he’ll get when he drops the song. “There’s an electricity that exists in the room,” he says. “You can feel it wash over the crowd, and for that three or four minutes, we’re all in it together.”\u003c/p>\n\u003cp>After playing the song for years, Eastman says he finally gets its message: “It’s a pop song, it’s an R&B song, but there’s also a subversive element to ‘No Scrubs’ which is taken from a position of, ‘Look, you are not in charge here. I’m in charge. I have agency here.’ That resonates with people.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Chilli says she recognized the power of “No Scrubs” back when TLC first recorded it, and she’s proud of its legacy. “I feel really happy because I know that — even though you can jam to it, you dance to it — lyrically, I know that the girls are listening, you know? And the guys are, too,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kandi Burruss agrees. “As women, we go through things every day, \u003cem>all day\u003c/em>,” she says. “No matter where we go, somebody is gonna try to push up or try to holler at you, and they’re not always a gentleman about it. So I feel like this song put it out there … and it just made women be a little bit more outspoken.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oh+Yes+Son%2C+They%27re+Talking+To+You%3A+20+Years+Of+%27No+Scrubs%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Instant Photos Capture Tiny Desk Artists Offstage, 'Flaws, Dust Specks and All'",
"headTitle": "Instant Photos Capture Tiny Desk Artists Offstage, ‘Flaws, Dust Specks and All’ | KQED",
"content": "\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. I hope these images — flaws, dust specks and all — help the viewer see those real people a little more clearly.\u003c/p>\n\u003cfigure id=\"attachment_13849830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg\" alt=\"Left to right: Big K.R.I.T., DAWN, PJ Morton.\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1200x628.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1920x1005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Big K.R.I.T., DAWN, PJ Morton. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "See intimate moments with Thundercat, Jorja Smith, the late Mac Miller and other musicians from NPR's Tiny Desk concert series, captured just moments after they performed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. I hope these images — flaws, dust specks and all — help the viewer see those real people a little more clearly.\u003c/p>\n\u003cfigure id=\"attachment_13849830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg\" alt=\"Left to right: Big K.R.I.T., DAWN, PJ Morton.\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1200x628.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1920x1005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Big K.R.I.T., DAWN, PJ Morton. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>\u003cem>Update Jan. 30: \u003c/em>\u003c/strong>\u003cem>The National Association for the Advancement of Colored People (NAACP) \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Jan. 29: \u003c/strong>TMZ \u003ca href=\"https://www.tmz.com/2019/01/29/empire-star-jussie-smollett-attacked-hospitalized-homophobic-hate-crime/\" target=\"_blank\" rel=\"noopener\">confirmed\u003c/a> Smollett received treatment at Northwestern Memorial Hospital and has since been discharged. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Feb. 20: \u003c/strong>Jussie Smollett \u003ca href=\"https://www.npr.org/2019/02/20/695974164/chicago-police-jussie-smollett-under-suspicion-of-filing-false-police-report\" rel=\"noopener\" target=\"_blank\">has been arrested\u003c/a> on charges of filing a false police report. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Empire\u003c/em> cast member Jussie Smollett suffered injuries in Chicago around 2am Tuesday morning in a possible hate crime. The 35-year-old Santa Rosa-born actor and singer is best known for his role as Jamal Lyon in the hit Fox drama, and critics have hailed his performance as “\u003ca href=\"https://www.buzzfeed.com/kelleylcarter/being-gay-and-black-on-tv-will-never-be-the-same\" target=\"_blank\" rel=\"noopener\">groundbreaking\u003c/a>” for his positive and nuanced depiction of a black gay man on television.\u003c/p>\n\u003cp>The Chicago Police Department is calling the incident a possible “racially-charged assault and battery.” A statement released early Tuesday outlines the attack. The two perpetrators reportedly yelled racial and homophobic slurs at Smollett and wrapped a rope around his neck.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>http://twitter.com/Phil_Lewis_/status/1090282533516906496\u003c/p>\n\u003cp>\u003ca href=\"https://www.tmz.com/2019/01/29/empire-star-jussie-smollett-attacked-hospitalized-homophobic-hate-crime/\" target=\"_blank\" rel=\"noopener\">TMZ \u003c/a>reports that the attackers also yelled, “This is MAGA country.”\u003c/p>\n\u003cp>Fellow celebrities and friends have shared their thoughts and wishes on social media for the Empire star’s recovery.\u003c/p>\n\u003cp>http://twitter.com/Zendaya/status/1090324824252133376\u003c/p>\n\u003cp>http://twitter.com/Devonte_Riley/status/1090305712864051200\u003c/p>\n\u003cp>Even Kamala Harris shared her thoughts: “This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-width=\"550\" data-dnt=\"true\">\n\u003cp lang=\"en\" dir=\"ltr\">.\u003ca href=\"https://twitter.com/JussieSmollett?ref_src=twsrc%5Etfw\">@JussieSmollett\u003c/a> is one of the kindest, most gentle human beings I know. I’m praying for his quick recovery. \u003c/p>\n\u003cp>This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin. We must confront this hate.\u003c/p>\n\u003cp>— Kamala Harris (@KamalaHarris) \u003ca href=\"https://twitter.com/KamalaHarris/status/1090361495119187969?ref_src=twsrc%5Etfw\">January 29, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cscript async src=\"https://platform.twitter.com/widgets.js\" charset=\"utf-8\">\u003c/script>\u003c/p>\n\u003cp>http://twitter.com/shondarhimes/status/1090318501254840320\u003c/p>\n\u003cp>On Wednesday, Jan. 30, the NAACP \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/p>\n\u003cblockquote>\u003cp>“The recent racist and homophobic attack on acclaimed actor and activist Jussie Smollett is troubling. The rise in hate crimes is directly linked to President Donald J. Trump’s racist and xenophobic rhetoric. It is dangerous for any society to allow a tone of divisiveness and hatred to dominate the political discourse. As this rhetoric continues to bleed into our everyday lives, dangerous behavior will continue to place many law-abiding individuals at risk. We pray for a full physical and mental recovery Jussie Smollett and many unnamed victims of this forum of hate based terrorism.”\u003c/p>\n\u003cp>— Derrick Johnson, NAACP President and CEO\u003c/p>\u003c/blockquote>\n\u003cp>While the Chicago police have confirmed the attack on an \u003cem>Empire\u003c/em> cast member, they have not yet released his name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing and will be updated.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>Update Jan. 30: \u003c/em>\u003c/strong>\u003cem>The National Association for the Advancement of Colored People (NAACP) \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Jan. 29: \u003c/strong>TMZ \u003ca href=\"https://www.tmz.com/2019/01/29/empire-star-jussie-smollett-attacked-hospitalized-homophobic-hate-crime/\" target=\"_blank\" rel=\"noopener\">confirmed\u003c/a> Smollett received treatment at Northwestern Memorial Hospital and has since been discharged. \u003c/em>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Update Feb. 20: \u003c/strong>Jussie Smollett \u003ca href=\"https://www.npr.org/2019/02/20/695974164/chicago-police-jussie-smollett-under-suspicion-of-filing-false-police-report\" rel=\"noopener\" target=\"_blank\">has been arrested\u003c/a> on charges of filing a false police report. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Empire\u003c/em> cast member Jussie Smollett suffered injuries in Chicago around 2am Tuesday morning in a possible hate crime. The 35-year-old Santa Rosa-born actor and singer is best known for his role as Jamal Lyon in the hit Fox drama, and critics have hailed his performance as “\u003ca href=\"https://www.buzzfeed.com/kelleylcarter/being-gay-and-black-on-tv-will-never-be-the-same\" target=\"_blank\" rel=\"noopener\">groundbreaking\u003c/a>” for his positive and nuanced depiction of a black gay man on television.\u003c/p>\n\u003cp>The Chicago Police Department is calling the incident a possible “racially-charged assault and battery.” A statement released early Tuesday outlines the attack. The two perpetrators reportedly yelled racial and homophobic slurs at Smollett and wrapped a rope around his neck.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Even Kamala Harris shared her thoughts: “This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin.”\u003c/p>\n\u003cblockquote class=\"twitter-tweet\" data-width=\"550\" data-dnt=\"true\">\n\u003cp lang=\"en\" dir=\"ltr\">.\u003ca href=\"https://twitter.com/JussieSmollett?ref_src=twsrc%5Etfw\">@JussieSmollett\u003c/a> is one of the kindest, most gentle human beings I know. I’m praying for his quick recovery. \u003c/p>\n\u003cp>This was an attempted modern day lynching. No one should have to fear for their life because of their sexuality or color of their skin. We must confront this hate.\u003c/p>\n\u003cp>— Kamala Harris (@KamalaHarris) \u003ca href=\"https://twitter.com/KamalaHarris/status/1090361495119187969?ref_src=twsrc%5Etfw\">January 29, 2019\u003c/a>\u003c/p>\u003c/blockquote>\n\u003cp>\u003cscript async src=\"https://platform.twitter.com/widgets.js\" charset=\"utf-8\">\u003c/script>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On Wednesday, Jan. 30, the NAACP \u003ca href=\"https://naacp.org/latest/naacp-statement-racist-homophobic-attack-jussie-smollett/\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> calling the attack on Smollett an act of “hate-based terrorism.”\u003c/p>\n\u003cblockquote>\u003cp>“The recent racist and homophobic attack on acclaimed actor and activist Jussie Smollett is troubling. The rise in hate crimes is directly linked to President Donald J. Trump’s racist and xenophobic rhetoric. It is dangerous for any society to allow a tone of divisiveness and hatred to dominate the political discourse. As this rhetoric continues to bleed into our everyday lives, dangerous behavior will continue to place many law-abiding individuals at risk. We pray for a full physical and mental recovery Jussie Smollett and many unnamed victims of this forum of hate based terrorism.”\u003c/p>\n\u003cp>— Derrick Johnson, NAACP President and CEO\u003c/p>\u003c/blockquote>\n\u003cp>While the Chicago police have confirmed the attack on an \u003cem>Empire\u003c/em> cast member, they have not yet released his name.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story is developing and will be updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jada Pinkett-Smith has been on a lot of screens.\u003c/p>\n\u003cp>She’s been a steady presence on television since the early ’90s: Think \u003cem>A Different World\u003c/em> or \u003cem>Gotham\u003c/em>. Her movie roles have varied widely: \u003cem>Set It Off\u003c/em>, or the \u003cem>Matrix\u003c/em> sequels, or \u003ca href=\"https://www.npr.org/2017/07/23/538825576/jada-pinkett-smith-on-girls-trip\">\u003cem>Girls Trip\u003c/em>\u003c/a>. She has produced a new film, \u003cem>Hala, \u003c/em>set to premiere this weekend at the Sundance Film Festival.\u003c/p>\n\u003cp>She’s also on the screen of your laptop or smartphone.\u003c/p>\n\u003cp>Her Facebook Watch series, \u003ca href=\"https://www.facebook.com/redtabletalk\">\u003cem>Red Table Talk\u003c/em>\u003c/a>, is now more than 20 episodes into its first season. Every week, she and her mother Adrienne Banfield-Norris, and daughter Willow Smith, sit down for discussions on often complex and emotional topics. This season alone has covered mental health, race relations, addiction, divorce and forgiveness.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/redtabletalk/videos/564337010632445/\">http://www.facebook.com/redtabletalk/videos/564337010632445/\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I guess at this point in my life, I’ve really been doing a lot of interior work,” Pinkett-Smith says in an interview. “And I just realized that in part of my growth, the women and the people who had the courage to be very transparent with me with certain aspects of their journey really, really helped my journey tremendously. I was like: Why don’t we talk about this more often? Why is it such a secret of what people go through?\u003c/p>\n\u003cp>“And so I was like: I really want to create conversation where people don’t have to feel like they’re alone. And whatever pieces individuals can take with them to make whatever changes they might feel is necessary for more happiness, more joy, more peace — I want to be part of that journey.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/688338768/688548989\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the open discussions of the show compared to her reputation as a private person\u003c/strong>\u003c/p>\n\u003cp>People have a lot of romantic and fantasy ideas around relationships. And considering the powerful journey that [husband Will Smith] and I have been taking together, I really thought it was important to shatter, you know, whatever façade had been out there. Now that I’m older, and with all the work that I’ve done, I feel like I have the capacity to be more transparent — and luckily enough, so does my family. So just because there are certain things that we talk about on the \u003cem>Red Table\u003c/em> doesn’t mean that we don’t have boundaries. But I don’t see the necessity to hold on to knowledge of certain experiences that we’ve had.\u003c/p>\n\u003cp>\u003cstrong>On the disagreements in the episode titled \u003c/strong>\u003ca href=\"https://www.facebook.com/redtabletalk/videos/the-racial-divide-women-of-color-white-women/343064719835818/\">\u003cstrong>“The Racial Divide: Women of Color & White Women”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Considering the era in which [my mother] grew up, as well, that she had to experience very different things than what Willow and I have had to experience … The idea that even though Willow hasn’t had the same experiences as my mother, that some of her views were pretty similar.\u003c/p>\n\u003cp>They had this concept as if it was not our responsibility as women of color to educate white women — the idea being that they need to educate themselves. And that’s true too. But at the same time, I do believe that we as women of color have to have a certain openness in having conversations to help white women understand our experience.\u003c/p>\n\u003cp>\u003cstrong>On the episode \u003c/strong>\u003ca href=\"https://www.facebook.com/jada/videos/surviving-loss/566078240458322/\">\u003cstrong>“Surviving Loss”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>You know, I had literally lost a friend on that tape day. A friend died literally before we started taping that day. And that particular episode, I got to learn, you know, about some struggles that Willow had been going through. So I lost a friend, but I also gained some really deep insight about love and child-rearing, and that was that we can’t always be with our children in their darkest moments, but that if we pour as much love as we can into them, that love remains, and that love can help them pull through dark moments. And that’s what’s important. And at the \u003cem>Red Table\u003c/em>, that’s what we try to share.\u003c/p>\n\u003cp>\u003cstrong>On a topic the show is still trying to figure out\u003c/strong>\u003c/p>\n\u003cp>There’s a couple topics on infidelity. … We’re looking at different doctors and different specialists to come and talk about infidelity, you know, and how to actually produce it, and who will be willing to come and talk about experiences of infidelity. It’s tough, it’s tough. And it’s sensitive. There’s far more complex explanations than sex-crazed men who don’t know how to control themselves or blah blah blah blah. So … I think we have a very interesting perspective about it, and I think that it’ll be a fiery show, to say the least.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sydney Harper and Ashley Brown produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jada+Pinkett-Smith%2C+And+Her+Mom+And+Daughter%2C+Get+Candid+On+%27Red+Table+Talk%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jada Pinkett-Smith has been on a lot of screens.\u003c/p>\n\u003cp>She’s been a steady presence on television since the early ’90s: Think \u003cem>A Different World\u003c/em> or \u003cem>Gotham\u003c/em>. Her movie roles have varied widely: \u003cem>Set It Off\u003c/em>, or the \u003cem>Matrix\u003c/em> sequels, or \u003ca href=\"https://www.npr.org/2017/07/23/538825576/jada-pinkett-smith-on-girls-trip\">\u003cem>Girls Trip\u003c/em>\u003c/a>. She has produced a new film, \u003cem>Hala, \u003c/em>set to premiere this weekend at the Sundance Film Festival.\u003c/p>\n\u003cp>She’s also on the screen of your laptop or smartphone.\u003c/p>\n\u003cp>Her Facebook Watch series, \u003ca href=\"https://www.facebook.com/redtabletalk\">\u003cem>Red Table Talk\u003c/em>\u003c/a>, is now more than 20 episodes into its first season. Every week, she and her mother Adrienne Banfield-Norris, and daughter Willow Smith, sit down for discussions on often complex and emotional topics. This season alone has covered mental health, race relations, addiction, divorce and forgiveness.\u003c/p>\n\u003cp>\u003ca href=\"http://www.facebook.com/redtabletalk/videos/564337010632445/\">http://www.facebook.com/redtabletalk/videos/564337010632445/\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I guess at this point in my life, I’ve really been doing a lot of interior work,” Pinkett-Smith says in an interview. “And I just realized that in part of my growth, the women and the people who had the courage to be very transparent with me with certain aspects of their journey really, really helped my journey tremendously. I was like: Why don’t we talk about this more often? Why is it such a secret of what people go through?\u003c/p>\n\u003cp>“And so I was like: I really want to create conversation where people don’t have to feel like they’re alone. And whatever pieces individuals can take with them to make whatever changes they might feel is necessary for more happiness, more joy, more peace — I want to be part of that journey.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/688338768/688548989\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the open discussions of the show compared to her reputation as a private person\u003c/strong>\u003c/p>\n\u003cp>People have a lot of romantic and fantasy ideas around relationships. And considering the powerful journey that [husband Will Smith] and I have been taking together, I really thought it was important to shatter, you know, whatever façade had been out there. Now that I’m older, and with all the work that I’ve done, I feel like I have the capacity to be more transparent — and luckily enough, so does my family. So just because there are certain things that we talk about on the \u003cem>Red Table\u003c/em> doesn’t mean that we don’t have boundaries. But I don’t see the necessity to hold on to knowledge of certain experiences that we’ve had.\u003c/p>\n\u003cp>\u003cstrong>On the disagreements in the episode titled \u003c/strong>\u003ca href=\"https://www.facebook.com/redtabletalk/videos/the-racial-divide-women-of-color-white-women/343064719835818/\">\u003cstrong>“The Racial Divide: Women of Color & White Women”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>Considering the era in which [my mother] grew up, as well, that she had to experience very different things than what Willow and I have had to experience … The idea that even though Willow hasn’t had the same experiences as my mother, that some of her views were pretty similar.\u003c/p>\n\u003cp>They had this concept as if it was not our responsibility as women of color to educate white women — the idea being that they need to educate themselves. And that’s true too. But at the same time, I do believe that we as women of color have to have a certain openness in having conversations to help white women understand our experience.\u003c/p>\n\u003cp>\u003cstrong>On the episode \u003c/strong>\u003ca href=\"https://www.facebook.com/jada/videos/surviving-loss/566078240458322/\">\u003cstrong>“Surviving Loss”\u003c/strong>\u003c/a>\u003c/p>\n\u003cp>You know, I had literally lost a friend on that tape day. A friend died literally before we started taping that day. And that particular episode, I got to learn, you know, about some struggles that Willow had been going through. So I lost a friend, but I also gained some really deep insight about love and child-rearing, and that was that we can’t always be with our children in their darkest moments, but that if we pour as much love as we can into them, that love remains, and that love can help them pull through dark moments. And that’s what’s important. And at the \u003cem>Red Table\u003c/em>, that’s what we try to share.\u003c/p>\n\u003cp>\u003cstrong>On a topic the show is still trying to figure out\u003c/strong>\u003c/p>\n\u003cp>There’s a couple topics on infidelity. … We’re looking at different doctors and different specialists to come and talk about infidelity, you know, and how to actually produce it, and who will be willing to come and talk about experiences of infidelity. It’s tough, it’s tough. And it’s sensitive. There’s far more complex explanations than sex-crazed men who don’t know how to control themselves or blah blah blah blah. So … I think we have a very interesting perspective about it, and I think that it’ll be a fiery show, to say the least.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Sydney Harper and Ashley Brown produced and edited this interview for broadcast. Patrick Jarenwattananon adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jada+Pinkett-Smith%2C+And+Her+Mom+And+Daughter%2C+Get+Candid+On+%27Red+Table+Talk%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "It's Waiting There For You: Toto's 'Africa' Is Playing On Repeat In A Desert",
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"content": "\u003cp>From soft-rock smash to karaoke staple to Internet bait, the shelf life of Toto’s 1982 smash “Africa” has reached remarkable, unexpected lengths.\u003c/p>\n\u003cp>Perhaps it’s finally reached its logical conclusion with one multimedia artist’s new sound installation, which plays the 1982 smash on loop until the end of time deep in the, er, coastal Namib Desert.\u003c/p>\n\u003cp>[contextly_sidebar id=”U7xMMGpgRXDDg3zVQ2ZBic00IPzdcWhU”]\u003c/p>\n\u003cp>Namibian-German artist Max Siedentopf installed “Toto Forever” late last December while back home with his family in Namibia. Six speakers are placed atop individual plinths and attached to an MP3 player that contains only the song; the entire thing is powered by solar energy with the promise that it will run “for all eternity.”\u003c/p>\n\u003cp>He writes that he was inspired by the online resurgence of interest in the song, spurred on by benevolent \u003ca href=\"https://twitter.com/africabytotobot?lang=en\">Twitter bots\u003c/a>, a Reddit page dedicated to the song, and unexpected covers from pop artists spanning from Pitbull to \u003ca href=\"https://www.npr.org/615204047\">the rascals in Weezer\u003c/a>. (The latter cover, with a just-as-silly video starring “Weird Al” Yankovic, was the band’s first single to top \u003cem>Billboard\u003c/em>‘s Alternative Songs chart in more than a decade.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I was very intrigued by this and wanted to pay the song the ultimate homage and physically exhibit ‘Africa’ in Africa,” Siedentopf writes to \u003cem>NPR\u003c/em>. “The Namibian desert — which is, with 55 million years, the oldest desert in the world — seemed to be the perfect spot for this.”\u003c/p>\n\u003cp>Intrepid fans might want to hunt down the shrine to Toto, and for those devout enough to embark on the journey, Siedentopf has enclosed a map detailing \u003ca href=\"http://maxsiedentopf.com/toto-forever\">the site of the installation\u003c/a>. But he cautions that fair-weather fans may not have much luck finding it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The installation is supposed to be a bit like a treasure that only the most loyal of Toto fans can find,” he cautions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+Waiting+There+For+You%3A+Toto%27s+%27Africa%27+Is+Playing+On+Repeat+In+A+Desert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From soft-rock smash to karaoke staple to Internet bait, the shelf life of Toto’s 1982 smash “Africa” has reached remarkable, unexpected lengths.\u003c/p>\n\u003cp>Perhaps it’s finally reached its logical conclusion with one multimedia artist’s new sound installation, which plays the 1982 smash on loop until the end of time deep in the, er, coastal Namib Desert.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Namibian-German artist Max Siedentopf installed “Toto Forever” late last December while back home with his family in Namibia. Six speakers are placed atop individual plinths and attached to an MP3 player that contains only the song; the entire thing is powered by solar energy with the promise that it will run “for all eternity.”\u003c/p>\n\u003cp>He writes that he was inspired by the online resurgence of interest in the song, spurred on by benevolent \u003ca href=\"https://twitter.com/africabytotobot?lang=en\">Twitter bots\u003c/a>, a Reddit page dedicated to the song, and unexpected covers from pop artists spanning from Pitbull to \u003ca href=\"https://www.npr.org/615204047\">the rascals in Weezer\u003c/a>. (The latter cover, with a just-as-silly video starring “Weird Al” Yankovic, was the band’s first single to top \u003cem>Billboard\u003c/em>‘s Alternative Songs chart in more than a decade.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I was very intrigued by this and wanted to pay the song the ultimate homage and physically exhibit ‘Africa’ in Africa,” Siedentopf writes to \u003cem>NPR\u003c/em>. “The Namibian desert — which is, with 55 million years, the oldest desert in the world — seemed to be the perfect spot for this.”\u003c/p>\n\u003cp>Intrepid fans might want to hunt down the shrine to Toto, and for those devout enough to embark on the journey, Siedentopf has enclosed a map detailing \u003ca href=\"http://maxsiedentopf.com/toto-forever\">the site of the installation\u003c/a>. But he cautions that fair-weather fans may not have much luck finding it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The installation is supposed to be a bit like a treasure that only the most loyal of Toto fans can find,” he cautions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+Waiting+There+For+You%3A+Toto%27s+%27Africa%27+Is+Playing+On+Repeat+In+A+Desert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Kim's Convenience' Is A Sitcom About Asian Immigrants — With Depth",
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"content": "\u003cp>Archetypes, not stereotypes.\u003c/p>\n\u003cp>That’s what the creators and cast of the hit play-turned-sitcom \u003cem>Kim’s Convenience\u003c/em>, the first Canadian TV show with an all-Asian lead cast, have striven for from the beginning. And as the series starts its third season, \u003ca href=\"https://www.cbc.ca/kimsconvenience/\">the CBC production\u003c/a> has found lasting success in being both funny and deep.\u003c/p>\n\u003cp>Creator Ins Choi, whose family moved from Korea and settled in Toronto when he was very young, started penning \u003cem>Kim’s Convenience \u003c/em>as a play in 2005. At the time, with his acting career off to a bumpy start, he was invited to join the playwriting unit at \u003ca href=\"https://www.fu-gen.org/\">fu-GEN\u003c/a>, a Toronto theater company dedicated to developing Asian-Canadian stories.\u003c/p>\n\u003cp>“I came in with an idea: Write what you know,” Choi says.\u003c/p>\n\u003cp>At the same time, Choi also felt the stage was missing stories like his.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wasn’t seeing Asians on stage, I wasn’t seeing Asian stories,” he says.\u003c/p>\n\u003cp>Indeed, \u003cem>Kim’s Convenience \u003c/em>— from its setting in a convenience store in downtown Toronto, to the generational differences between the immigrant parents and their children, to the prominence of the Korean church — is infused with the parts of Choi’s life that shaped him.\u003c/p>\n\u003cp>“My father’s a pastor. He used to be a pastor of an immigrant church in downtown Toronto,” Choi says. “All my friends growing up in the ’80s, ’90s, their parents owned convenience stores … I wanted it to be funny. My family’s funny.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682888290/683501489\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Play-turned-sitcom\u003c/strong>\u003c/p>\n\u003cp>The play took Choi about seven years to complete. It then became a hit at the Toronto Fringe Festival in 2011, which led to a years-long theater tour of Canada. \u003cem>Kim’s Convenience\u003c/em> was eventually adapted into a television show of the same name in 2016.\u003c/p>\n\u003cp>The story centers on the Kim family — Mr. Kim (or “Appa,” meaning father in Korean), played by Paul Sun-Hyung Lee; Mrs. Kim (or “Umma,” meaning mother in Korean), played by \u003ca href=\"https://twitter.com/jean_yoon\">Jean Yoon\u003c/a>; and their two grown children, Jung and Janet, played by \u003ca href=\"https://twitter.com/SimuLiu\">Simu Liu\u003c/a> and \u003ca href=\"https://twitter.com/iAndreaBang\">Andrea Bang\u003c/a>. The show draws laughs through the family’s interactions with each other, and also with their multicultural community. Between \u003ca href=\"https://www.youtube.com/watch?v=1bcoitiGDpU\">Appa’s antics\u003c/a> or Umma’s\u003ca href=\"https://www.youtube.com/watch?v=-8nLujVU3e0\"> approach to parenting\u003c/a>, the show is quippy and smartly written.\u003c/p>\n\u003cp>But looking past its formulaic sitcom structure, \u003cem>Kim’s Convenience \u003c/em>also offers something else: well-rounded Asian characters who have depth. Whether it’s the tense relationship between Appa and his estranged son Jung, or Janet’s constant struggle to get her parents to support her photography career, there’s no shortage of heavy story lines.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/bitterasiandude?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Paul Sun-Hyung Lee\u003c/a> says he was able to connect almost immediately with Mr. Kim’s character.\u003c/p>\n\u003cp>“I read the first two scenes, and my heart — it exploded because that was my \u003cem>appa\u003c/em>,” Lee says. “And I’d never heard him represented that way before — and it was like a key turning in my head, and his voice just started coming out.”\u003c/p>\n\u003cp>Lee, who also moved to Canada from Korea when he was very young, and whose father ran a store, says he has channeled people throughout his life for the role of Appa. He drew inspiration from strong characters in his community growing up, like people in the Korean church his family attended. He draws the character’s temper from his \u003cem>umma \u003c/em>because his \u003cem>appa \u003c/em>“doesn’t get mad.”\u003c/p>\n\u003cp>“He’s very stoic, but when he does let loose, it’s apocalyptic,” Lee says.\u003c/p>\n\u003cp>There was one problem. At the outset of the show, Lee says he couldn’t do a Korean immigrant’s accent.\u003c/p>\n\u003cp>“And it was just a byproduct of denying my own heritage for so long, wanting to assimilate and be like all the other white kids,” he says. “I just wanted to fit in with everybody else.”\u003c/p>\n\u003cp>Lee would go on to \u003ca href=\"https://www.youtube.com/watch?v=h9ifO5bDoYM\">win the award\u003c/a> for best actor in a continuing comedy series at the 2017 Canadian Screen Awards. And luckily, he says, his parents’ only criticism of his performance as Appa has been his Korean.\u003c/p>\n\u003cfigure id=\"attachment_13848438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kimscon1-80a83794f56f7c081df6efb53702e2e8c6d4def7-800x600.jpg\" alt=\"In Kim's Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">In Kim’s Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix. \u003ccite>(Canadian Broadcasting Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Archetype vs. stereotypes\u003c/strong>\u003c/p>\n\u003cp>In Canada, like the United States,\u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/dv-vd/imm/index-eng.cfm\"> Asians are the fastest growing\u003c/a> minority group. According to \u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/index-eng.cfm\">the latest Canadian Census\u003c/a>, Asians make up almost 18 percent of the country’s population.\u003c/p>\n\u003cp>This is why it’s important for viewers to see well-written and well-rounded roles for Asians, Lee says. He takes umbrage when people criticize the characters — especially their accents — on \u003cem>Kim’s Convenience. \u003c/em>Lee says they aren’t playing stereotypes that begin and end with one trait.\u003c/p>\n\u003cp>“They are archetypes,” Lee says. “They are three-dimensional characters with wants, with hopes, with needs, with fears. And that’s what’s so exciting about playing them as an actor of color, because we’ve been so cut off from playing real people.”\u003c/p>\n\u003cp>This kind of drama-comedy approach to Asian characters is refreshing, says Nancy Wang Yuen, a sociologist and the author of the book \u003cem>Reel Inequality. \u003c/em>Especially compared to U.S. family sitcoms with Asian-American families, she says.\u003c/p>\n\u003cp>“They [U.S. sitcoms] tend to resolve everything in one episode,” Yuen says, pointing to ABC’s \u003ca href=\"https://www.npr.org/2015/02/04/383785757/a-skilled-cast-perks-up-the-sweet-and-funny-fresh-off-the-boat\">Fresh Off The Boat\u003c/a> as an example. “And the humor, even when it takes on social kind of issues, they’re more, I guess, light? 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Archetypes, not stereotypes.\u003c/p>\n\u003cp>That’s what the creators and cast of the hit play-turned-sitcom \u003cem>Kim’s Convenience\u003c/em>, the first Canadian TV show with an all-Asian lead cast, have striven for from the beginning. And as the series starts its third season, \u003ca href=\"https://www.cbc.ca/kimsconvenience/\">the CBC production\u003c/a> has found lasting success in being both funny and deep.\u003c/p>\n\u003cp>Creator Ins Choi, whose family moved from Korea and settled in Toronto when he was very young, started penning \u003cem>Kim’s Convenience \u003c/em>as a play in 2005. At the time, with his acting career off to a bumpy start, he was invited to join the playwriting unit at \u003ca href=\"https://www.fu-gen.org/\">fu-GEN\u003c/a>, a Toronto theater company dedicated to developing Asian-Canadian stories.\u003c/p>\n\u003cp>“I came in with an idea: Write what you know,” Choi says.\u003c/p>\n\u003cp>At the same time, Choi also felt the stage was missing stories like his.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I wasn’t seeing Asians on stage, I wasn’t seeing Asian stories,” he says.\u003c/p>\n\u003cp>Indeed, \u003cem>Kim’s Convenience \u003c/em>— from its setting in a convenience store in downtown Toronto, to the generational differences between the immigrant parents and their children, to the prominence of the Korean church — is infused with the parts of Choi’s life that shaped him.\u003c/p>\n\u003cp>“My father’s a pastor. He used to be a pastor of an immigrant church in downtown Toronto,” Choi says. “All my friends growing up in the ’80s, ’90s, their parents owned convenience stores … I wanted it to be funny. My family’s funny.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/682888290/683501489\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cstrong>Play-turned-sitcom\u003c/strong>\u003c/p>\n\u003cp>The play took Choi about seven years to complete. It then became a hit at the Toronto Fringe Festival in 2011, which led to a years-long theater tour of Canada. \u003cem>Kim’s Convenience\u003c/em> was eventually adapted into a television show of the same name in 2016.\u003c/p>\n\u003cp>The story centers on the Kim family — Mr. Kim (or “Appa,” meaning father in Korean), played by Paul Sun-Hyung Lee; Mrs. Kim (or “Umma,” meaning mother in Korean), played by \u003ca href=\"https://twitter.com/jean_yoon\">Jean Yoon\u003c/a>; and their two grown children, Jung and Janet, played by \u003ca href=\"https://twitter.com/SimuLiu\">Simu Liu\u003c/a> and \u003ca href=\"https://twitter.com/iAndreaBang\">Andrea Bang\u003c/a>. The show draws laughs through the family’s interactions with each other, and also with their multicultural community. Between \u003ca href=\"https://www.youtube.com/watch?v=1bcoitiGDpU\">Appa’s antics\u003c/a> or Umma’s\u003ca href=\"https://www.youtube.com/watch?v=-8nLujVU3e0\"> approach to parenting\u003c/a>, the show is quippy and smartly written.\u003c/p>\n\u003cp>But looking past its formulaic sitcom structure, \u003cem>Kim’s Convenience \u003c/em>also offers something else: well-rounded Asian characters who have depth. Whether it’s the tense relationship between Appa and his estranged son Jung, or Janet’s constant struggle to get her parents to support her photography career, there’s no shortage of heavy story lines.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/bitterasiandude?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Paul Sun-Hyung Lee\u003c/a> says he was able to connect almost immediately with Mr. Kim’s character.\u003c/p>\n\u003cp>“I read the first two scenes, and my heart — it exploded because that was my \u003cem>appa\u003c/em>,” Lee says. “And I’d never heard him represented that way before — and it was like a key turning in my head, and his voice just started coming out.”\u003c/p>\n\u003cp>Lee, who also moved to Canada from Korea when he was very young, and whose father ran a store, says he has channeled people throughout his life for the role of Appa. He drew inspiration from strong characters in his community growing up, like people in the Korean church his family attended. He draws the character’s temper from his \u003cem>umma \u003c/em>because his \u003cem>appa \u003c/em>“doesn’t get mad.”\u003c/p>\n\u003cp>“He’s very stoic, but when he does let loose, it’s apocalyptic,” Lee says.\u003c/p>\n\u003cp>There was one problem. At the outset of the show, Lee says he couldn’t do a Korean immigrant’s accent.\u003c/p>\n\u003cp>“And it was just a byproduct of denying my own heritage for so long, wanting to assimilate and be like all the other white kids,” he says. “I just wanted to fit in with everybody else.”\u003c/p>\n\u003cp>Lee would go on to \u003ca href=\"https://www.youtube.com/watch?v=h9ifO5bDoYM\">win the award\u003c/a> for best actor in a continuing comedy series at the 2017 Canadian Screen Awards. And luckily, he says, his parents’ only criticism of his performance as Appa has been his Korean.\u003c/p>\n\u003cfigure id=\"attachment_13848438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13848438\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/kimscon1-80a83794f56f7c081df6efb53702e2e8c6d4def7-800x600.jpg\" alt=\"In Kim's Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">In Kim’s Convenience, Umma (Jean Yoon, left) and Appa (Paul Sun-Hyung Lee) try to balance running their store and keeping up with their grown children. Season 3 of the CBC show debuts this week in Canada. The first two seasons can be streamed on Netflix. \u003ccite>(Canadian Broadcasting Corp.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Archetype vs. stereotypes\u003c/strong>\u003c/p>\n\u003cp>In Canada, like the United States,\u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/dv-vd/imm/index-eng.cfm\"> Asians are the fastest growing\u003c/a> minority group. According to \u003ca href=\"https://www12.statcan.gc.ca/census-recensement/2016/dp-pd/index-eng.cfm\">the latest Canadian Census\u003c/a>, Asians make up almost 18 percent of the country’s population.\u003c/p>\n\u003cp>This is why it’s important for viewers to see well-written and well-rounded roles for Asians, Lee says. He takes umbrage when people criticize the characters — especially their accents — on \u003cem>Kim’s Convenience. \u003c/em>Lee says they aren’t playing stereotypes that begin and end with one trait.\u003c/p>\n\u003cp>“They are archetypes,” Lee says. “They are three-dimensional characters with wants, with hopes, with needs, with fears. And that’s what’s so exciting about playing them as an actor of color, because we’ve been so cut off from playing real people.”\u003c/p>\n\u003cp>This kind of drama-comedy approach to Asian characters is refreshing, says Nancy Wang Yuen, a sociologist and the author of the book \u003cem>Reel Inequality. \u003c/em>Especially compared to U.S. family sitcoms with Asian-American families, she says.\u003c/p>\n\u003cp>“They [U.S. sitcoms] tend to resolve everything in one episode,” Yuen says, pointing to ABC’s \u003ca href=\"https://www.npr.org/2015/02/04/383785757/a-skilled-cast-perks-up-the-sweet-and-funny-fresh-off-the-boat\">Fresh Off The Boat\u003c/a> as an example. “And the humor, even when it takes on social kind of issues, they’re more, I guess, light? And I think that \u003cem>Kim’s Convenience\u003c/em> takes on a little more complex layers.”\u003c/p>\n\u003cp>Yuen says she first heard about \u003cem>Kim’s Convenience \u003c/em>from her own community here in the U.S. So when it came to Netflix over the summer, there was already anticipation building.\u003c/p>\n\u003cp>“When it finally came, I think people in the U.S. were just so excited to see yet another sitcom that seemed less clownish, that had kind of a tone that made people think,” Yuen says.\u003c/p>\n\u003cp>In Season 3, Ins Choi promises more of what the show is good at: smart comedy with authentic depth. But he also says the writers plan to expand the worlds of the characters and put them through more “high-stakes” situations.\u003c/p>\n\u003cp>“It’s a very, very funny season,” Choi says.\u003c/p>\n\u003cp>While watchers in the U.S. can binge the first two seasons on Netflix, the streaming service has not yet announced when Season 3 will be available.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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