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"content": "\u003cp>Maybe you’re the type who just “\u003ca href=\"https://www.youtube.com/watch?v=g5Rjo_imHDE\" target=\"_blank\" rel=\"noopener noreferrer\">can’t stand the rain\u003c/a>” like Ann Peebles. Or perhaps you don’t mind letting yourself “\u003ca href=\"https://www.youtube.com/watch?v=l5aZJBLAu1E\" target=\"_blank\" rel=\"noopener noreferrer\">get absolutely soaking wet\u003c/a>” like the Weather Girls. But one thing’s for sure: the best antidote for the wet-weather melancholy of a gray-skied day is to bundle up and stream some beloved storm-inspired songs.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/KQEDarts/status/1110969308878823425\" target=\"_blank\" rel=\"noopener noreferrer\">On Twitter\u003c/a>, we asked readers to help us make a rainy day playlist, and you did not disappoint. You sent us electrifying instrumentals like “This Rainy Decade,” a supercharged synth track from the Cleaners From Venus, and the thunderous “Riders on the Storm,” infused with Jim Morrison’s raspy, whispered vocals.\u003c/p>\n\u003cp>Whether you prefer the cunning cacophony of local \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=88_vG4mnOoQ\" target=\"_blank\" rel=\"noopener noreferrer\">The Water Rises\u003c/a>,” or the sumptuous Motown sway of the Dramatics’ “\u003ca href=\"https://www.youtube.com/watch?v=ux8gZuvTVR8\" target=\"_blank\" rel=\"noopener noreferrer\">In The Rain\u003c/a>,” there’s a track in there that’s bound to keep your seasonal blues at bay.\u003c/p>\n\u003cp>So let it pour, let it flood and let’s get totally carried away by this crowdsourced playlist for a rainy day.\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/user/ga2ldjo713dvtkdfxiik0wai6/playlist/1AiKOVXg0INHMRBl5sjl3q\" width=\"800\" height=\"500\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Maybe you’re the type who just “\u003ca href=\"https://www.youtube.com/watch?v=g5Rjo_imHDE\" target=\"_blank\" rel=\"noopener noreferrer\">can’t stand the rain\u003c/a>” like Ann Peebles. Or perhaps you don’t mind letting yourself “\u003ca href=\"https://www.youtube.com/watch?v=l5aZJBLAu1E\" target=\"_blank\" rel=\"noopener noreferrer\">get absolutely soaking wet\u003c/a>” like the Weather Girls. But one thing’s for sure: the best antidote for the wet-weather melancholy of a gray-skied day is to bundle up and stream some beloved storm-inspired songs.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/KQEDarts/status/1110969308878823425\" target=\"_blank\" rel=\"noopener noreferrer\">On Twitter\u003c/a>, we asked readers to help us make a rainy day playlist, and you did not disappoint. You sent us electrifying instrumentals like “This Rainy Decade,” a supercharged synth track from the Cleaners From Venus, and the thunderous “Riders on the Storm,” infused with Jim Morrison’s raspy, whispered vocals.\u003c/p>\n\u003cp>Whether you prefer the cunning cacophony of local \u003ca href=\"https://www.kqed.org/arts/tag/kronos-quartet\" target=\"_blank\" rel=\"noopener noreferrer\">Kronos Quartet\u003c/a>‘s “\u003ca href=\"https://www.youtube.com/watch?v=88_vG4mnOoQ\" target=\"_blank\" rel=\"noopener noreferrer\">The Water Rises\u003c/a>,” or the sumptuous Motown sway of the Dramatics’ “\u003ca href=\"https://www.youtube.com/watch?v=ux8gZuvTVR8\" target=\"_blank\" rel=\"noopener noreferrer\">In The Rain\u003c/a>,” there’s a track in there that’s bound to keep your seasonal blues at bay.\u003c/p>\n\u003cp>So let it pour, let it flood and let’s get totally carried away by this crowdsourced playlist for a rainy day.\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/user/ga2ldjo713dvtkdfxiik0wai6/playlist/1AiKOVXg0INHMRBl5sjl3q\" width=\"800\" height=\"500\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "camp-lgbtq-celebs-shut-down-the-2019-met-gala",
"title": "Forget the Black Tie—LGBTQ+ Celebs Shut Down the 2019 Camp Met Gala",
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"headTitle": "Forget the Black Tie—LGBTQ+ Celebs Shut Down the 2019 Camp Met Gala | KQED",
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"content": "\u003cp>The queer and trans community has perfected the art of camp for decades through extravagant drag looks, otherworldly club kid fashions and themed vogue balls. Embracing the glittery, the tacky, the over-the-top, the gender-bending and the taboo, camp is an aesthetic that flies in the face of Western hetero notions of respectability and good taste, and looks good doing it.\u003c/p>\n\u003cp>Susan Sontag defined the flashy, kitschy style as a “love of the unnatural, of artifice and exaggeration.” Her 1964 essay “Notes on ‘Camp'” is the theme of this year’s Met Gala fundraiser for the Metropolitan Museum of Art—and LGBTQ+ celebrities absolutely killed it on the red carpet.\u003c/p>\n\u003cp>In February, \u003cem>Pose\u003c/em> star Billy Porter made homophobes quake in their boots with his androgynous Oscars look—an exaggerated, high-femme A-line gown with a masculine black blazer. Ever the king of extra, he dialed it up 10 notches with his Met Gala ensemble by The Blonds. Dressed like a luminescent rendition of Ra, the Ancient Egyptian sun god, Porter levitated above the red carpet on a throne carried by chiseled manservants. Naturally, he spread his gold bird wings once he returned to the ground.\u003c/p>\n\u003cfigure id=\"attachment_13856763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856763\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-800x550.jpg\" alt=\"Billy Porter attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-1200x824.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Porter attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Camp means as hugely over-the-top and grand and what some may feel is ridiculous and silly, and embracing all of those creative impulses inside us that very often are squelched,” Porter told \u003ca href=\"https://variety.com/2019/scene/news/met-gala-billy-porter-what-camp-means-1203206324/\" target=\"_blank\" rel=\"noopener\">Variety\u003c/a>.\u003c/p>\n\u003cp>Trans actress and activist Laverne Cox sparkled in her all-black Christian Siriano attire—an art deco-inspired gown with wisps of tulle that floated around her body like angel wings in Botticelli’s \u003cem>Birth of Venus\u003c/em>. With her turquoise hair and makeup as the only pops of color, the monochromatic outfit’s dramatic shape and texture did the talking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This sensibility, that is historically very queer, excited me to no end,” she told \u003ca href=\"https://www.eonline.com/news/1038799/laverne-cox-reveals-the-inspiration-behind-her-big-shoulder-moment-at-2019-met-gala\" target=\"_blank\" rel=\"noopener\">E!\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13856767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-800x592.jpg\" alt=\"Laverne Cox attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-1200x888.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laverne Cox attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janelle Monae, whose 2018 album \u003cem>Dirty Computer\u003c/em> was celebrated as a pansexual pop paean, wore a gravity-defying hat-made-of-hats and pop-art, portrait-style Siriano dress (with an eye complete with long lashes covering one of her breasts). Lady Gaga, who is bisexual, turned heads with not one, not two, but four outfit changes, stripping (a la a drag reveal) from an enormous hot-pink ball gown by Brandon Maxwell into fishnets and lingerie. Cardi B, who hasn’t formally declared herself bi but has spoken openly about experiences with women, stunned in a wine-red, feathered Thom Browne gown with an enormous train and female anatomy-inspired details.\u003c/p>\n\u003cp>Queer actor Ezra Miller opted for illusion: he wore a mask of his own face, and the dizzying makeup on his \u003cem>actual\u003c/em> face made it look like seeing double, as though through beer goggles. Model Cara Delevingne, who typically opts for masculine streetwear, wore a rainbow Dior playsuit with a bizarre headpiece made of plastic bananas and fake teeth, rainbow stripper heels and a Willy Wonka-esque cane. (I don’t know what it means, but I’m into it.)\u003c/p>\n\u003cfigure id=\"attachment_13856766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-800x1200.jpg\" alt=\"Ezra Miller attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ezra Miller attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In comparison to these displays of queer ingenuity, some straight red carpet A-listers looked boring in slightly shinier-than-normal formalwear. \u003ca href=\"https://twitter.com/dashwestcloset/status/1125552633954099200\" target=\"_blank\" rel=\"noopener\">Kim Kardashian\u003c/a> showed up in typical skin-tight beige. \u003ca href=\"https://twitter.com/mefeater/status/1125579321068990466\" target=\"_blank\" rel=\"noopener\">Nicki Minaj\u003c/a> looked \u003cem>nice \u003c/em>but safe in pastel pink. And \u003ca href=\"https://www.buzzfeed.com/whitneyjefferson/heres-what-men-wore-to-the-met-gala-this-year\" target=\"_blank\" rel=\"noopener\">some Hollywood men\u003c/a> completely ignored the theme and wore black blazers.\u003c/p>\n\u003cp>Other straight celebs like \u003ca href=\"https://twitter.com/ComplexStyle/status/1125555339716378624\" target=\"_blank\" rel=\"noopener\">Katy Perry \u003c/a>and \u003ca href=\"https://twitter.com/thefader/status/1125559954180648960\" target=\"_blank\" rel=\"noopener\">Ciara\u003c/a> nailed the theme (Perry wore a literal chandelier; Ciara stunned in a three-foot-long afro). But this year’s Met Gala made history with its overt celebration of queer culture, and LGBTQ+ stars’ daring styles showed the world what camp is all about.\u003c/p>\n\u003cfigure id=\"attachment_13856764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-800x1200.jpg\" alt=\"NEW YORK, NEW YORK - MAY 06: Cara Delevingne attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NEW YORK – MAY 06: Cara Delevingne attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856765\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-800x1200.jpg\" alt=\"Janelle Monae attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-800x533.jpg\" alt=\"Cardi B attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cardi B attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Neilson Barnard/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856769\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-800x631.jpg\" alt=\"Singer/actress Lady Gaga arrives for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. - The Gala raises money for the Metropolitan Museum of Arts Costume Institute.\" width=\"800\" height=\"631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-800x631.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-1200x947.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer/actress Lady Gaga arrives for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. – The Gala raises money for the Metropolitan Museum of Arts Costume Institute. \u003ccite>(Angela Weiss/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856785\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856785\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-800x558.jpg\" alt=\"Lena Waithe and Kerby Jean-Raymond arrive for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. \" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lena Waithe and Kerby Jean-Raymond arrive for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. \u003ccite>(Angela Weiss/AFP/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856786\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856786\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-800x532.jpg\" alt=\"Hamish Bowles attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamish Bowles attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Camp, a queer art form, was the theme of this year's annual Met Gala fundraiser.",
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"title": "Forget the Black Tie—LGBTQ+ Celebs Shut Down the 2019 Camp Met Gala | KQED",
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"headline": "Forget the Black Tie—LGBTQ+ Celebs Shut Down the 2019 Camp Met Gala",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The queer and trans community has perfected the art of camp for decades through extravagant drag looks, otherworldly club kid fashions and themed vogue balls. Embracing the glittery, the tacky, the over-the-top, the gender-bending and the taboo, camp is an aesthetic that flies in the face of Western hetero notions of respectability and good taste, and looks good doing it.\u003c/p>\n\u003cp>Susan Sontag defined the flashy, kitschy style as a “love of the unnatural, of artifice and exaggeration.” Her 1964 essay “Notes on ‘Camp'” is the theme of this year’s Met Gala fundraiser for the Metropolitan Museum of Art—and LGBTQ+ celebrities absolutely killed it on the red carpet.\u003c/p>\n\u003cp>In February, \u003cem>Pose\u003c/em> star Billy Porter made homophobes quake in their boots with his androgynous Oscars look—an exaggerated, high-femme A-line gown with a masculine black blazer. Ever the king of extra, he dialed it up 10 notches with his Met Gala ensemble by The Blonds. Dressed like a luminescent rendition of Ra, the Ancient Egyptian sun god, Porter levitated above the red carpet on a throne carried by chiseled manservants. Naturally, he spread his gold bird wings once he returned to the ground.\u003c/p>\n\u003cfigure id=\"attachment_13856763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856763\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-800x550.jpg\" alt=\"Billy Porter attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"550\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-800x550.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-768x528.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-1020x701.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693-1200x824.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147407693.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billy Porter attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Camp means as hugely over-the-top and grand and what some may feel is ridiculous and silly, and embracing all of those creative impulses inside us that very often are squelched,” Porter told \u003ca href=\"https://variety.com/2019/scene/news/met-gala-billy-porter-what-camp-means-1203206324/\" target=\"_blank\" rel=\"noopener\">Variety\u003c/a>.\u003c/p>\n\u003cp>Trans actress and activist Laverne Cox sparkled in her all-black Christian Siriano attire—an art deco-inspired gown with wisps of tulle that floated around her body like angel wings in Botticelli’s \u003cem>Birth of Venus\u003c/em>. With her turquoise hair and makeup as the only pops of color, the monochromatic outfit’s dramatic shape and texture did the talking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This sensibility, that is historically very queer, excited me to no end,” she told \u003ca href=\"https://www.eonline.com/news/1038799/laverne-cox-reveals-the-inspiration-behind-her-big-shoulder-moment-at-2019-met-gala\" target=\"_blank\" rel=\"noopener\">E!\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13856767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856767\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-800x592.jpg\" alt=\"Laverne Cox attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"592\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-800x592.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-1020x755.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879-1200x888.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147408879.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Laverne Cox attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janelle Monae, whose 2018 album \u003cem>Dirty Computer\u003c/em> was celebrated as a pansexual pop paean, wore a gravity-defying hat-made-of-hats and pop-art, portrait-style Siriano dress (with an eye complete with long lashes covering one of her breasts). Lady Gaga, who is bisexual, turned heads with not one, not two, but four outfit changes, stripping (a la a drag reveal) from an enormous hot-pink ball gown by Brandon Maxwell into fishnets and lingerie. Cardi B, who hasn’t formally declared herself bi but has spoken openly about experiences with women, stunned in a wine-red, feathered Thom Browne gown with an enormous train and female anatomy-inspired details.\u003c/p>\n\u003cp>Queer actor Ezra Miller opted for illusion: he wore a mask of his own face, and the dizzying makeup on his \u003cem>actual\u003c/em> face made it look like seeing double, as though through beer goggles. Model Cara Delevingne, who typically opts for masculine streetwear, wore a rainbow Dior playsuit with a bizarre headpiece made of plastic bananas and fake teeth, rainbow stripper heels and a Willy Wonka-esque cane. (I don’t know what it means, but I’m into it.)\u003c/p>\n\u003cfigure id=\"attachment_13856766\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856766\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-800x1200.jpg\" alt=\"Ezra Miller attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147431465-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ezra Miller attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Photo by Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In comparison to these displays of queer ingenuity, some straight red carpet A-listers looked boring in slightly shinier-than-normal formalwear. \u003ca href=\"https://twitter.com/dashwestcloset/status/1125552633954099200\" target=\"_blank\" rel=\"noopener\">Kim Kardashian\u003c/a> showed up in typical skin-tight beige. \u003ca href=\"https://twitter.com/mefeater/status/1125579321068990466\" target=\"_blank\" rel=\"noopener\">Nicki Minaj\u003c/a> looked \u003cem>nice \u003c/em>but safe in pastel pink. And \u003ca href=\"https://www.buzzfeed.com/whitneyjefferson/heres-what-men-wore-to-the-met-gala-this-year\" target=\"_blank\" rel=\"noopener\">some Hollywood men\u003c/a> completely ignored the theme and wore black blazers.\u003c/p>\n\u003cp>Other straight celebs like \u003ca href=\"https://twitter.com/ComplexStyle/status/1125555339716378624\" target=\"_blank\" rel=\"noopener\">Katy Perry \u003c/a>and \u003ca href=\"https://twitter.com/thefader/status/1125559954180648960\" target=\"_blank\" rel=\"noopener\">Ciara\u003c/a> nailed the theme (Perry wore a literal chandelier; Ciara stunned in a three-foot-long afro). But this year’s Met Gala made history with its overt celebration of queer culture, and LGBTQ+ stars’ daring styles showed the world what camp is all about.\u003c/p>\n\u003cfigure id=\"attachment_13856764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-800x1200.jpg\" alt=\"NEW YORK, NEW YORK - MAY 06: Cara Delevingne attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147430855-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NEW YORK – MAY 06: Cara Delevingne attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856765\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856765\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-800x1200.jpg\" alt=\"Janelle Monae attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147426852-768x1152.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-800x533.jpg\" alt=\"Cardi B attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147448874.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cardi B attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Neilson Barnard/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856769\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856769\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-800x631.jpg\" alt=\"Singer/actress Lady Gaga arrives for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. - The Gala raises money for the Metropolitan Museum of Arts Costume Institute.\" width=\"800\" height=\"631\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-800x631.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-160x126.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-768x606.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-1020x805.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559-1200x947.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141787559.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer/actress Lady Gaga arrives for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. – The Gala raises money for the Metropolitan Museum of Arts Costume Institute. \u003ccite>(Angela Weiss/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856785\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856785\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-800x558.jpg\" alt=\"Lena Waithe and Kerby Jean-Raymond arrive for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. \" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-768x536.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874-1200x837.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1141834874.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lena Waithe and Kerby Jean-Raymond arrive for the 2019 Met Gala at the Metropolitan Museum of Art on May 6, 2019, in New York. \u003ccite>(Angela Weiss/AFP/Getty Images))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13856786\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856786\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-800x532.jpg\" alt=\"Hamish Bowles attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-1020x678.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-1147412609.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hamish Bowles attends The 2019 Met Gala Celebrating Camp: Notes on Fashion at Metropolitan Museum of Art on May 06, 2019 in New York City. \u003ccite>(Jamie McCarthy/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>After weeks of hand-wringing, vote-wrangling and even some stern finger-wagging from the Department of Justice, the Academy of Motion Picture Arts and Sciences has declined to pursue a controversial proposal to change the Oscars’ eligibility rules.\u003c/p>\n\u003cp>That proposal, \u003ca href=\"https://variety.com/2019/film/news/steven-spielberg-academy-netflix-oscar-competition-1203153872/\">reportedly pushed by\u003c/a> megadirector Steven Spielberg, would have made it difficult for streaming services such as Netflix to compete for the academy’s big prizes by restricting eligibility to just films that got a significant run in theaters. Films that debuted online and only got a limited theatrical release simply would be out of luck.\u003c/p>\n\u003cp>But when the academy’s \u003ca href=\"https://www.oscars.org/about/board-of-governors\">board of governors\u003c/a> released its rules for next year’s prize — a book that runs to 35 pages, all told — the would-be changes were not among them.\u003c/p>\n\u003cp>[documentcloud url=”https://www.documentcloud.org/documents/5977147-92aa-Rules.html” responsive=true]\u003c/p>\n\u003cp>“We support the theatrical experience as integral to the art of motion pictures, and this weighed heavily in our discussions,” John Bailey, president of the academy, said in a statement \u003ca href=\"https://www.oscars.org/news/academy-announces-rules-92nd-oscars\">released Tuesday night\u003c/a>. “Our rules currently require theatrical exhibition, and also allow for a broad selection of films to be submitted for Oscars consideration.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The updates that \u003cem>did \u003c/em>make their way into the rulebook were rather more innocuous.\u003c/p>\n\u003cp>The animated feature category was placed on surer footing. It used to be the case that the category’s prize would only be given out if at least eight eligible films were released that year. That caveat now has been stripped from the record.\u003c/p>\n\u003cp>And the foreign language film category has gotten a name change. Just call it the international feature film category now.\u003c/p>\n\u003cp>“We have noted that the reference to ‘Foreign’ is outdated within the global filmmaking community,” said Larry Karaszewski and Diane Weyermann, the co-chairs of the category’s committee. “We believe that International Feature Film better represents this category, and promotes a positive and inclusive view of filmmaking, and the art of film as a universal experience.”\u003c/p>\n\u003cp>There were a few other changes too, of course, which you can check out in the full text of \u003ca href=\"https://assets.documentcloud.org/documents/5976684/92aa-Rules.pdf\">the rulebook\u003c/a> below. But none made nearly the impact as the change that never was.\u003c/p>\n\u003cp>Not long after the idea to restrict eligibility surfaced publicly, the objections arrived in a deluge. Netflix, which has leaped enthusiastically into the arena of prestige films, with efforts such as its 2019 \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">best picture nominee\u003c/a>, \u003cem>Roma\u003c/em>, pointedly \u003ca href=\"https://twitter.com/NetflixFilm/status/1102418557760024578\">subtweeted the proposal\u003c/a>. The company said it supports broadening access to films and “giving filmmakers more ways to share art” — and that “these things are not mutually exclusive.”\u003c/p>\n\u003cfigure id=\"attachment_13855735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg\" alt=\": Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for 'Roma,' poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">: Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for ‘Roma,’ poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal authorities got involved in the dust-up as well. Justice Department official \u003ca href=\"https://www.justice.gov/atr/staff-profile/meet-assistant-attorney-general\">Makan Delrahim\u003c/a> warned the academy that the proposed restrictions \u003ca href=\"https://www.npr.org/2019/04/03/709429778/justice-department-warns-academy-new-oscar-rules-may-raise-antitrust-concerns\">“may raise antitrust concerns”\u003c/a> if they serve to eliminate competition and hurt the sales of certain movies.\u003c/p>\n\u003cp>Given the notable financial boost offered by Oscars recognition — which, in the case of at least one \u003ca href=\"https://deadline.com/2017/03/moonlight-table-19-love-taxes-specialty-box-office-1202037156/\">recent best picture winner\u003c/a>, represented 10% of its total box office gross — the Justice Department may have had a reasonable argument if it decided to bring a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bailey suggested that the decision Tuesday doesn’t exactly mean the conversation is over, however: “We plan to further study the profound changes occurring in our industry and continue discussions with our members about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The updates that \u003cem>did \u003c/em>make their way into the rulebook were rather more innocuous.\u003c/p>\n\u003cp>The animated feature category was placed on surer footing. It used to be the case that the category’s prize would only be given out if at least eight eligible films were released that year. That caveat now has been stripped from the record.\u003c/p>\n\u003cp>And the foreign language film category has gotten a name change. Just call it the international feature film category now.\u003c/p>\n\u003cp>“We have noted that the reference to ‘Foreign’ is outdated within the global filmmaking community,” said Larry Karaszewski and Diane Weyermann, the co-chairs of the category’s committee. “We believe that International Feature Film better represents this category, and promotes a positive and inclusive view of filmmaking, and the art of film as a universal experience.”\u003c/p>\n\u003cp>There were a few other changes too, of course, which you can check out in the full text of \u003ca href=\"https://assets.documentcloud.org/documents/5976684/92aa-Rules.pdf\">the rulebook\u003c/a> below. But none made nearly the impact as the change that never was.\u003c/p>\n\u003cp>Not long after the idea to restrict eligibility surfaced publicly, the objections arrived in a deluge. Netflix, which has leaped enthusiastically into the arena of prestige films, with efforts such as its 2019 \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">best picture nominee\u003c/a>, \u003cem>Roma\u003c/em>, pointedly \u003ca href=\"https://twitter.com/NetflixFilm/status/1102418557760024578\">subtweeted the proposal\u003c/a>. The company said it supports broadening access to films and “giving filmmakers more ways to share art” — and that “these things are not mutually exclusive.”\u003c/p>\n\u003cfigure id=\"attachment_13855735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg\" alt=\": Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for 'Roma,' poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">: Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for ‘Roma,’ poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal authorities got involved in the dust-up as well. Justice Department official \u003ca href=\"https://www.justice.gov/atr/staff-profile/meet-assistant-attorney-general\">Makan Delrahim\u003c/a> warned the academy that the proposed restrictions \u003ca href=\"https://www.npr.org/2019/04/03/709429778/justice-department-warns-academy-new-oscar-rules-may-raise-antitrust-concerns\">“may raise antitrust concerns”\u003c/a> if they serve to eliminate competition and hurt the sales of certain movies.\u003c/p>\n\u003cp>Given the notable financial boost offered by Oscars recognition — which, in the case of at least one \u003ca href=\"https://deadline.com/2017/03/moonlight-table-19-love-taxes-specialty-box-office-1202037156/\">recent best picture winner\u003c/a>, represented 10% of its total box office gross — the Justice Department may have had a reasonable argument if it decided to bring a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bailey suggested that the decision Tuesday doesn’t exactly mean the conversation is over, however: “We plan to further study the profound changes occurring in our industry and continue discussions with our members about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mere days after Coachella 2019—where the specter of Beyoncé’s grand performance last year loomed large—she premiered \u003cem>Homecoming: A Beyoncé Film\u003c/em> on Netflix today, as expected. [aside postid='forum_2010101870195']\u003c/p>\n\u003cp>But, ever the generous queen, Beyoncé offered up a worthwhile supplement. A live album showcasing over an hour and a half’s worth of the over two-hour performance is out now. Covering 40 tracks—which comprises a vast bricolage of her own discography and others’—it features her cover of Maze’s “Before I Let Go,” her cover of “Lift Every Voice and Sing” and Blue’s own take of the black national anthem.\u003c/p>\n\u003cp>For what it’s worth: \u003cem>Lemonade\u003c/em> still is not on Spotify, so for subscribers, this might be the best way to hear “Formation,” “Hold Up” and “Freedom,” among other interspersed \u003cem>Lemonade\u003c/em> tracks.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/35S1JCj5paIfElT2GODl6x\" width=\"800\" height=\"800\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Copyright to NPR. For more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, ever the generous queen, Beyoncé offered up a worthwhile supplement. A live album showcasing over an hour and a half’s worth of the over two-hour performance is out now. Covering 40 tracks—which comprises a vast bricolage of her own discography and others’—it features her cover of Maze’s “Before I Let Go,” her cover of “Lift Every Voice and Sing” and Blue’s own take of the black national anthem.\u003c/p>\n\u003cp>For what it’s worth: \u003cem>Lemonade\u003c/em> still is not on Spotify, so for subscribers, this might be the best way to hear “Formation,” “Hold Up” and “Freedom,” among other interspersed \u003cem>Lemonade\u003c/em> tracks.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/35S1JCj5paIfElT2GODl6x\" width=\"800\" height=\"800\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Copyright to NPR. For more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last weekend at the \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a27003864/beyonce-omari-hardwick-naacp-awards-reactions/\" target=\"_blank\" rel=\"noopener noreferrer\">NAACP Image Awards\u003c/a>, actor Omari Hardwick made headlines for the wrong reasons: invading Beyoncé’s space. Hardwick came over to greet Beyoncé and Jay-Z, and planted a kiss on Beyoncé’s cheek. Then, he doubled back and planted another kiss, this time uncomfortably close to Bey’s mouth. Her face twisted into a subtle cringe.\u003c/p>\n\u003cp>https://twitter.com/PopCrave/status/1112450401368977408\u003c/p>\n\u003cp>Just days before, the 2014 nominee for Nevada lieutenant governor, Lucy Flores, published a \u003ca href=\"https://www.thecut.com/2019/03/an-awkward-kiss-changed-how-i-saw-joe-biden.html\" target=\"_blank\" rel=\"noopener noreferrer\">viral essay\u003c/a> about an uncomfortable, similar incident that happened during her campaign. Moments before she took the stage at a speaking engagement, then-vice president Joe Biden—there to endorse her as a candidate—planted a “big, slow kiss” on the back of her head and “inhaled” her hair.\u003c/p>\n\u003cp>“He was there to promote me as the right person for the lieutenant governor job,” she wrote. “Instead, he made me feel uneasy, gross and confused. The vice president of the United States of America had just touched me in an intimate way reserved for close friends, family or romantic partners—and I felt powerless to do anything about it.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[pullquote]It seems that no matter how accomplished, professional or polished a woman is—even if she’s Beyoncé—some man will always find a way to disregard her personal space because \u003cem>he \u003c/em>feels like touching her.[/pullquote]\u003c/span>\u003c/p>\n\u003cp>After Flores’ essay ran, numerous \u003ca href=\"http://nymag.com/intelligencer/2015/02/9-times-joe-biden-whispered-in-womens-ears.html?gtm=top\" target=\"_blank\" rel=\"noopener noreferrer\">photos\u003c/a> of Biden nuzzling, kissing and hugging women and girls from behind at public events resurfaced, stirring up debates about whether his “\u003ca href=\"https://theweek.com/articles/737749/creepy-uncle-joe-biden-2020\" target=\"_blank\" rel=\"noopener noreferrer\">creepy uncle\u003c/a>” vibe would hinder his viability as a presidential candidate. Like clockwork, Biden’s supporters accused Flores of attempting to sabotage his possible run. And like clockwork, Biden responded in a statement, denying wrongdoing. “Not once—never—did I believe I acted inappropriately. If it is suggested I did so, I will listen respectfully,” his statement reads. “But it was never my intention.”\u003c/p>\n\u003cfigure id=\"attachment_13854169\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467.jpg\" alt=\"Joe Biden whispers in Christine Carter's ear in 2015.\" width=\"700\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467-160x107.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Joe Biden whispers in Stephanie Carter’s ear in 2015. \u003ccite>(Photo: Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard not to notice the parallels between Biden and Hardwick’s behavior. Both incidents may not have been invasive enough to rise to the level of sexual assault, and no one’s pressing charges here—Beyoncé hasn’t commented, and Flores says Biden didn’t do anything illegal—but this banal form of creepiness, subtle enough to give the offending party plausible deniability, is just one of the world’s many ways of signaling that women don’t have complete control over what happens to our bodies. It seems that no matter how accomplished, professional or polished a woman is—even if she’s Beyoncé—some man will always find a way to disregard her personal space because \u003cem>he \u003c/em>feels like touching her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside label='More on Biden' link1=\"https://www.npr.org/2019/04/01/708667603/joe-biden-responds-to-allegations-of-inappropritate-behavior,NPR: Joe Biden Responds\" link2=\"https://medium.com/@scarterdc/the-metoo-story-that-wasnt-me-6c1d5eb1e94d,Stephanie Carter: The #MeToo Story That Wasn't Me\" target=_blank]\u003c/p>\n\u003cp>For women, these small invasions of personal space are a constant of everyday life, and figuring out quiet ways to duck and dodge them is taxing. There’s the acquaintance who holds what was supposed to be a quick hug hello for way too long, leaving us trapped and wondering how to get out of their embrace without “making it weird.” There are the men who “accidentally” rub up against us on public transit; the ones who squeeze past us in crowded rooms while touching the smalls of our backs; the ones who linger watching us at the gym.\u003c/p>\n\u003cp>This behavior is nothing new, but times are changing. When Adrien Brody surprise-kissed Halle Berry at the Oscars 11 years ago, it was widely celebrated as a magical awards-show moment. (Berry has said that she “\u003ca href=\"https://www.usmagazine.com/entertainment/news/halle-berry-recalls-that-adrien-brody-oscar-kiss-w496090/\" target=\"_blank\" rel=\"noopener noreferrer\">doesn’t know\u003c/a>” if she enjoyed it.) The public’s response was decidedly different a decade later, when a \u003ca href=\"https://www.nytimes.com/2018/09/01/arts/music/ariana-grande-funeral-groping-bishop-ellis.html\" target=\"_blank\" rel=\"noopener noreferrer\">pastor\u003c/a> put his hand a \u003cem>little\u003c/em> too close to Ariana Grande’s breast at Aretha Franklin’s funeral, or when actress \u003ca href=\"https://www.independent.co.uk/voices/adam-sandler-claire-foy-graham-norton-show-hand-knee-inappropriate-everyday-sexism-a8027086.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Foy\u003c/a> deflected Adam Sandler’s hand on her knee during a talk show.\u003c/p>\n\u003cfigure id=\"attachment_13854171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-800x533.jpg\" alt=\"Singer Ariana Grande speaks with Bishop Charles Ellis III after performing at the funeral for Aretha Franklin at the Greater Grace Temple on August 31, 2018 in Detroit, Michigan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Ariana Grande speaks with Bishop Charles Ellis III after performing at the funeral for Aretha Franklin at the Greater Grace Temple on August 31, 2018 in Detroit, Michigan. \u003ccite>(Photo by Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When these behaviors happen in public, our brains quickly calculate risk: \u003cem>Do I tolerate a few seconds of discomfort hoping he’ll leave me alone afterwards, or do I speak out and draw more unwanted attention to myself—or worse, provoke anger and retaliation?\u003c/em>\u003c/p>\n\u003cp>Men like Biden and Hardwick hide under the subtlety of their creepiness because how commonplace it is makes it easy to dismiss. But when women and girls are made to live like Ms. Pac-Man, evading potential pursuers day in and day out, it conditions us to question our own bodily autonomy. It puts us on edge. It causes us to question our sanity—whether we’re the only ones turning it into a big deal, since it’s happening in plain sight and no one seems to care. It’s hard to find a voice to speak out when that’s the case, and that needs to change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nancy Pelosi told Biden to “\u003ca href=\"https://www.politico.com/story/2019/04/02/pelosi-says-biden-allegations-are-not-disqualifying-1247827\" target=\"_blank\" rel=\"noopener noreferrer\">join the straight-arm club\u003c/a>” and keep his hands to himself. I’m not calling for a moratorium on friendly hugs, but it would behoove more men to do the same.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>After Flores’ essay ran, numerous \u003ca href=\"http://nymag.com/intelligencer/2015/02/9-times-joe-biden-whispered-in-womens-ears.html?gtm=top\" target=\"_blank\" rel=\"noopener noreferrer\">photos\u003c/a> of Biden nuzzling, kissing and hugging women and girls from behind at public events resurfaced, stirring up debates about whether his “\u003ca href=\"https://theweek.com/articles/737749/creepy-uncle-joe-biden-2020\" target=\"_blank\" rel=\"noopener noreferrer\">creepy uncle\u003c/a>” vibe would hinder his viability as a presidential candidate. Like clockwork, Biden’s supporters accused Flores of attempting to sabotage his possible run. And like clockwork, Biden responded in a statement, denying wrongdoing. “Not once—never—did I believe I acted inappropriately. If it is suggested I did so, I will listen respectfully,” his statement reads. “But it was never my intention.”\u003c/p>\n\u003cfigure id=\"attachment_13854169\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13854169\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467.jpg\" alt=\"Joe Biden whispers in Christine Carter's ear in 2015.\" width=\"700\" height=\"467\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/17-joe-biden-stephanie-carter.w700.h467-160x107.jpg 160w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Joe Biden whispers in Stephanie Carter’s ear in 2015. \u003ccite>(Photo: Alex Wong/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard not to notice the parallels between Biden and Hardwick’s behavior. Both incidents may not have been invasive enough to rise to the level of sexual assault, and no one’s pressing charges here—Beyoncé hasn’t commented, and Flores says Biden didn’t do anything illegal—but this banal form of creepiness, subtle enough to give the offending party plausible deniability, is just one of the world’s many ways of signaling that women don’t have complete control over what happens to our bodies. It seems that no matter how accomplished, professional or polished a woman is—even if she’s Beyoncé—some man will always find a way to disregard her personal space because \u003cem>he \u003c/em>feels like touching her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"link1": "https://www.npr.org/2019/04/01/708667603/joe-biden-responds-to-allegations-of-inappropritate-behavior,NPR: Joe Biden Responds",
"link2": "https://medium.com/@scarterdc/the-metoo-story-that-wasnt-me-6c1d5eb1e94d,Stephanie Carter: The #MeToo Story That Wasn't Me",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For women, these small invasions of personal space are a constant of everyday life, and figuring out quiet ways to duck and dodge them is taxing. There’s the acquaintance who holds what was supposed to be a quick hug hello for way too long, leaving us trapped and wondering how to get out of their embrace without “making it weird.” There are the men who “accidentally” rub up against us on public transit; the ones who squeeze past us in crowded rooms while touching the smalls of our backs; the ones who linger watching us at the gym.\u003c/p>\n\u003cp>This behavior is nothing new, but times are changing. When Adrien Brody surprise-kissed Halle Berry at the Oscars 11 years ago, it was widely celebrated as a magical awards-show moment. (Berry has said that she “\u003ca href=\"https://www.usmagazine.com/entertainment/news/halle-berry-recalls-that-adrien-brody-oscar-kiss-w496090/\" target=\"_blank\" rel=\"noopener noreferrer\">doesn’t know\u003c/a>” if she enjoyed it.) The public’s response was decidedly different a decade later, when a \u003ca href=\"https://www.nytimes.com/2018/09/01/arts/music/ariana-grande-funeral-groping-bishop-ellis.html\" target=\"_blank\" rel=\"noopener noreferrer\">pastor\u003c/a> put his hand a \u003cem>little\u003c/em> too close to Ariana Grande’s breast at Aretha Franklin’s funeral, or when actress \u003ca href=\"https://www.independent.co.uk/voices/adam-sandler-claire-foy-graham-norton-show-hand-knee-inappropriate-everyday-sexism-a8027086.html\" target=\"_blank\" rel=\"noopener noreferrer\">Claire Foy\u003c/a> deflected Adam Sandler’s hand on her knee during a talk show.\u003c/p>\n\u003cfigure id=\"attachment_13854171\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854171\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-800x533.jpg\" alt=\"Singer Ariana Grande speaks with Bishop Charles Ellis III after performing at the funeral for Aretha Franklin at the Greater Grace Temple on August 31, 2018 in Detroit, Michigan.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1025541052-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Singer Ariana Grande speaks with Bishop Charles Ellis III after performing at the funeral for Aretha Franklin at the Greater Grace Temple on August 31, 2018 in Detroit, Michigan. \u003ccite>(Photo by Scott Olson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When these behaviors happen in public, our brains quickly calculate risk: \u003cem>Do I tolerate a few seconds of discomfort hoping he’ll leave me alone afterwards, or do I speak out and draw more unwanted attention to myself—or worse, provoke anger and retaliation?\u003c/em>\u003c/p>\n\u003cp>Men like Biden and Hardwick hide under the subtlety of their creepiness because how commonplace it is makes it easy to dismiss. But when women and girls are made to live like Ms. Pac-Man, evading potential pursuers day in and day out, it conditions us to question our own bodily autonomy. It puts us on edge. It causes us to question our sanity—whether we’re the only ones turning it into a big deal, since it’s happening in plain sight and no one seems to care. It’s hard to find a voice to speak out when that’s the case, and that needs to change.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Nancy Pelosi told Biden to “\u003ca href=\"https://www.politico.com/story/2019/04/02/pelosi-says-biden-allegations-are-not-disqualifying-1247827\" target=\"_blank\" rel=\"noopener noreferrer\">join the straight-arm club\u003c/a>” and keep his hands to himself. I’m not calling for a moratorium on friendly hugs, but it would behoove more men to do the same.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 1972, \u003ca href=\"https://www.npr.org/artists/15669282/marvin-gaye\">Marvin Gaye\u003c/a> began recording a follow-up to his megahit album, \u003cem>What’s Going On\u003c/em>. He eventually laid down over a dozen new tracks, but personal and professional conflicts derailed the project. Most of the songs were never released except as bonus material on later anthologies. Now they’ve been assembled into one album called \u003cem>You’re the Man,\u003c/em> out Friday.\u003c/p>\n\u003cp>How do you follow up a personal and cultural masterpiece, not to mention a chart-topper? Gaye’s label, Motown, was eager to see the hits keep on coming — but success had given the artist newfound creative control, and he didn’t want to generate a carbon copy of the album he had just put out. Instead, beginning in the spring of ’72, he went into the studio with some new ideas in mind.\u003c/p>\n\u003cp>Gaye had produced and co-written \u003cem>What’s Going On\u003c/em> in its entirety, but for these new songs he sought out a flock of producers and arrangers, from such emergent talents as Willie Hutch, Gloria Jones and Fonce Mizzell to seasoned veterans like Hal Davis and Gene Page. What emerged was an eclectic mix of styles that included sweeping, socially conscious anthems.\u003c/p>\n\u003cp>The songs on \u003cem>You’re the Man\u003c/em> may never have been meant to form into a cohesive album: They were a set of ideas, gesturing toward different “what coulda beens.” Despite compiling more than enough songs to fill an LP, Gaye, for reasons we may never really know, ultimately decided to send most of them down to the vault. By year’s end he had shifted his attention to a duet album with \u003ca href=\"https://www.npr.org/artists/539035525/diana-ross\">Diana Ross\u003c/a> and to scoring the \u003cem>Trouble Man\u003c/em> soundtrack.\u003c/p>\n\u003cp>Yet even if these are mostly a bunch of tunes trying to stick to the wall, the bulk of those songs stick really well. After all, you have Gaye, at peak form, pairing his indelible voice with some of the best soul production of the era. It may have taken 47 years to finally surface in a proper way, but \u003cem>You’re the Man\u003c/em> is still a powerful, resonant reminder of the greatness that was Marvin Gaye.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Aalbum%3A7aX5aMq94oHw4eQdQBo854\" width=\"800\" height=\"600\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/707705238/708170991\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\n\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1972, \u003ca href=\"https://www.npr.org/artists/15669282/marvin-gaye\">Marvin Gaye\u003c/a> began recording a follow-up to his megahit album, \u003cem>What’s Going On\u003c/em>. He eventually laid down over a dozen new tracks, but personal and professional conflicts derailed the project. Most of the songs were never released except as bonus material on later anthologies. Now they’ve been assembled into one album called \u003cem>You’re the Man,\u003c/em> out Friday.\u003c/p>\n\u003cp>How do you follow up a personal and cultural masterpiece, not to mention a chart-topper? Gaye’s label, Motown, was eager to see the hits keep on coming — but success had given the artist newfound creative control, and he didn’t want to generate a carbon copy of the album he had just put out. Instead, beginning in the spring of ’72, he went into the studio with some new ideas in mind.\u003c/p>\n\u003cp>Gaye had produced and co-written \u003cem>What’s Going On\u003c/em> in its entirety, but for these new songs he sought out a flock of producers and arrangers, from such emergent talents as Willie Hutch, Gloria Jones and Fonce Mizzell to seasoned veterans like Hal Davis and Gene Page. What emerged was an eclectic mix of styles that included sweeping, socially conscious anthems.\u003c/p>\n\u003cp>The songs on \u003cem>You’re the Man\u003c/em> may never have been meant to form into a cohesive album: They were a set of ideas, gesturing toward different “what coulda beens.” Despite compiling more than enough songs to fill an LP, Gaye, for reasons we may never really know, ultimately decided to send most of them down to the vault. By year’s end he had shifted his attention to a duet album with \u003ca href=\"https://www.npr.org/artists/539035525/diana-ross\">Diana Ross\u003c/a> and to scoring the \u003cem>Trouble Man\u003c/em> soundtrack.\u003c/p>\n\u003cp>Yet even if these are mostly a bunch of tunes trying to stick to the wall, the bulk of those songs stick really well. After all, you have Gaye, at peak form, pairing his indelible voice with some of the best soul production of the era. It may have taken 47 years to finally surface in a proper way, but \u003cem>You’re the Man\u003c/em> is still a powerful, resonant reminder of the greatness that was Marvin Gaye.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 3:48 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Prosecutors are dropping all charges against \u003cem>Empire\u003c/em> actor Jussie Smollett\u003cstrong> \u003c/strong>in a surprising and controversial move that has exposed a stark fault line between Chicago’s local authorities and their county and state counterparts. The decision Tuesday appears to clear Smollett of allegations that he filed a false police report \u003ca href=\"https://www.npr.org/2019/03/14/703325175/jussie-smollett-pleads-not-guilty-to-charges-he-faked-brutal-attack-against-hims\">earlier this year\u003c/a> when the actor, who is gay and black, claimed that he was attacked in Chicago in a possible hate crime.\u003c/p>\n\u003cp>Prosecutors in Cook County, Ill., said they would not pursue \u003ca href=\"https://www.npr.org/2019/03/08/701751613/jussie-smollett-indicted-on-16-felony-counts-by-chicago-grand-jury\">the grand jury indictment\u003c/a> against Smollett, which returned 16 felony counts of disorderly conduct against him. Tuesday’s decision, according to the Cook County State’s Attorney’s Office, had to do, in part, with the actor’s community service and bond payment to the city.\u003c/p>\n\u003cp>“After reviewing all of the facts and circumstances of the case, including Mr. Smollet[t]’s volunteer service in the community and agreement to forfeit his [$10,000] bond to the City of Chicago, we believe this outcome is a just disposition and appropriate resolution to this case,” the office led by \u003ca href=\"https://www.cookcountystatesattorney.org/about/kimberly-foxx\">State’s Attorney Kim Foxx\u003c/a> said in a statement emailed to NPR.\u003c/p>\n\u003cp>Foxx \u003ca href=\"https://www.nbcchicago.com/news/local/kim-foxx-jussie-smollett-recused-506070211.html\">recused herself\u003c/a> from the Smollett investigation last month to “address potential questions of impartiality based upon familiarity with potential witnesses in the case,” according to a statement released at the time. First Assistant State’s Attorney Joseph Magats, who took over on her behalf, said the decision should not necessarily be viewed as an exoneration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The fact there was an alternative disposition in this case is not and should not be viewed as some kind of admission there was something wrong with the case or something wrong with the investigation that the Chicago police did,” Magats \u003ca href=\"https://chicago.suntimes.com/entertainment/empire-jussie-smollett-emergency-court-hearing/\">told the Chicago Sun-Times\u003c/a>, explaining: “It’s a nonviolent crime. He has no felony criminal background.”\u003c/p>\n\u003cp>The city’s police and mayor vehemently disagree with the move, however. \u003c/p>\n\u003cp>At a news conference called after the announcement, Mayor Rahm Emanuel, together with police Superintendent Eddie Johnson, railed against it as a “whitewash of justice.”\u003c/p>\n\u003cp>“It is not on the level, from beginning to end,” a visibly angry Emanuel told reporters. “There needs to be a level of accountability throughout the system, and this sends an unambiguous message that there is no accountability. And that is wrong.”\u003c/p>\n\u003cp>Last month, during a \u003ca href=\"https://www.npr.org/2019/02/21/696593870/chicago-police-empire-actor-jessie-smollett-faked-attack\">lengthy statement to the media\u003c/a>, Johnson explained the allegations: that Smollett paid two brothers to carry out a fake attack against him — involving racial and anti-gay slurs and a rope around his neck — and that Smollett filed a police report to that effect, all in an attempt to “further his own public profile.”\u003c/p>\n\u003cp>The police superintendent still stands by those accusations.\u003c/p>\n\u003cp>“I’ve been a cop now for about 31 years, and when I came on this job, I came on with my honor, my integrity and my reputation,” Johnson said Tuesday. “If someone accused me of doing anything that would circumvent that, then I would want my day in court, period — to clear my name. \u003c/p>\n\u003cp>“I’ve heard that they wanted their day in court with TV cameras so America could know the truth,” he added, “and now they chose to hide behind secrecy and broker a deal, to circumvent the judicial system.”\u003c/p>\n\u003cp>Chicago police spokesman Anthony Guglielmi summed up the department’s position more succinctly: “In our experience,” \u003ca href=\"https://twitter.com/i/web/status/1110600312887361536\">he tweeted\u003c/a>, “innocent individuals don’t forget bond & perform community service in exchange for dropped charges.”\u003c/p>\n\u003cp>Smollett’s attorneys, for their part, celebrated the decision to drop the charges as a vindication. They say the actor’s record has been “wiped clean of the filing of this tragic complaint against him.”\u003c/p>\n\u003cp>“He was a victim who was vilified and made to appear as a perpetrator as a result of false and inappropriate remarks made to the public causing an inappropriate rush to judgement,” attorneys Tina Glandian and Patricia Brown Holmes said in a statement released by a spokesperson.\u003c/p>\n\u003cp>“Jussie and many others were hurt by these unfair and unwarranted actions,” they continued. “This entire situation is a reminder that there should never be an attempt to prove a case in the court of public opinion. That is wrong. It is a reminder that a victim, in this case Jussie, deserves dignity and respect. Dismissal of charges against the victim in this case was the only just result.”\u003c/p>\n\u003cp>Not long after his arrest in February, the actor was removed from the final episodes of \u003cem>Empire\u003c/em>‘s season — “to avoid further disruption on set,” the show’s producers \u003ca href=\"https://www.npr.org/2019/02/22/697008758/jussie-smolletts-character-removed-from-final-episodes-of-empire-season\">said at the time\u003c/a>. 20th Century Fox Television, the company behind the show, issued a brief statement after Tuesday’s announcement.\u003c/p>\n\u003cp>“Jussie Smollett has always maintained his innocence and we are gratified that all charges against him have been dismissed,” the company said in its statement to NPR.\u003c/p>\n\u003cp>Smollett himself reasserted his innocence at a news conference after his hearing.\u003c/p>\n\u003cp>“I’ve been truthful and consistent on every single level since day one. I would not be my mother’s son if I was capable of one drop of what I was being accused of,” he said, in his first public comments since \u003ca href=\"https://www.youtube.com/watch?v=pXLx5OY21Bk\">an interview last month\u003c/a> with ABC News.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This has been an incredibly difficult time — honestly, one of the worst of my entire life. But I’m a man of faith and I’m a man that has knowledge of my history, and I would not bring my family, our lives or the movement through a fire like this.” \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=Prosecutors+Drop+Smollett+Charges+In+Move+Decried+As+%27Whitewash+Of+Justice%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 3:48 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Prosecutors are dropping all charges against \u003cem>Empire\u003c/em> actor Jussie Smollett\u003cstrong> \u003c/strong>in a surprising and controversial move that has exposed a stark fault line between Chicago’s local authorities and their county and state counterparts. The decision Tuesday appears to clear Smollett of allegations that he filed a false police report \u003ca href=\"https://www.npr.org/2019/03/14/703325175/jussie-smollett-pleads-not-guilty-to-charges-he-faked-brutal-attack-against-hims\">earlier this year\u003c/a> when the actor, who is gay and black, claimed that he was attacked in Chicago in a possible hate crime.\u003c/p>\n\u003cp>Prosecutors in Cook County, Ill., said they would not pursue \u003ca href=\"https://www.npr.org/2019/03/08/701751613/jussie-smollett-indicted-on-16-felony-counts-by-chicago-grand-jury\">the grand jury indictment\u003c/a> against Smollett, which returned 16 felony counts of disorderly conduct against him. Tuesday’s decision, according to the Cook County State’s Attorney’s Office, had to do, in part, with the actor’s community service and bond payment to the city.\u003c/p>\n\u003cp>“After reviewing all of the facts and circumstances of the case, including Mr. Smollet[t]’s volunteer service in the community and agreement to forfeit his [$10,000] bond to the City of Chicago, we believe this outcome is a just disposition and appropriate resolution to this case,” the office led by \u003ca href=\"https://www.cookcountystatesattorney.org/about/kimberly-foxx\">State’s Attorney Kim Foxx\u003c/a> said in a statement emailed to NPR.\u003c/p>\n\u003cp>Foxx \u003ca href=\"https://www.nbcchicago.com/news/local/kim-foxx-jussie-smollett-recused-506070211.html\">recused herself\u003c/a> from the Smollett investigation last month to “address potential questions of impartiality based upon familiarity with potential witnesses in the case,” according to a statement released at the time. First Assistant State’s Attorney Joseph Magats, who took over on her behalf, said the decision should not necessarily be viewed as an exoneration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The fact there was an alternative disposition in this case is not and should not be viewed as some kind of admission there was something wrong with the case or something wrong with the investigation that the Chicago police did,” Magats \u003ca href=\"https://chicago.suntimes.com/entertainment/empire-jussie-smollett-emergency-court-hearing/\">told the Chicago Sun-Times\u003c/a>, explaining: “It’s a nonviolent crime. He has no felony criminal background.”\u003c/p>\n\u003cp>The city’s police and mayor vehemently disagree with the move, however. \u003c/p>\n\u003cp>At a news conference called after the announcement, Mayor Rahm Emanuel, together with police Superintendent Eddie Johnson, railed against it as a “whitewash of justice.”\u003c/p>\n\u003cp>“It is not on the level, from beginning to end,” a visibly angry Emanuel told reporters. “There needs to be a level of accountability throughout the system, and this sends an unambiguous message that there is no accountability. And that is wrong.”\u003c/p>\n\u003cp>Last month, during a \u003ca href=\"https://www.npr.org/2019/02/21/696593870/chicago-police-empire-actor-jessie-smollett-faked-attack\">lengthy statement to the media\u003c/a>, Johnson explained the allegations: that Smollett paid two brothers to carry out a fake attack against him — involving racial and anti-gay slurs and a rope around his neck — and that Smollett filed a police report to that effect, all in an attempt to “further his own public profile.”\u003c/p>\n\u003cp>The police superintendent still stands by those accusations.\u003c/p>\n\u003cp>“I’ve been a cop now for about 31 years, and when I came on this job, I came on with my honor, my integrity and my reputation,” Johnson said Tuesday. “If someone accused me of doing anything that would circumvent that, then I would want my day in court, period — to clear my name. \u003c/p>\n\u003cp>“I’ve heard that they wanted their day in court with TV cameras so America could know the truth,” he added, “and now they chose to hide behind secrecy and broker a deal, to circumvent the judicial system.”\u003c/p>\n\u003cp>Chicago police spokesman Anthony Guglielmi summed up the department’s position more succinctly: “In our experience,” \u003ca href=\"https://twitter.com/i/web/status/1110600312887361536\">he tweeted\u003c/a>, “innocent individuals don’t forget bond & perform community service in exchange for dropped charges.”\u003c/p>\n\u003cp>Smollett’s attorneys, for their part, celebrated the decision to drop the charges as a vindication. They say the actor’s record has been “wiped clean of the filing of this tragic complaint against him.”\u003c/p>\n\u003cp>“He was a victim who was vilified and made to appear as a perpetrator as a result of false and inappropriate remarks made to the public causing an inappropriate rush to judgement,” attorneys Tina Glandian and Patricia Brown Holmes said in a statement released by a spokesperson.\u003c/p>\n\u003cp>“Jussie and many others were hurt by these unfair and unwarranted actions,” they continued. “This entire situation is a reminder that there should never be an attempt to prove a case in the court of public opinion. That is wrong. It is a reminder that a victim, in this case Jussie, deserves dignity and respect. Dismissal of charges against the victim in this case was the only just result.”\u003c/p>\n\u003cp>Not long after his arrest in February, the actor was removed from the final episodes of \u003cem>Empire\u003c/em>‘s season — “to avoid further disruption on set,” the show’s producers \u003ca href=\"https://www.npr.org/2019/02/22/697008758/jussie-smolletts-character-removed-from-final-episodes-of-empire-season\">said at the time\u003c/a>. 20th Century Fox Television, the company behind the show, issued a brief statement after Tuesday’s announcement.\u003c/p>\n\u003cp>“Jussie Smollett has always maintained his innocence and we are gratified that all charges against him have been dismissed,” the company said in its statement to NPR.\u003c/p>\n\u003cp>Smollett himself reasserted his innocence at a news conference after his hearing.\u003c/p>\n\u003cp>“I’ve been truthful and consistent on every single level since day one. 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"title": "Disney Officially Owns 21st Century Fox",
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"content": "\u003cp>Homer Simpson probably won’t become the newest member of the Avengers, but anything’s possible now that Disney owns 21st Century Fox.\u003c/p>\n\u003cp>One year after the Walt Disney Co. announced the $71.3 billion merger, it’s official. The deal, which closed Wednesday at 12:02 a.m. Eastern time, reshapes the media landscape and makes Disney an even greater entertainment behemoth. In bolstering its trove of characters and stories, the acquisition also puts Disney in a stronger position to take on Netflix and other streaming companies when it launches its own service, Disney+, later this year.\u003c/p>\n\u003cp>Disney, which already owns the Pixar, Marvel and the Star Wars brands, will now also get Deadpool and the Fox-owned Marvel characters such as the X-Men and Fantastic Four, allowing for the full Marvel family to be united. Disney also now owns former Fox television networks such as FX Networks and National Geographic Partners. Disney will also get Fox’s 30 percent ownership of Hulu, giving Disney a controlling share of 60 percent.\u003c/p>\n\u003cp>https://twitter.com/AlJean/status/1108134895799267329\u003c/p>\n\u003cp>Now that Fox Corp. has sold off most of its entertainment properties, it has become a standalone company that will retain ownership of its broadcast network, owned-and-operated network affiliates, the Fox News Channel, Fox Business Network and Fox Sports.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Former House speaker Paul Ryan is joining the board of directors of the new Fox Corp. NPR’s David Folkenflik \u003ca href=\"https://www.wbur.org/hereandnow/2019/03/19/paul-ryan-joins-fox\">told WBUR’s “Here and Now”\u003c/a> that Fox’s decision to retain Ryan “is in keeping with the way in which Rupert Murdoch and his family has operated over the years, where they have acquired, essentially, a lot of major political heavyweights to be on their corporate boards, occasionally as top executives — essentially as a hedge” against the fairly heavy regulations that media companies sometimes face.\u003c/p>\n\u003cp>https://twitter.com/VancityReynolds/status/1108002378064822272\u003c/p>\n\u003cp>The deal has been in the works for more than a year, but wasn’t official until various regulatory agencies around the world gave their approvals. After \u003ca href=\"https://variety.com/2018/biz/news/disney-fox-acquisition-comcast-timeline-1202758220/\">months of flirting\u003c/a> with the idea, Disney and Fox announced in December 2017 that they had agreed to a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/14/568829541/this-mouse-swallows-part-of-a-fox-disney-buys-much-of-murdoch-empire\">$52.4 billion deal\u003c/a> that would sell off most of Rupert Murdoch’s entertainment properties. As Folkenflik reported at the time, the acquisition offered a chance for Disney to “consolidate holdings, bringing together talented leaders in television and movie production, major cable properties and a vast network of local sports cable channels to fold into Disney’s ESPN programming.”\u003c/p>\n\u003cp>The deal hit a snag in 2018 when Comcast unexpectedly \u003ca href=\"https://www.npr.org/2018/06/13/619748496/comcast-puts-in-65-billion-bid-for-21st-century-fox\">bid $65 billion \u003c/a>to lure Fox away from Disney. But Disney was able to keep the deal moving forward when it \u003ca href=\"https://www.npr.org/2018/07/19/630439333/disney-prevails-in-hunt-for-fox-as-comcast-drops-bid\">upped its offer \u003c/a>to $71 billion. The Justice Department OK’d the acquisition last summer as long as Disney, which owns ESPN, \u003ca href=\"https://www.npr.org/2018/06/27/624075667/justice-department-disney-can-buy-21st-century-fox-but-with-one-caveat\">agreed to sell off\u003c/a> 22 regional sports networks that were originally part of the purchase.\u003c/p>\n\u003cp>For Fox, the decision to sell many of its entertainment properties was motivated mostly by “fear, opportunity and pragmatism,” Folkenflik explained. “Fear of the seemingly bottomless wallets of Netflix, Amazon and possibly Apple to spend on new shows; opportunity to cash out assets at a possible peak; and pragmatism in finally resolving the professional fates of Murdoch’s sons, Lachlan and James, as well the fortunes of four other Murdoch children who do not play a role in the company.”\u003c/p>\n\u003cp>The acquisition could have negative consequences. NPR TV Critic Eric Deggans told NPR’s Morning Edition that thousands of people will likely lose their jobs as Disney consolidates its properties.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Note:\u003c/em>\u003c/strong>\u003cem> Both Walt Disney Pictures and 20th Century Fox have funded NPR.\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>Homer Simpson probably won’t become the newest member of the Avengers, but anything’s possible now that Disney owns 21st Century Fox.\u003c/p>\n\u003cp>One year after the Walt Disney Co. announced the $71.3 billion merger, it’s official. The deal, which closed Wednesday at 12:02 a.m. Eastern time, reshapes the media landscape and makes Disney an even greater entertainment behemoth. In bolstering its trove of characters and stories, the acquisition also puts Disney in a stronger position to take on Netflix and other streaming companies when it launches its own service, Disney+, later this year.\u003c/p>\n\u003cp>Disney, which already owns the Pixar, Marvel and the Star Wars brands, will now also get Deadpool and the Fox-owned Marvel characters such as the X-Men and Fantastic Four, allowing for the full Marvel family to be united. Disney also now owns former Fox television networks such as FX Networks and National Geographic Partners. Disney will also get Fox’s 30 percent ownership of Hulu, giving Disney a controlling share of 60 percent.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The deal has been in the works for more than a year, but wasn’t official until various regulatory agencies around the world gave their approvals. After \u003ca href=\"https://variety.com/2018/biz/news/disney-fox-acquisition-comcast-timeline-1202758220/\">months of flirting\u003c/a> with the idea, Disney and Fox announced in December 2017 that they had agreed to a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/14/568829541/this-mouse-swallows-part-of-a-fox-disney-buys-much-of-murdoch-empire\">$52.4 billion deal\u003c/a> that would sell off most of Rupert Murdoch’s entertainment properties. As Folkenflik reported at the time, the acquisition offered a chance for Disney to “consolidate holdings, bringing together talented leaders in television and movie production, major cable properties and a vast network of local sports cable channels to fold into Disney’s ESPN programming.”\u003c/p>\n\u003cp>The deal hit a snag in 2018 when Comcast unexpectedly \u003ca href=\"https://www.npr.org/2018/06/13/619748496/comcast-puts-in-65-billion-bid-for-21st-century-fox\">bid $65 billion \u003c/a>to lure Fox away from Disney. But Disney was able to keep the deal moving forward when it \u003ca href=\"https://www.npr.org/2018/07/19/630439333/disney-prevails-in-hunt-for-fox-as-comcast-drops-bid\">upped its offer \u003c/a>to $71 billion. The Justice Department OK’d the acquisition last summer as long as Disney, which owns ESPN, \u003ca href=\"https://www.npr.org/2018/06/27/624075667/justice-department-disney-can-buy-21st-century-fox-but-with-one-caveat\">agreed to sell off\u003c/a> 22 regional sports networks that were originally part of the purchase.\u003c/p>\n\u003cp>For Fox, the decision to sell many of its entertainment properties was motivated mostly by “fear, opportunity and pragmatism,” Folkenflik explained. “Fear of the seemingly bottomless wallets of Netflix, Amazon and possibly Apple to spend on new shows; opportunity to cash out assets at a possible peak; and pragmatism in finally resolving the professional fates of Murdoch’s sons, Lachlan and James, as well the fortunes of four other Murdoch children who do not play a role in the company.”\u003c/p>\n\u003cp>The acquisition could have negative consequences. NPR TV Critic Eric Deggans told NPR’s Morning Edition that thousands of people will likely lose their jobs as Disney consolidates its properties.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Note:\u003c/em>\u003c/strong>\u003cem> Both Walt Disney Pictures and 20th Century Fox have funded NPR.\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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"slug": "still-tippin-solange-at-home-in-houston",
"title": "Still Tippin': Solange At Home In Houston",
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"headTitle": "Still Tippin’: Solange At Home In Houston | KQED",
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"content": "\u003cp>At 2 a.m. Monday morning, Solange Knowles and a handful of friends were at a strip club in her native Houston, celebrating. The artist/auteur wore a \u003ca href=\"https://twitter.com/abra/status/1102570528349569025\">leopard print cowboy hat\u003c/a>, matching tube top and cut-out black pants, loose enough to twerk along with the dancers in their section. Rapping along to \u003ca href=\"https://twitter.com/abra/status/1102570528349569025/video/1\">A$AP Ferg\u003c/a> and \u003ca href=\"https://twitter.com/theestallion/status/1102602988781297664\">Megan Thee Stallion\u003c/a>, showered in red neon lights and hookah smoke haze with singles in hand, she was \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>[contextly_sidebar id=”qYTJZTHAJvWQ1Sqx5zX0jBqcwh5erf4r”]\u003c/p>\n\u003cp>The gathering was an impromptu after-party: On Friday, Solange surprise-released \u003cem>When I Get Home\u003c/em>, an album made in Houston and steeped in its hyper-local culture. On Sunday evening, she doubled down on her artistic homecoming, making the city host to an “album experience.” Public screenings of the record’s companion art film graced nine locations across her hometown, showing fans the artist’s hometown through her own eyes.\u003c/p>\n\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When I Get Home, \u003c/em>like the city it pays homage to, is a mosaic: screw music, jazz, R&B, trap and funk live right next to one another and often intermingle. Her sluggish, half-drawled delivery on “Down with the Clique,” “Way to the Show” and “My Skin My Logo” calls to the signature flows of Bun B, Mike Jones and Slim Thug, while chopped-up vocal samples on the album’s five interludes follow the murky remix blueprint of H-Town’s patron saint, the late \u003ca href=\"https://www.npr.org/artists/517505882/dj-screw\">DJ Screw\u003c/a>. Influences and collaborations range from Southern OGs \u003ca href=\"https://www.npr.org/2017/09/19/551787647/the-autobiography-of-gucci-mane-a-story-of-rap-and-rebirth\">Gucci Mane\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18171773\">Scarface\u003c/a> to young rule-breakers like Playboi Carti, \u003ca href=\"https://www.npr.org/artists/137321239/tyler-the-creator\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.npr.org/artists/230494985/earl-sweatshirt\">Earl Sweatshirt\u003c/a>. Transitions are marked with a church choir and Solange’s ethereal falsetto, taking the sonics from unbuttoned and guttural to holy before the trunk-rattling bass drops bring it all back down.\u003c/p>\n\u003cp>Meanwhile, the track titles — “Almeda,” “Binz,” “S McGregor,” “Exit Scott” — act as dropped pins, animating what it feels like get off the Beltway 8 highway and cruise through the streets. The album is a love note to her city, bottled with Topo Chico, Florida Water Cologne and blunt smoke, a kiss on a \u003ca href=\"https://www.facebook.com/BurnsOriginalBbq/\">Burns BBQ\u003c/a>-stained satin napkin. A stack of crisp dollar bills for V Live Saturday and a freshly pressed dress for service at St. John’s Sunday. A\u003ca href=\"https://www.youtube.com/watch?v=RKWb9MGtVmw\"> flicka da wrist\u003c/a> and a hair flip of the sew-in.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The \u003cem>When I Get Home\u003c/em> screenings — which were simultaneously streamed on the artist’s \u003ca href=\"http://blackplanet.com/solange/\">Black Planet\u003c/a> page — took place in the Third Ward, Houston’s historical epicenter of black culture, at locations chosen for their significance to black art, business and emancipation. There was Vita Mutari, the hair salon previously owned by Solange’s mother, Miss Tina Knowles-Lawson, where the artist and her older sister, Beyoncé, spent time as kids listening to the grown folks gossip and sometimes performing for tips. There was \u003ca href=\"https://www.google.com/maps/uv?hl=en&pb=!1s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!2m22!2m2!1i80!2i80!3m1!2i20!16m16!1b1!2m2!1m1!1e1!2m2!1m1!1e3!2m2!1m1!1e5!2m2!1m1!1e4!2m2!1m1!1e6!3m1!7e115!4s/maps/place/texan%2Btire%2Band%2Bwheel/@29.7272825,-95.4764596,3a,75y,276.76h,90t/data%3D*213m4*211e1*213m2*211sPvUcYnELyTiqk_slNIBGnQ*212e0*214m2*213m1*211s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!5stexan+tire+and+wheel+-+Google+Search&imagekey=!1e2!2sPvUcYnELyTiqk_slNIBGnQ&sa=X&ved=2ahUKEwic4sLm6-vgAhWKylkKHZ_NC7AQpx8wCnoECAYQCw\">Texan Tire & Wheel\u003c/a>, the premiere shop to get your “\u003ca href=\"https://www.texanwirewheels.com/product-tag/20-inch-swangas/\">swangas\u003c/a>” fixed up for the impromptu lowrider shows on Almeda Road. There was Unity National Bank, the \u003ca href=\"http://www.unitybanktexas.com/History.aspx\">only black-owned banking institution in Texas\u003c/a>, and Emancipation Gym, the state’s oldest park and the \u003ca href=\"https://www.texasobserver.org/behind-the-new-look-of-houstons-oldest-park-a-complex-racial-history/\">only public park open to black people during Jim Crow\u003c/a>. Whether the locations were historic or contemporary, they each represented cultural touchstones that nurtured Solange into becoming one herself.\u003c/p>\n\u003cp>[contextly_sidebar id=”fk0PNUrUjkPDutigRWGEhENWyHaULQ6m”]\u003c/p>\n\u003cp>At the screening hosted at S.H.A.P.E. (Self-Help for African People through Education) Community Center on Sunday night, Solange popped up to watch the premiere of the film, which she also directed, with a live audience for the first time. In the house, local legends OG Ron C and DJ Candlestick spun chopped-and-screwed remixes as album collaborators Metro Boomin, Cassie and \u003ca href=\"https://www.npr.org/artists/486597030/abra\">Abra\u003c/a> settled into reserved seats; Miss Tina, Solange’s husband Alan Ferguson and rappers Slim Thug, Bun B and Devin the Dude also dotted the front rows. And social media savant \u003ca href=\"https://www.rollingstone.com/culture/culture-news/zola-tells-all-the-real-story-behind-the-greatest-stripper-saga-ever-tweeted-73048/\">Zola Moon\u003c/a>, who appears in the film (and will soon be \u003ca href=\"http://collider.com/zola-stripper-movie-janicza-bravo-a24/\">the subject of her own\u003c/a>), worked the room with a cup of wine while black cowboys congregated in the back wearing their Stetsons. Throughout the 33-minute showing in a rec room lit goblin-green, viewers reacted to gorgeous vignettes of Downtown Houston, \u003ca href=\"https://www.npr.org/2019/01/05/682318409/dom-flemons-presents-a-new-image-of-the-american-cowboy\">black cowpokes\u003c/a> at an Afrofuturistic rodeo, fluid choreography, trippy animations, protective hairstyles and Y2K-meets-hood-chic couture.\u003c/p>\n\u003cfigure id=\"attachment_13852394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg\" alt=\"S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange's When I Get Home film.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange’s When I Get Home film. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the showing, Solange held court with art curator and critic Antwaun Sargent for the room full of personalities she’d brought together — the bad bitches, music execs, reporters, community leaders and double-cuppers. Sitting stylish in a black bra top and white cowboy boots, she explained how pivotal coming home to Houston was for her creative process after nearly a year of touring and dealing with treating an \u003ca href=\"https://www.cnn.com/2017/12/28/entertainment/solange-autonomic-disorder/index.html\">autonomic nervous system disorder\u003c/a>. As she tells it, she quietly rented a house on Wichita Street in order to realign her body and mind — and when she felt like herself again, made music to immortalize her place of solace.\u003c/p>\n\u003cp>[contextly_sidebar id=”ShFnV1kWWoMxrgeXFX1y5tu0ct9hpTul”]\u003c/p>\n\u003cp>“I think anytime that you go through something like that, you crave and you yearn [for] things that remain the same,” she told the crowd. “I know at any time in my life I can come back here to Houston, to Third Ward, and have these anchors that really lift me up.” She giggled at mentions of the group chats that have kept her grounded, reminisced about producing the album while listening to Stevie Wonder, Sun Ra and Alice Coltrane. She was a visibly relaxed version of herself, comfortable in a space she’d created, working in a more insular mode than on her previous record. “With \u003ca href=\"https://www.npr.org/2016/11/11/501165834/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal\">\u003cem>A Seat at the Table\u003c/em>\u003c/a>,” she explained, “I had so much to say. With this album, I had so much to feel. Words would have been reductive.”\u003c/p>\n\u003cfigure id=\"attachment_13852395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13852395 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg\" alt=\"Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that feeling is not immune to the realities that threaten to change Solange’s black-owned utopia. \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/2019/02/25/323184/texas-to-receive-652-million-in-additional-federal-funding-to-help-with-harvey-recovery/\">Recovery efforts\u003c/a> after 2017’s Hurricane Harvey have been slower in Houston’s \u003ca href=\"http://www.episcopalhealth.org/en/research/research-reports/harvey-anniversary-survey-one-year-after-hurricane-harvey-3-10-affected-texas-gulf-coast-residents-say-their-lives-remain-disrup/\">low-income and black communities\u003c/a>, and \u003ca href=\"https://www.bisnow.com/houston/news/neighborhood/houstons-historic-third-ward-on-the-chopping-block-85165\">gentrification in the Third Ward\u003c/a> has dwindled affordable housing options. In that way, \u003cem>When I Get Home\u003c/em> serves as much as a living preservation of the character of Houston as a sonic expansion of it. “Black skin, black braids / Black waves, black days / Black baes, black days / These are black-owned things / Black faith still can’t be washed away / Not even in that Florida water,” Solange rhymes in “Almeda.”\u003c/p>\n\u003cp>“It’s a snapshot of \u003cem>now\u003c/em> — of life for a black woman in America, and how the black woman chooses to define herself and express herself,” Houston rap superstar \u003ca href=\"https://www.npr.org/sections/microphonecheck/2013/11/25/247170488/bun-b-on-janis-joplin-ugk-s-label-struggles-and-his-voice\">Bun B\u003c/a> told NPR after the event. Metro Boomin, who helped produce “Stay Flo,” agreed: “It’s just a lot going on in the world, a lot going on with black people, a lot going on with people coming for our culture. This just sheds some light in a positive way.”\u003c/p>\n\u003cp>“There aren’t that many women who produce, write their own s***, direct their own. I do that all, too, so I know what it’s like to have this maelstrom in your head,” added Atlanta artist Abra, who contributed to the song “Sound of Rain.” “Just to have someone feel you, and then be able to take that ‘I feel you’ and translate it into this [project], that’s validating.”\u003c/p>\n\u003cfigure id=\"attachment_13852396\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg\" alt='\"Anytime you truly feel seen, you just feel a certain level of joy,\" Solange told the audience at a release-weekend screening of When I Get Home.' width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">“Anytime you truly feel seen, you just feel a certain level of joy,” Solange told the audience at a release-weekend screening of When I Get Home. \u003ccite>(BlackPlanet.com/Solange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it is an ode to this sense of place, \u003cem>Home\u003c/em> is also about Solange embracing her own duality — that same duality that has made Houston famous for music innovation for years. Whether it’s string-assisted and sizzurp-soaked freestyles from Screwed Up Click, the dynamic hip-hop/jazz fusion of \u003ca href=\"https://www.npr.org/2018/11/20/669722901/robert-glasper-on-how-to-get-more-young-people-into-jazz\">Robert Glasper\u003c/a> or ominous, Auto-Tuned trap amalgams from Travis Scott, Houston reinvents without losing hold of its traditions. Solange continues that creative ethos and embraces all sides of herself in the process — pushing listeners’ comfort levels into the realm of the avant-garde, but keeping the heart of it all distinctively down-home.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I can’t be a singular expression of myself. There’s too many parts, too many spaces, too many manifestations,” goes one line on the album’s “Can I Hold the Mic” interlude. There is no singular black experience, no matter where you grew up — but in asserting specific ties to her city, Solange makes her experience feel warmly universal. “Anytime you truly feel seen, you just feel a certain level of joy,” she said toward the end of her discussion at S.H.A.P.E. “That’s what home does for you. … Nothing is going to make me feel like this place does.”\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=Still+Tippin%27%3A+Solange+At+Home+In+Houston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Days after Solange dropped her visual album When I Get Home, the artist/auteur doubled down on her love for Houston by hosting screenings of the album's companion art film all across the city.",
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"title": "Still Tippin': Solange At Home In Houston | KQED",
"description": "Days after Solange dropped her visual album When I Get Home, the artist/auteur doubled down on her love for Houston by hosting screenings of the album's companion art film all across the city.",
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"headline": "Still Tippin': Solange At Home In Houston",
"datePublished": "2019-03-06T11:06:37-08:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 2 a.m. Monday morning, Solange Knowles and a handful of friends were at a strip club in her native Houston, celebrating. The artist/auteur wore a \u003ca href=\"https://twitter.com/abra/status/1102570528349569025\">leopard print cowboy hat\u003c/a>, matching tube top and cut-out black pants, loose enough to twerk along with the dancers in their section. Rapping along to \u003ca href=\"https://twitter.com/abra/status/1102570528349569025/video/1\">A$AP Ferg\u003c/a> and \u003ca href=\"https://twitter.com/theestallion/status/1102602988781297664\">Megan Thee Stallion\u003c/a>, showered in red neon lights and hookah smoke haze with singles in hand, she was \u003cem>living\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The gathering was an impromptu after-party: On Friday, Solange surprise-released \u003cem>When I Get Home\u003c/em>, an album made in Houston and steeped in its hyper-local culture. On Sunday evening, she doubled down on her artistic homecoming, making the city host to an “album experience.” Public screenings of the record’s companion art film graced nine locations across her hometown, showing fans the artist’s hometown through her own eyes.\u003c/p>\n\u003cfigure id=\"attachment_13851918\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851918\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg\" alt=\"'When I Get Home,' Solange.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘When I Get Home,’ Solange.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>When I Get Home, \u003c/em>like the city it pays homage to, is a mosaic: screw music, jazz, R&B, trap and funk live right next to one another and often intermingle. Her sluggish, half-drawled delivery on “Down with the Clique,” “Way to the Show” and “My Skin My Logo” calls to the signature flows of Bun B, Mike Jones and Slim Thug, while chopped-up vocal samples on the album’s five interludes follow the murky remix blueprint of H-Town’s patron saint, the late \u003ca href=\"https://www.npr.org/artists/517505882/dj-screw\">DJ Screw\u003c/a>. Influences and collaborations range from Southern OGs \u003ca href=\"https://www.npr.org/2017/09/19/551787647/the-autobiography-of-gucci-mane-a-story-of-rap-and-rebirth\">Gucci Mane\u003c/a> and \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=18171773\">Scarface\u003c/a> to young rule-breakers like Playboi Carti, \u003ca href=\"https://www.npr.org/artists/137321239/tyler-the-creator\">Tyler, the Creator\u003c/a> and \u003ca href=\"https://www.npr.org/artists/230494985/earl-sweatshirt\">Earl Sweatshirt\u003c/a>. Transitions are marked with a church choir and Solange’s ethereal falsetto, taking the sonics from unbuttoned and guttural to holy before the trunk-rattling bass drops bring it all back down.\u003c/p>\n\u003cp>Meanwhile, the track titles — “Almeda,” “Binz,” “S McGregor,” “Exit Scott” — act as dropped pins, animating what it feels like get off the Beltway 8 highway and cruise through the streets. The album is a love note to her city, bottled with Topo Chico, Florida Water Cologne and blunt smoke, a kiss on a \u003ca href=\"https://www.facebook.com/BurnsOriginalBbq/\">Burns BBQ\u003c/a>-stained satin napkin. A stack of crisp dollar bills for V Live Saturday and a freshly pressed dress for service at St. John’s Sunday. A\u003ca href=\"https://www.youtube.com/watch?v=RKWb9MGtVmw\"> flicka da wrist\u003c/a> and a hair flip of the sew-in.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>When I Get Home\u003c/em> screenings — which were simultaneously streamed on the artist’s \u003ca href=\"http://blackplanet.com/solange/\">Black Planet\u003c/a> page — took place in the Third Ward, Houston’s historical epicenter of black culture, at locations chosen for their significance to black art, business and emancipation. There was Vita Mutari, the hair salon previously owned by Solange’s mother, Miss Tina Knowles-Lawson, where the artist and her older sister, Beyoncé, spent time as kids listening to the grown folks gossip and sometimes performing for tips. There was \u003ca href=\"https://www.google.com/maps/uv?hl=en&pb=!1s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!2m22!2m2!1i80!2i80!3m1!2i20!16m16!1b1!2m2!1m1!1e1!2m2!1m1!1e3!2m2!1m1!1e5!2m2!1m1!1e4!2m2!1m1!1e6!3m1!7e115!4s/maps/place/texan%2Btire%2Band%2Bwheel/@29.7272825,-95.4764596,3a,75y,276.76h,90t/data%3D*213m4*211e1*213m2*211sPvUcYnELyTiqk_slNIBGnQ*212e0*214m2*213m1*211s0x8640c17e0cd5cfab:0x9aca5bdd6bd1e095!5stexan+tire+and+wheel+-+Google+Search&imagekey=!1e2!2sPvUcYnELyTiqk_slNIBGnQ&sa=X&ved=2ahUKEwic4sLm6-vgAhWKylkKHZ_NC7AQpx8wCnoECAYQCw\">Texan Tire & Wheel\u003c/a>, the premiere shop to get your “\u003ca href=\"https://www.texanwirewheels.com/product-tag/20-inch-swangas/\">swangas\u003c/a>” fixed up for the impromptu lowrider shows on Almeda Road. There was Unity National Bank, the \u003ca href=\"http://www.unitybanktexas.com/History.aspx\">only black-owned banking institution in Texas\u003c/a>, and Emancipation Gym, the state’s oldest park and the \u003ca href=\"https://www.texasobserver.org/behind-the-new-look-of-houstons-oldest-park-a-complex-racial-history/\">only public park open to black people during Jim Crow\u003c/a>. Whether the locations were historic or contemporary, they each represented cultural touchstones that nurtured Solange into becoming one herself.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the screening hosted at S.H.A.P.E. (Self-Help for African People through Education) Community Center on Sunday night, Solange popped up to watch the premiere of the film, which she also directed, with a live audience for the first time. In the house, local legends OG Ron C and DJ Candlestick spun chopped-and-screwed remixes as album collaborators Metro Boomin, Cassie and \u003ca href=\"https://www.npr.org/artists/486597030/abra\">Abra\u003c/a> settled into reserved seats; Miss Tina, Solange’s husband Alan Ferguson and rappers Slim Thug, Bun B and Devin the Dude also dotted the front rows. And social media savant \u003ca href=\"https://www.rollingstone.com/culture/culture-news/zola-tells-all-the-real-story-behind-the-greatest-stripper-saga-ever-tweeted-73048/\">Zola Moon\u003c/a>, who appears in the film (and will soon be \u003ca href=\"http://collider.com/zola-stripper-movie-janicza-bravo-a24/\">the subject of her own\u003c/a>), worked the room with a cup of wine while black cowboys congregated in the back wearing their Stetsons. Throughout the 33-minute showing in a rec room lit goblin-green, viewers reacted to gorgeous vignettes of Downtown Houston, \u003ca href=\"https://www.npr.org/2019/01/05/682318409/dom-flemons-presents-a-new-image-of-the-american-cowboy\">black cowpokes\u003c/a> at an Afrofuturistic rodeo, fluid choreography, trippy animations, protective hairstyles and Y2K-meets-hood-chic couture.\u003c/p>\n\u003cfigure id=\"attachment_13852394\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13852394\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg\" alt=\"S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange's When I Get Home film.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4096-1e6b905fd24bbce96899834df30b2a462caee723.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">S.H.A.P.E. (Self-Help for African People through Education) Community Center hosted one of the nine screenings of Solange’s When I Get Home film. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After the showing, Solange held court with art curator and critic Antwaun Sargent for the room full of personalities she’d brought together — the bad bitches, music execs, reporters, community leaders and double-cuppers. Sitting stylish in a black bra top and white cowboy boots, she explained how pivotal coming home to Houston was for her creative process after nearly a year of touring and dealing with treating an \u003ca href=\"https://www.cnn.com/2017/12/28/entertainment/solange-autonomic-disorder/index.html\">autonomic nervous system disorder\u003c/a>. As she tells it, she quietly rented a house on Wichita Street in order to realign her body and mind — and when she felt like herself again, made music to immortalize her place of solace.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I think anytime that you go through something like that, you crave and you yearn [for] things that remain the same,” she told the crowd. “I know at any time in my life I can come back here to Houston, to Third Ward, and have these anchors that really lift me up.” She giggled at mentions of the group chats that have kept her grounded, reminisced about producing the album while listening to Stevie Wonder, Sun Ra and Alice Coltrane. She was a visibly relaxed version of herself, comfortable in a space she’d created, working in a more insular mode than on her previous record. “With \u003ca href=\"https://www.npr.org/2016/11/11/501165834/weve-always-had-a-seat-at-the-table-solange-on-conversations-that-heal\">\u003cem>A Seat at the Table\u003c/em>\u003c/a>,” she explained, “I had so much to say. With this album, I had so much to feel. Words would have been reductive.”\u003c/p>\n\u003cfigure id=\"attachment_13852395\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13852395 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg\" alt=\"Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/img_4104-baf63adc3eb561953ffd249c28909c1fcdf5e53f.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Audience members find seats before the 33-minute showing of When I Get Home inside S.H.A.P.E. Community Center. \u003ccite>(Sidney Madden / NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But that feeling is not immune to the realities that threaten to change Solange’s black-owned utopia. \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/2019/02/25/323184/texas-to-receive-652-million-in-additional-federal-funding-to-help-with-harvey-recovery/\">Recovery efforts\u003c/a> after 2017’s Hurricane Harvey have been slower in Houston’s \u003ca href=\"http://www.episcopalhealth.org/en/research/research-reports/harvey-anniversary-survey-one-year-after-hurricane-harvey-3-10-affected-texas-gulf-coast-residents-say-their-lives-remain-disrup/\">low-income and black communities\u003c/a>, and \u003ca href=\"https://www.bisnow.com/houston/news/neighborhood/houstons-historic-third-ward-on-the-chopping-block-85165\">gentrification in the Third Ward\u003c/a> has dwindled affordable housing options. In that way, \u003cem>When I Get Home\u003c/em> serves as much as a living preservation of the character of Houston as a sonic expansion of it. “Black skin, black braids / Black waves, black days / Black baes, black days / These are black-owned things / Black faith still can’t be washed away / Not even in that Florida water,” Solange rhymes in “Almeda.”\u003c/p>\n\u003cp>“It’s a snapshot of \u003cem>now\u003c/em> — of life for a black woman in America, and how the black woman chooses to define herself and express herself,” Houston rap superstar \u003ca href=\"https://www.npr.org/sections/microphonecheck/2013/11/25/247170488/bun-b-on-janis-joplin-ugk-s-label-struggles-and-his-voice\">Bun B\u003c/a> told NPR after the event. Metro Boomin, who helped produce “Stay Flo,” agreed: “It’s just a lot going on in the world, a lot going on with black people, a lot going on with people coming for our culture. This just sheds some light in a positive way.”\u003c/p>\n\u003cp>“There aren’t that many women who produce, write their own s***, direct their own. I do that all, too, so I know what it’s like to have this maelstrom in your head,” added Atlanta artist Abra, who contributed to the song “Sound of Rain.” “Just to have someone feel you, and then be able to take that ‘I feel you’ and translate it into this [project], that’s validating.”\u003c/p>\n\u003cfigure id=\"attachment_13852396\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852396\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg\" alt='\"Anytime you truly feel seen, you just feel a certain level of joy,\" Solange told the audience at a release-weekend screening of When I Get Home.' width=\"900\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/when-i-get-home-4_wide-63759c591aee9e878177849e0f1f5f08bfe8f8e2-768x432.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">“Anytime you truly feel seen, you just feel a certain level of joy,” Solange told the audience at a release-weekend screening of When I Get Home. \u003ccite>(BlackPlanet.com/Solange)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As much as it is an ode to this sense of place, \u003cem>Home\u003c/em> is also about Solange embracing her own duality — that same duality that has made Houston famous for music innovation for years. Whether it’s string-assisted and sizzurp-soaked freestyles from Screwed Up Click, the dynamic hip-hop/jazz fusion of \u003ca href=\"https://www.npr.org/2018/11/20/669722901/robert-glasper-on-how-to-get-more-young-people-into-jazz\">Robert Glasper\u003c/a> or ominous, Auto-Tuned trap amalgams from Travis Scott, Houston reinvents without losing hold of its traditions. Solange continues that creative ethos and embraces all sides of herself in the process — pushing listeners’ comfort levels into the realm of the avant-garde, but keeping the heart of it all distinctively down-home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I can’t be a singular expression of myself. There’s too many parts, too many spaces, too many manifestations,” goes one line on the album’s “Can I Hold the Mic” interlude. There is no singular black experience, no matter where you grew up — but in asserting specific ties to her city, Solange makes her experience feel warmly universal. “Anytime you truly feel seen, you just feel a certain level of joy,” she said toward the end of her discussion at S.H.A.P.E. “That’s what home does for you. … Nothing is going to make me feel like this place does.”\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=Still+Tippin%27%3A+Solange+At+Home+In+Houston&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"order": 8
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},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"order": 9
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"hidden-brain": {
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"source": "NPR"
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"how-i-built-this": {
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
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"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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