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You just know it when you’re seeing it.”\u003c/p>\n\u003cp>Brown says that even as he realized Randall was crossing a line with his mother, he understood why the character was doing it: “He just couldn’t lose her. I knew that was going to land on people in a really painful and uncomfortable way. So I had to release whatever judgment that I have for Randall’s actions and just be like, ‘Hey … there’s a need here.’ ”\u003c/p>\n\u003cp>Those two performances have allowed Brown to make Emmy history this year; nominated as best lead actor in a drama series for \u003cem>This Is Us\u003c/em> and best supporting actor in a comedy series for \u003cem>The Marvelous Mrs. Maisel\u003c/em> on Amazon’s Prime Video.\u003c/p>\n\u003cp>Other performers have been nominated in the same year in different categories. But Brown is the first person to be nominated in the same year as a series regular in comedy and drama categories presented on the Emmy broadcast, according to a spokesperson for the Academy of Television Arts and Sciences.\u003c/p>\n\u003cp>Grateful as he is for his nominations, Brown also sees \u003ca href=\"https://variety.com/2020/tv/awards/emmy-nominations-black-actors-diversity-2020-1234716405/\" target=\"_blank\" rel=\"noopener noreferrer\">the record number of Black performers nominated for Emmys\u003c/a>—about 34% of acting nominees this year—as a welcome reaction to the civil rights reckoning and Black Lives Matter protests of the summer.\u003c/p>\n\u003cp>“We cannot detach the Emmys themselves from everything else that’s happening in the country,” Brown says. “Black Lives Matter … it’s nice to feel like there are considerable allies saying, ‘Yes, they do.’ And they showed it in their vote.”\u003c/p>\n\u003cp>The actor says it’s also part of a long march toward recognition for Black performers, held back by oppression in Hollywood stretching back to the early 1900s, when white people wore blackface to play Black characters in films.\u003c/p>\n\u003cp>“The history that Black folks have as performers in the industry is a very specific one … dating back to [the 1915 film] \u003cem>Birth of a Nation\u003c/em> where we’re not even allowed to play ourselves … [and] grossly mischaracterized and made to look buffoonish by white people,” he adds. “It’s taken a long time to be fully recognized as human in front of the camera and in life.”\u003c/p>\n\u003cp>Brown has made history at awards shows before; in 2018, he became the first Black man to win best actor in a drama at both the Golden Globes and the Screen Actors Guild awards.\u003c/p>\n\u003cp>And even though some fans may have just discovered Brown relatively recently—perhaps in 2016 when he played Christopher Darden on FX’s \u003cem>People v. 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Simpson: American Crime Story\u003c/em>—his success was years in the making.\u003c/p>\n\u003cp>With degrees from Stanford University and New York University’s Tisch School of the Arts, Brown has spent about two decades appearing on TV shows like Lifetime’s \u003cem>Army Wives\u003c/em> and his first series regular role, playing a cop with bulimia on FX’s short-lived 2005 drama \u003cem>Starved\u003c/em>.\u003c/p>\n\u003cp>“I would pull over delivery guys on trumped up traffic charges, then steal their food as compensation for not giving them a ticket,” he says, laughing. “It [debuted] the same year they launched \u003cem>It’s Always Sunny in Philadelphia\u003c/em>. \u003cem>Sunny\u003c/em> stuck around and we did not.”\u003c/p>\n\u003cp>“This isn’t an overnight success story,” Fogelman adds. “One of the things that makes this moment so earned and so special is … this is a guy who put in the work and learned his craft and he’s an explosive actor because of it.”\u003c/p>\n\u003cp>These days, both Fogelman and Brown are excited about the new season of \u003cem>This Is Us\u003c/em>, which will begin with two episodes addressing both the coronavirus pandemic and the Black Lives Matter protests.\u003c/p>\n\u003cp>“I felt like, considering everything that’s going on in our country, we have an opportunity and almost a responsibility—without getting into the politics of it all—to capture what this is … a very unusual, landmark moment in time,” says Fogelman, who still isn’t sure when the show will resume filming.\u003c/p>\n\u003cp>And Brown has also started his own production company devoted to film and TV projects championing diversity called Indian Meadows, named for an area of his native St. Louis. [aside postid='pop_102572']\u003c/p>\n\u003cp>Ask how he’s coping amid all the discussions on race kicked off by the killing by police of Black people like George Floyd and Breonna Taylor and Brown hesitates—repeating the question a few times while recalling an emotional discussion he had on the Tulsa race massacre with his 9-year-old son.\u003c/p>\n\u003cp>“How do I feel? I feel like it’s 2020 and a lot of the conversations that we’ve had historically are still as present,” he says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I think people are [realizing] the system has never been broken,” Brown adds. “The system has functioned exactly the way it was intended to, and the time for full integration is now. … Because I don’t want my kid to have the same conversation with his kids.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Watch actor Sterling K. Brown, and one of the first things you may notice is his eyes.\u003c/p>\n\u003cp>In a scene from the last season of \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Brown plays Reggie, a hard-nosed manager who fires comic Midge Maisel from the opening spot of a major tour. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Reggie explains his reasons in an emotional speech, tears well up in his eyes. His language is rough, but his eyes reveal something more: He’s feeling guilty and defensive.\u003c/p>\n\u003cp>Or look at his work on NBC’s hit drama \u003cem>This Is Us\u003c/em>, where Brown plays tightly wound Randall Pearson, a Black man adopted by a white family. In a scene with his adoptive mother that Brown says was one of his most challenging this past season, Randall uses his status as a good son—and the fact that he forgave her for hiding the identity of his biological father—to pressure her into enrolling in an Alzheimer’s clinical trial she has resisted joining.\u003c/p>\n\u003cp>Again, Brown’s eyes reveal a lot: the reluctance to manipulate someone he loves—and the resolve to push her into doing something that might save her life. A tear rolled down his face as punctuation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I love eye actors, and Sterling is one,” says Dan Fogelman, the creator and executive producer of \u003cem>This Is Us\u003c/em>. “Just watching him hold [everyone’s attention] with his face and what he delivers and what he’s feeling and believing. … You can’t really put your finger on what that thing is. You just know it when you’re seeing it.”\u003c/p>\n\u003cp>Brown says that even as he realized Randall was crossing a line with his mother, he understood why the character was doing it: “He just couldn’t lose her. I knew that was going to land on people in a really painful and uncomfortable way. So I had to release whatever judgment that I have for Randall’s actions and just be like, ‘Hey … there’s a need here.’ ”\u003c/p>\n\u003cp>Those two performances have allowed Brown to make Emmy history this year; nominated as best lead actor in a drama series for \u003cem>This Is Us\u003c/em> and best supporting actor in a comedy series for \u003cem>The Marvelous Mrs. Maisel\u003c/em> on Amazon’s Prime Video.\u003c/p>\n\u003cp>Other performers have been nominated in the same year in different categories. But Brown is the first person to be nominated in the same year as a series regular in comedy and drama categories presented on the Emmy broadcast, according to a spokesperson for the Academy of Television Arts and Sciences.\u003c/p>\n\u003cp>Grateful as he is for his nominations, Brown also sees \u003ca href=\"https://variety.com/2020/tv/awards/emmy-nominations-black-actors-diversity-2020-1234716405/\" target=\"_blank\" rel=\"noopener noreferrer\">the record number of Black performers nominated for Emmys\u003c/a>—about 34% of acting nominees this year—as a welcome reaction to the civil rights reckoning and Black Lives Matter protests of the summer.\u003c/p>\n\u003cp>“We cannot detach the Emmys themselves from everything else that’s happening in the country,” Brown says. “Black Lives Matter … it’s nice to feel like there are considerable allies saying, ‘Yes, they do.’ And they showed it in their vote.”\u003c/p>\n\u003cp>The actor says it’s also part of a long march toward recognition for Black performers, held back by oppression in Hollywood stretching back to the early 1900s, when white people wore blackface to play Black characters in films.\u003c/p>\n\u003cp>“The history that Black folks have as performers in the industry is a very specific one … dating back to [the 1915 film] \u003cem>Birth of a Nation\u003c/em> where we’re not even allowed to play ourselves … [and] grossly mischaracterized and made to look buffoonish by white people,” he adds. “It’s taken a long time to be fully recognized as human in front of the camera and in life.”\u003c/p>\n\u003cp>Brown has made history at awards shows before; in 2018, he became the first Black man to win best actor in a drama at both the Golden Globes and the Screen Actors Guild awards.\u003c/p>\n\u003cp>And even though some fans may have just discovered Brown relatively recently—perhaps in 2016 when he played Christopher Darden on FX’s \u003cem>People v. O.J. Simpson: American Crime Story\u003c/em>—his success was years in the making.\u003c/p>\n\u003cp>With degrees from Stanford University and New York University’s Tisch School of the Arts, Brown has spent about two decades appearing on TV shows like Lifetime’s \u003cem>Army Wives\u003c/em> and his first series regular role, playing a cop with bulimia on FX’s short-lived 2005 drama \u003cem>Starved\u003c/em>.\u003c/p>\n\u003cp>“I would pull over delivery guys on trumped up traffic charges, then steal their food as compensation for not giving them a ticket,” he says, laughing. “It [debuted] the same year they launched \u003cem>It’s Always Sunny in Philadelphia\u003c/em>. \u003cem>Sunny\u003c/em> stuck around and we did not.”\u003c/p>\n\u003cp>“This isn’t an overnight success story,” Fogelman adds. “One of the things that makes this moment so earned and so special is … this is a guy who put in the work and learned his craft and he’s an explosive actor because of it.”\u003c/p>\n\u003cp>These days, both Fogelman and Brown are excited about the new season of \u003cem>This Is Us\u003c/em>, which will begin with two episodes addressing both the coronavirus pandemic and the Black Lives Matter protests.\u003c/p>\n\u003cp>“I felt like, considering everything that’s going on in our country, we have an opportunity and almost a responsibility—without getting into the politics of it all—to capture what this is … a very unusual, landmark moment in time,” says Fogelman, who still isn’t sure when the show will resume filming.\u003c/p>\n\u003cp>And Brown has also started his own production company devoted to film and TV projects championing diversity called Indian Meadows, named for an area of his native St. Louis. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ask how he’s coping amid all the discussions on race kicked off by the killing by police of Black people like George Floyd and Breonna Taylor and Brown hesitates—repeating the question a few times while recalling an emotional discussion he had on the Tulsa race massacre with his 9-year-old son.\u003c/p>\n\u003cp>“How do I feel? I feel like it’s 2020 and a lot of the conversations that we’ve had historically are still as present,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think people are [realizing] the system has never been broken,” Brown adds. “The system has functioned exactly the way it was intended to, and the time for full integration is now. … Because I don’t want my kid to have the same conversation with his kids.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sterling+K.+Brown%3A+Black+Actors+Have+Waited+%27A+Long+Time+To+Be+Fully+Recognized%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Emmy Nominations: Six Things to Know",
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"content": "\u003cp>Nobody really knows what television, or the country, or the planet may look like in a few months, but that doesn’t mean there aren’t Emmy nominations. The announcement was unconventional, and done remotely (of course), but the nominees are very much a mix of the old and the new.\u003c/p>\n\u003cp>\u003cstrong>1.\u003c/strong> \u003cstrong>Netflix is a giant. \u003c/strong>Netflix had more nominations than any other network or streaming service—160, ahead of HBO, which was in second place at 107. The highest-ranked broadcast network, NBC, is in third place with 47 nominations, 15 of which are for \u003cem>Saturday Night Live\u003c/em>. It’s not just that big dramas like \u003cem>Unbelievable \u003c/em>and \u003cem>Stranger Things \u003c/em>and \u003cem>The Crown \u003c/em>did well. It’s not just that they’re solid in comedy now, with \u003cem>Dead to Me \u003c/em>and \u003cem>The Komisky Method\u003c/em>, both nominated for outstanding comedy series. It’s also that Netflix, like HBO, is now represented in almost every major category, from variety to reality.\u003c/p>\n\u003cp>\u003cstrong>2. Emmy nominations are for Emmy nominees. \u003c/strong>There’s a lot of repetition in these nominations: \u003cem>Ozark, Stranger Things, The Marvelous Mrs. Maisel, The Handmaid’s Tale\u003c/em>, \u003cem>The Crown\u003c/em> … even as shows (\u003cem>Handmaid’s \u003c/em>comes to mind) become a little less buzzy than they used to be, it’s not uncommon for their nominations to continue rolling in.\u003c/p>\n\u003cp>\u003cstrong>3. You may not have liked \u003c/strong>\u003cem>\u003cstrong>The Morning Show\u003c/strong>\u003c/em>\u003cstrong>, but these voters did. \u003c/strong>The star-studded Apple TV+ show about the behind-the-scenes shenanigans at a morning news program didn’t make a huge splash when it came out, despite the presence of stars Jennifer Aniston, Reese Witherspoon and Steve Carell. But it grabbed eight nominations (two more than the most-nominated broadcast prime-time show, \u003cem>The Good Place\u003c/em>), including acting nods for Carell and Aniston, plus supporting actors Billy Crudup and Mark Duplass and guest actor Martin Short.\u003c/p>\n\u003cp>\u003cstrong>4. Baby Yoda is no joke. \u003c/strong>Disney+ didn’t hire as many famous actors for \u003cem>The Mandalorian \u003c/em>as Apple did for \u003cem>The Morning Show\u003c/em>. But the \u003cem>Star Wars \u003c/em>series got 15 nominations, and while many were on the technical and production side, it was also nominated for outstanding drama series, where it will face off against the most “prestigious” shows in television, including \u003cem>Succession\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>Better Call Saul\u003c/em>, \u003cem>The Crown\u003c/em>, \u003cem>Stranger Things\u003c/em>, \u003cem>Ozark\u003c/em> and \u003cem>The Handmaid’s Tale\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>5. A nice haul for \u003c/strong>\u003cem>\u003cstrong>Watchmen\u003c/strong>\u003c/em>\u003cstrong>. \u003c/strong>HBO’s excellent comic book adaptation received 26 nominations—more than any other program. They’re largely in major categories, too: a nomination for outstanding limited series, plus six in acting, three in directing, one in writing, two in cinematography, three in editing, and so forth, plus plenty more for everything from casting to music and main titles. The series is a towering achievement, and star Regina King—nominated for best performance by a lead actress in a limited series or movie in a stacked category—may well have given the performance of the year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>6. All hail the first-timers! \u003c/strong>It’s always fun to look at who’s getting their first nomination this year, sometimes after many deserving years. Yvonne Orji is nominated for \u003cem>Insecure \u003c/em>(which did well, grabbing an outstanding comedy series nomination). Cate Blanchett is getting her first Emmy nomination for \u003cem>Mrs. America. \u003c/em>William Jackson Harper and D’Arcy Carden are both in for the first time for their work on \u003cem>The Good Place\u003c/em>. Yahya Abdul-Mateen II is a first-time nominee for \u003cem>Watchmen \u003c/em>and also has the new \u003cem>Candyman \u003c/em>film coming. Annie Murphy, so good as Alexis on \u003cem>Schitt’s Creek\u003c/em>, wiggled in for the show’s closing run. Several of the \u003cem>Succession \u003c/em>actors—Sarah Snook, Kieran Culkin, Jeremy Strong—are first-timers. There are more, of course. And many will be back, hopefully over and over.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Emmy+Nominations%3A+Six+Things+To+Know&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nobody really knows what television, or the country, or the planet may look like in a few months, but that doesn’t mean there aren’t Emmy nominations. The announcement was unconventional, and done remotely (of course), but the nominees are very much a mix of the old and the new.\u003c/p>\n\u003cp>\u003cstrong>1.\u003c/strong> \u003cstrong>Netflix is a giant. \u003c/strong>Netflix had more nominations than any other network or streaming service—160, ahead of HBO, which was in second place at 107. The highest-ranked broadcast network, NBC, is in third place with 47 nominations, 15 of which are for \u003cem>Saturday Night Live\u003c/em>. It’s not just that big dramas like \u003cem>Unbelievable \u003c/em>and \u003cem>Stranger Things \u003c/em>and \u003cem>The Crown \u003c/em>did well. It’s not just that they’re solid in comedy now, with \u003cem>Dead to Me \u003c/em>and \u003cem>The Komisky Method\u003c/em>, both nominated for outstanding comedy series. It’s also that Netflix, like HBO, is now represented in almost every major category, from variety to reality.\u003c/p>\n\u003cp>\u003cstrong>2. Emmy nominations are for Emmy nominees. \u003c/strong>There’s a lot of repetition in these nominations: \u003cem>Ozark, Stranger Things, The Marvelous Mrs. Maisel, The Handmaid’s Tale\u003c/em>, \u003cem>The Crown\u003c/em> … even as shows (\u003cem>Handmaid’s \u003c/em>comes to mind) become a little less buzzy than they used to be, it’s not uncommon for their nominations to continue rolling in.\u003c/p>\n\u003cp>\u003cstrong>3. You may not have liked \u003c/strong>\u003cem>\u003cstrong>The Morning Show\u003c/strong>\u003c/em>\u003cstrong>, but these voters did. \u003c/strong>The star-studded Apple TV+ show about the behind-the-scenes shenanigans at a morning news program didn’t make a huge splash when it came out, despite the presence of stars Jennifer Aniston, Reese Witherspoon and Steve Carell. But it grabbed eight nominations (two more than the most-nominated broadcast prime-time show, \u003cem>The Good Place\u003c/em>), including acting nods for Carell and Aniston, plus supporting actors Billy Crudup and Mark Duplass and guest actor Martin Short.\u003c/p>\n\u003cp>\u003cstrong>4. Baby Yoda is no joke. \u003c/strong>Disney+ didn’t hire as many famous actors for \u003cem>The Mandalorian \u003c/em>as Apple did for \u003cem>The Morning Show\u003c/em>. But the \u003cem>Star Wars \u003c/em>series got 15 nominations, and while many were on the technical and production side, it was also nominated for outstanding drama series, where it will face off against the most “prestigious” shows in television, including \u003cem>Succession\u003c/em>, \u003cem>Killing Eve\u003c/em>, \u003cem>Better Call Saul\u003c/em>, \u003cem>The Crown\u003c/em>, \u003cem>Stranger Things\u003c/em>, \u003cem>Ozark\u003c/em> and \u003cem>The Handmaid’s Tale\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>5. A nice haul for \u003c/strong>\u003cem>\u003cstrong>Watchmen\u003c/strong>\u003c/em>\u003cstrong>. \u003c/strong>HBO’s excellent comic book adaptation received 26 nominations—more than any other program. They’re largely in major categories, too: a nomination for outstanding limited series, plus six in acting, three in directing, one in writing, two in cinematography, three in editing, and so forth, plus plenty more for everything from casting to music and main titles. The series is a towering achievement, and star Regina King—nominated for best performance by a lead actress in a limited series or movie in a stacked category—may well have given the performance of the year.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>6. All hail the first-timers! \u003c/strong>It’s always fun to look at who’s getting their first nomination this year, sometimes after many deserving years. Yvonne Orji is nominated for \u003cem>Insecure \u003c/em>(which did well, grabbing an outstanding comedy series nomination). Cate Blanchett is getting her first Emmy nomination for \u003cem>Mrs. America. \u003c/em>William Jackson Harper and D’Arcy Carden are both in for the first time for their work on \u003cem>The Good Place\u003c/em>. Yahya Abdul-Mateen II is a first-time nominee for \u003cem>Watchmen \u003c/em>and also has the new \u003cem>Candyman \u003c/em>film coming. Annie Murphy, so good as Alexis on \u003cem>Schitt’s Creek\u003c/em>, wiggled in for the show’s closing run. Several of the \u003cem>Succession \u003c/em>actors—Sarah Snook, Kieran Culkin, Jeremy Strong—are first-timers. There are more, of course. And many will be back, hopefully over and over.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Emmy+Nominations%3A+Six+Things+To+Know&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Three years ago, the William and Flora Hewlett Foundation announced the Hewlett 50 Arts Commission, a major five-year, $8 million initiative to commission “50 exceptional works of performing arts.” Each year since, the foundation has awarded 10 grants to Bay Area nonprofits that work with artists for the creation of new works.\u003c/p>\n\u003cp>The Hewlett Foundation announced \u003ca href=\"https://hewlett.org/50commissions/\" rel=\"noopener noreferrer\" target=\"_blank\">this year’s awardees\u003c/a>, all in the field of dance and movement-based performance, on Tuesday. The 10 awardees will receive $150,000 each to bring their projects to fruition over the next three years; they include organizations in the Bay Area both small and large, such as the EastSide Arts Alliance in Oakland and the Green Music Center at Sonoma State University. A full list is below. \u003c/p>\n\u003cp>“While the projects awarded today were conceived and planned before the pandemic or the current Black Lives Matter protests across the country, the themes they will tackle—including racial justice, inequality and rising xenophobia around the world—are strikingly relevant to the challenges our society confronts today,” according to a press release announcing the $1.5 million in grants, chosen by a national panel of dance experts.\u003c/p>\n\u003cp>The arts have the ability to “infuse people’s lives with beauty, offer solace and build empathy—and that’s especially important right now,” Emiko Ono, Performing Arts Program Director for the Hewlett Foundation, said in a statement. “At a time when our country is grappling with its failures and trying to chart a path forward, these artistic projects can illuminate the lives of individuals and our diverse communities, provoke debate and help reimagine our shared future.” \u003c/p>\n\u003cp>Since its founding in 1967, the Hewlett Foundation, based in Menlo Park, has awarded more than $375 million to arts organizations. (The foundation also supplies funding for KQED Arts.) Previous awardees in the Hewlett 50 Arts Commission include the disciplines of music composition, theater and spoken word performance; future grants for folk and traditional arts, film and media will be announced in the future. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>2020 Hewlett 50 Arts Commission Awardees\u003c/h2>\n\u003cp>\u003cstrong>Brava! for Women in the Arts with Vanessa Sanchez\u003c/strong>\u003cbr>\n“Ghostly Labor” illuminates a history of abuse, activism and perseverance by Chicana and Native women working in the US-Mexico borderlands.\u003c/p>\n\u003cp>\u003cstrong>Center for Empowering Refugees and Immigrants and ARTogether with Prumsodun Ok\u003c/strong>\u003cbr>\n“A Deepest Blue” uses a founding myth common to Cambodia and Japan to contemplate humanity’s relationship with and responsibility to our threatened oceans and the natural world.\u003c/p>\n\u003cp>\u003cstrong>Circo Zero with Ishmael Houston-Jones\u003c/strong>\u003cbr>\n“TRY” is an experimental improvised dance that aims to subvert traditional notions of race and masculinity.\u003c/p>\n\u003cp>\u003cstrong>Dancers’ Group with Joanna Haigood\u003c/strong>\u003cbr>\n“The People’s Building” investigates movement and visual storytelling in relation to the history, architecture and metaphors inherent in San Francisco City Hall.\u003c/p>\n\u003cp>\u003cstrong>Green Music Center with Liz Lerman\u003c/strong>\u003cbr>\nAn evening-length dance-theater piece, “Wicked Bodies (Sonoma)” wonders about the persistence across time and culture of old crones, evil stepmothers and powerful institutions’ use of the female body as a source of fear. \u003c/p>\n\u003cp>\u003cstrong>EastSide Arts Alliance with Amara Tabor-Smith\u003c/strong>\u003cbr>\n“This too shall pass” is part of a ritual dance theater project addressing the wellbeing, displacement and sex-trafficking of black women and girls in Oakland. \u003c/p>\n\u003cp>\u003cstrong>Nā Lei Hulu I Ka Wēkiu with Patrick Makuakāne\u003c/strong>\u003cbr>\n“MĀHŪ” is a work of multi-media hula dance theater that aims to reclaim and celebrate the traditional place of honor, respect and influence given to māhū (transgender) people in ancient Hawaiian society.\u003c/p>\n\u003cp>\u003cstrong>Japanese American Citizens League, San Jose Chapter with Yayoi Kambara\u003c/strong>\u003cbr>\n“IKKAI means once: a transplanted pilgrimage” incorporates modern dance, Bon Odori, storytelling and taiko to guide audiences through the impact and legacy of Japanese American incarceration during World War II.\u003c/p>\n\u003cp>\u003cstrong>Filipino-American Development Foundation with Alleluia Panis\u003c/strong>\u003cbr>\n“Nursing These Wounds” investigates the impact of colonization on Pilipinx health and caregiving through the lens of Pilipinx nurses’ history.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Margaret Jenkins Dance Company with Margaret Jenkins\u003c/strong>\u003cbr>\nIn “Global Moves,” artists from China, India, Israel and the United States explore the current waves of isolation and xenophobia in their countries and around the world, using cultural texts as prompts to make a work of hope and unity.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Three years ago, the William and Flora Hewlett Foundation announced the Hewlett 50 Arts Commission, a major five-year, $8 million initiative to commission “50 exceptional works of performing arts.” Each year since, the foundation has awarded 10 grants to Bay Area nonprofits that work with artists for the creation of new works.\u003c/p>\n\u003cp>The Hewlett Foundation announced \u003ca href=\"https://hewlett.org/50commissions/\" rel=\"noopener noreferrer\" target=\"_blank\">this year’s awardees\u003c/a>, all in the field of dance and movement-based performance, on Tuesday. The 10 awardees will receive $150,000 each to bring their projects to fruition over the next three years; they include organizations in the Bay Area both small and large, such as the EastSide Arts Alliance in Oakland and the Green Music Center at Sonoma State University. A full list is below. \u003c/p>\n\u003cp>“While the projects awarded today were conceived and planned before the pandemic or the current Black Lives Matter protests across the country, the themes they will tackle—including racial justice, inequality and rising xenophobia around the world—are strikingly relevant to the challenges our society confronts today,” according to a press release announcing the $1.5 million in grants, chosen by a national panel of dance experts.\u003c/p>\n\u003cp>The arts have the ability to “infuse people’s lives with beauty, offer solace and build empathy—and that’s especially important right now,” Emiko Ono, Performing Arts Program Director for the Hewlett Foundation, said in a statement. “At a time when our country is grappling with its failures and trying to chart a path forward, these artistic projects can illuminate the lives of individuals and our diverse communities, provoke debate and help reimagine our shared future.” \u003c/p>\n\u003cp>Since its founding in 1967, the Hewlett Foundation, based in Menlo Park, has awarded more than $375 million to arts organizations. (The foundation also supplies funding for KQED Arts.) Previous awardees in the Hewlett 50 Arts Commission include the disciplines of music composition, theater and spoken word performance; future grants for folk and traditional arts, film and media will be announced in the future. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch2>2020 Hewlett 50 Arts Commission Awardees\u003c/h2>\n\u003cp>\u003cstrong>Brava! for Women in the Arts with Vanessa Sanchez\u003c/strong>\u003cbr>\n“Ghostly Labor” illuminates a history of abuse, activism and perseverance by Chicana and Native women working in the US-Mexico borderlands.\u003c/p>\n\u003cp>\u003cstrong>Center for Empowering Refugees and Immigrants and ARTogether with Prumsodun Ok\u003c/strong>\u003cbr>\n“A Deepest Blue” uses a founding myth common to Cambodia and Japan to contemplate humanity’s relationship with and responsibility to our threatened oceans and the natural world.\u003c/p>\n\u003cp>\u003cstrong>Circo Zero with Ishmael Houston-Jones\u003c/strong>\u003cbr>\n“TRY” is an experimental improvised dance that aims to subvert traditional notions of race and masculinity.\u003c/p>\n\u003cp>\u003cstrong>Dancers’ Group with Joanna Haigood\u003c/strong>\u003cbr>\n“The People’s Building” investigates movement and visual storytelling in relation to the history, architecture and metaphors inherent in San Francisco City Hall.\u003c/p>\n\u003cp>\u003cstrong>Green Music Center with Liz Lerman\u003c/strong>\u003cbr>\nAn evening-length dance-theater piece, “Wicked Bodies (Sonoma)” wonders about the persistence across time and culture of old crones, evil stepmothers and powerful institutions’ use of the female body as a source of fear. \u003c/p>\n\u003cp>\u003cstrong>EastSide Arts Alliance with Amara Tabor-Smith\u003c/strong>\u003cbr>\n“This too shall pass” is part of a ritual dance theater project addressing the wellbeing, displacement and sex-trafficking of black women and girls in Oakland. \u003c/p>\n\u003cp>\u003cstrong>Nā Lei Hulu I Ka Wēkiu with Patrick Makuakāne\u003c/strong>\u003cbr>\n“MĀHŪ” is a work of multi-media hula dance theater that aims to reclaim and celebrate the traditional place of honor, respect and influence given to māhū (transgender) people in ancient Hawaiian society.\u003c/p>\n\u003cp>\u003cstrong>Japanese American Citizens League, San Jose Chapter with Yayoi Kambara\u003c/strong>\u003cbr>\n“IKKAI means once: a transplanted pilgrimage” incorporates modern dance, Bon Odori, storytelling and taiko to guide audiences through the impact and legacy of Japanese American incarceration during World War II.\u003c/p>\n\u003cp>\u003cstrong>Filipino-American Development Foundation with Alleluia Panis\u003c/strong>\u003cbr>\n“Nursing These Wounds” investigates the impact of colonization on Pilipinx health and caregiving through the lens of Pilipinx nurses’ history.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Margaret Jenkins Dance Company with Margaret Jenkins\u003c/strong>\u003cbr>\nIn “Global Moves,” artists from China, India, Israel and the United States explore the current waves of isolation and xenophobia in their countries and around the world, using cultural texts as prompts to make a work of hope and unity.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "at-the-oscars-parasite-makes-best-picture-history",
"title": "At The Oscars, 'Parasite' Makes Best Picture History",
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"content": "\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 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=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 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=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There’s no denying that the 62nd Grammy Awards made history with performances by more talented women of different genres, generations and walks of life than any award ceremony in recent memory.\u003c/p>\n\u003cp>Minutes into the show, Lizzo performed a virtuosic flute solo as part of a medley with orchestral accompaniment, and hit the high notes of “Cuz I Love You” with panache. Later, with her bourbon-soaked, husky voice, Tanya Tucker claimed her place as country music royalty with a rendition of “Bring Me My Flowers Now” with Brandi Carlile on piano.\u003c/p>\n\u003cp>Billie Eilish’s whisper-sung “When the Party’s Over” and Demi Lovato’s gut-wrenching “Anyone” drew tears. Sheila E. rocked out on the timbales during a tribute to Prince. And jaws fell to the floor as H.E.R. nimbly switched from dexterous piano playing to a wailing guitar solo that would’ve made any Rock & Roll Hall of Famer proud.\u003c/p>\n\u003cp>Yet hovering over these top-tier displays of talent were the recent allegations of sexism and corruption within the Recording Academy, which presents the Grammy Awards, from Deborah Dugan, the organization’s first female CEO.\u003c/p>\n\u003cp>After being put on administrative leave for allegedly fostering an abusive work environment, Dugan responded with her own accusations. She said she was ousted for speaking out against sexual harassment from the Academy’s general counsel, Joel Katz. She also said that the Academy’s previous CEO, Neil Portnow—the one who infamously said women need to “step up” in response to questions about sexism in the music industry—had been accused of rape, and that the Academy had covered it up. (Portnow denies the allegations.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dugan also dropped a bombshell claim that the Grammy voting process is rigged, a rumor that’s long floated within the music industry, but had never been acknowledged by someone from within the Recording Academy. [aside postid='news_11798001']\u003c/p>\n\u003cp>These allegations roiled the entertainment world in the days before the Grammy Awards Sunday night, and, \u003ca href=\"https://pagesix.com/2020/01/24/taylor-swift-cancels-planned-grammys-performance-over-sexism-allegations/\" target=\"_blank\" rel=\"noopener noreferrer\">according to reports\u003c/a>, led Taylor Swift to cancel a secret performance slated for the show.\u003c/p>\n\u003cp>Host Alicia Keys, whose relaxed, heartfelt presence guided the broadcast, appeared to indirectly reference the controversy.\u003c/p>\n\u003cp>“We refuse the old systems, feel me on that,” she said after acknowledging that it had been “one hell of a week.”\u003c/p>\n\u003cp>She continued, “We want to be respected and safe in our diversity; we want to be shifting in realness and inclusivity. So tonight we want to celebrate the people, the artists who put themselves on the line and share their truth with us.” [aside postid='arts_13873896']\u003c/p>\n\u003cp>Yet aside from Keys’ comments, the scandal was an elephant in the room throughout the ceremony. And the majority of artists’ silence points to the catch-22 women and other underrepresented people face when it comes to gaining access to prestigious institutions with histories of racism and sexism. The Recording Academy is so powerful that, in order to rise to the highest echelons of the music industry, underrepresented artists hardly have a choice than to play by its rules and gloss over its shortcomings.\u003c/p>\n\u003cp>On one hand, the Grammys’ many impactful performances by women artists have the potential to shift industry culture by leading by example. Yet they also serve as great PR for the Recording Academy at a time when it’s questionable whether it has taken meaningful steps to fix its culture of sexism from within.\u003c/p>\n\u003cp>(The show wasn’t without its issues: massively gifted vocalist FKA Twigs silently pole danced while Usher sang a tribute to Prince, prompting outcries on social media. And few women of color \u003ca href=\"https://www.grammy.com/grammys/awards/62nd-annual-grammy-awards-2019\" target=\"_blank\" rel=\"noopener noreferrer\">won awards\u003c/a> in the televised categories despite being well represented in onstage performances.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So what needs to happen for meaningful change to occur at the Recording Academy, and in the music industry more broadly? Perhaps Dua Lipa said it best when presenting the award for Best New Artist with Keys. “There are so many stellar female producers, artists, songwriters, engineers,” she said. “And if you’re in the business, and you’re hiring, raise your sights to the amazing, talented women out there, because we all deserve a seat at every table.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s no denying that the 62nd Grammy Awards made history with performances by more talented women of different genres, generations and walks of life than any award ceremony in recent memory.\u003c/p>\n\u003cp>Minutes into the show, Lizzo performed a virtuosic flute solo as part of a medley with orchestral accompaniment, and hit the high notes of “Cuz I Love You” with panache. Later, with her bourbon-soaked, husky voice, Tanya Tucker claimed her place as country music royalty with a rendition of “Bring Me My Flowers Now” with Brandi Carlile on piano.\u003c/p>\n\u003cp>Billie Eilish’s whisper-sung “When the Party’s Over” and Demi Lovato’s gut-wrenching “Anyone” drew tears. Sheila E. rocked out on the timbales during a tribute to Prince. And jaws fell to the floor as H.E.R. nimbly switched from dexterous piano playing to a wailing guitar solo that would’ve made any Rock & Roll Hall of Famer proud.\u003c/p>\n\u003cp>Yet hovering over these top-tier displays of talent were the recent allegations of sexism and corruption within the Recording Academy, which presents the Grammy Awards, from Deborah Dugan, the organization’s first female CEO.\u003c/p>\n\u003cp>After being put on administrative leave for allegedly fostering an abusive work environment, Dugan responded with her own accusations. She said she was ousted for speaking out against sexual harassment from the Academy’s general counsel, Joel Katz. She also said that the Academy’s previous CEO, Neil Portnow—the one who infamously said women need to “step up” in response to questions about sexism in the music industry—had been accused of rape, and that the Academy had covered it up. (Portnow denies the allegations.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dugan also dropped a bombshell claim that the Grammy voting process is rigged, a rumor that’s long floated within the music industry, but had never been acknowledged by someone from within the Recording Academy. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>These allegations roiled the entertainment world in the days before the Grammy Awards Sunday night, and, \u003ca href=\"https://pagesix.com/2020/01/24/taylor-swift-cancels-planned-grammys-performance-over-sexism-allegations/\" target=\"_blank\" rel=\"noopener noreferrer\">according to reports\u003c/a>, led Taylor Swift to cancel a secret performance slated for the show.\u003c/p>\n\u003cp>Host Alicia Keys, whose relaxed, heartfelt presence guided the broadcast, appeared to indirectly reference the controversy.\u003c/p>\n\u003cp>“We refuse the old systems, feel me on that,” she said after acknowledging that it had been “one hell of a week.”\u003c/p>\n\u003cp>She continued, “We want to be respected and safe in our diversity; we want to be shifting in realness and inclusivity. So tonight we want to celebrate the people, the artists who put themselves on the line and share their truth with us.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet aside from Keys’ comments, the scandal was an elephant in the room throughout the ceremony. And the majority of artists’ silence points to the catch-22 women and other underrepresented people face when it comes to gaining access to prestigious institutions with histories of racism and sexism. The Recording Academy is so powerful that, in order to rise to the highest echelons of the music industry, underrepresented artists hardly have a choice than to play by its rules and gloss over its shortcomings.\u003c/p>\n\u003cp>On one hand, the Grammys’ many impactful performances by women artists have the potential to shift industry culture by leading by example. Yet they also serve as great PR for the Recording Academy at a time when it’s questionable whether it has taken meaningful steps to fix its culture of sexism from within.\u003c/p>\n\u003cp>(The show wasn’t without its issues: massively gifted vocalist FKA Twigs silently pole danced while Usher sang a tribute to Prince, prompting outcries on social media. And few women of color \u003ca href=\"https://www.grammy.com/grammys/awards/62nd-annual-grammy-awards-2019\" target=\"_blank\" rel=\"noopener noreferrer\">won awards\u003c/a> in the televised categories despite being well represented in onstage performances.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So what needs to happen for meaningful change to occur at the Recording Academy, and in the music industry more broadly? Perhaps Dua Lipa said it best when presenting the award for Best New Artist with Keys. “There are so many stellar female producers, artists, songwriters, engineers,” she said. “And if you’re in the business, and you’re hiring, raise your sights to the amazing, talented women out there, because we all deserve a seat at every table.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Fleabag' and 'Game Of Thrones' Win Big at the Emmys",
"headTitle": "‘Fleabag’ and ‘Game Of Thrones’ Win Big at the Emmys | KQED",
"content": "\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hnyA-9r2Fro\u003c/p>\n\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dAXJir9knco\u003c/p>\n\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6OXS7uVU0xA\u003c/p>\n\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VpxBswBrQ2w\u003c/p>\n\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UbMUl57nDAQ\u003c/p>\n\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=U2qO9UdA6WA\u003c/p>\n\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you predicted that creator-actor Phoebe Waller-Bridge would be a big winner going into Sunday night’s Emmy Awards, you might just have won your Emmys pool. And if you were predicting a giant final haul of \u003cem>Game of Thrones \u003c/em>trophies as that show leaves us for good, you were … well, sort of right.\u003c/p>\n\u003cp>These Emmys started as many do, with a limp opening number that—now that “not having a host” is the new “having a host”—wandered from Homer Simpson to Anthony Anderson to Bryan Cranston, who offered a staid salute to television and the moon landing, and then to the general goodness of TV These Days. Not to complain, but … we could always go back to having a \u003cem>good \u003c/em>host.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hnyA-9r2Fro'\n title='//www.youtube.com/embed/hnyA-9r2Fro'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Comedy Awards\u003c/strong>\u003c/p>\n\u003cp>Comedy was up first. Ben Stiller did a wax-figure bit with Bob Newhart, who was, of course, not a wax figure. And honestly, for an awards-show bit, it was pretty funny! They presented the stacked category of supporting actor in a comedy series: The nominees were Tony Shalhoub for \u003cem>The Marvelous Mrs. Maisel\u003c/em>, Henry Winkler \u003cem>and \u003c/em>Stephen Root \u003cem>and \u003c/em>Anthony Carrigan for \u003cem>Barry\u003c/em>, Alan Arkin for \u003cem>The Kominsky Method\u003c/em> and Tony Hale for \u003cem>Veep\u003c/em>. Shalhoub won, but that is a commanding group. Amy Poehler and Catherine O’Hara, an imposing duo indeed, presented the supporting actress in a comedy series award to Alex Borstein, also from \u003cem>Maisel\u003c/em>, despite another stacked category. For a moment, it began to look like another 2018, when \u003cem>Maisel \u003c/em>won eight awards, including outstanding comedy series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But just as that suspicion began to set in, they gave the comedy series writing award to Waller-Bridge for \u003cem>Fleabag\u003c/em>, which completed its two-season story this year with a nearly perfect second set of episodes. (Amazon Prime, if you still haven’t watched it!) The directing prize went to Harry Bradbeer, also for \u003cem>Fleabag\u003c/em>, which meant, among other things, that Amazon had won the first four prizes of the night.\u003c/p>\n\u003cp>HBO roared back when Bill Hader won lead actor for \u003cem>Barry\u003c/em>, his series in which he plays a hit man. Could HBO keep it up? They could not, because when Hader was through, we went right back to Phoebe Waller-Bridge. Sometimes more recognized as a writer than a performer (she also created \u003cem>Killing Eve\u003c/em>), Waller-Bridge beat actresses like Julia Louis-Dreyfus, the legendary Catherine O’Hara, and fabulous performances in new series by Christina Applegate and Natasha Lyonne—not to mention Rachel Brosnahan, who won last year for \u003cem>Maisel\u003c/em>. It never seemed certain that the Academy would embrace something as idiosyncratic as \u003cem>Fleabag\u003c/em>; what a delight to see that they did.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/dAXJir9knco'\n title='//www.youtube.com/embed/dAXJir9knco'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>A Moment For Reality\u003c/strong>\u003c/p>\n\u003cp>While most of the reality awards have been shipped off to the Creative Arts ceremony that took place a week ago, the reality competition show stayed to represent the entire genre, and this year, it went to \u003cem>RuPaul’s Drag Race\u003c/em>. RuPaul got up on stage and told everyone to go and register to vote, the first time we’d hear a (very mild) nod to current events.\u003c/p>\n\u003cp>Before the limited series and movie awards started, there was a very special moment of … gratitude? … for the existence of HBO’s \u003cem>Game of Thrones\u003c/em>, during which the cast came on stage and recited lines about what a great time they had. Had there been a whole bunch of tributes to concluded shows, it might have seemed like a more graceful element of the broadcast. But bringing the entire show to a halt to salute \u003cem>Game of Thrones\u003c/em>—a show still in competition in these very awards!—felt, for lack of a better word, weird. After all, the way a show normally wins a chunk of attention is by winning awards, and many, many wonderful shows have never been recognized at all. \u003cem>Game of Thrones \u003c/em>has been honored a great deal at the Emmys \u003cem>and \u003c/em>its ending was covered extensively in the press \u003cem>and \u003c/em>it got high ratings. Why, exactly, does it need a special moment of appreciation? How are we deciding who gets this little tribute? Why not a special tribute for shows like \u003cem>Jane the Virgin \u003c/em>that were never Emmy favorites?\u003c/p>\n\u003cp>\u003cstrong>Limited Series/Movie Awards\u003c/strong>\u003c/p>\n\u003cp>When we did finally get around to giving out more awards, Patricia Arquette won for supporting actress in a limited series for Hulu’s \u003cem>The Act\u003c/em>, based on the true story of a mother and daughter. Arquette devoted most of her speech to the pain of losing her sister Alexis, and to a stirring call to treat trans people better.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6OXS7uVU0xA'\n title='//www.youtube.com/embed/6OXS7uVU0xA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In further limited-series news, Johan Renck won for directing \u003cem>Chernobyl \u003c/em>for HBO, Ben Whishaw won supporting actor for Amazon’s \u003cem>A Very English Scandal \u003c/em>(beating, among others, three actors from Ava DuVernay’s \u003cem>When They See Us \u003c/em>on Netflix; they may have suffered from some vote-splitting), and Craig Mazin won for writing the highly regarded \u003cem>Chernobyl\u003c/em>. Next up was the moment for \u003cem>When They See Us\u003c/em>, though, when Jharrel Jerome won best lead actor in a limited series for playing Korey Wise, one of the five men who were ultimately exonerated after spending years incarcerated for an assault in Central Park. Jerome, the only actor in the piece who played his character both as an adolescent at the time of the arrest and as an adult at the time of his exoneration, got one of the most excited reactions of the evening.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VpxBswBrQ2w'\n title='//www.youtube.com/embed/VpxBswBrQ2w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The award for best TV movie, a category that doesn’t get nearly the heat it used to, went to \u003cem>Bandersnatch\u003c/em>, Netflix’s \u003ca href=\"https://www.npr.org/2018/12/28/680671691/black-mirror-bandersnatch-makes-you-choose-your-own-adventure\">weird, uneven experiment\u003c/a> in interactive storytelling. Among other nominees, it beat the movie that wrapped up HBO’s \u003cem>Deadwood\u003c/em> years after it originally ended—perhaps a fitting legacy for a show that was denied major awards for its entire run.\u003c/p>\n\u003cp>Before they wrapped up the limited series/movie awards, there was a \u003cem>Veep \u003c/em>tribute similar to the \u003cem>Game of Thrones \u003c/em>tribute, and … well, once again, there have been a lot of opportunities to salute this show, including a string of Emmys for star Julia Louis-Dreyfus. The cast, being naturally funny, did more with the on-stage time than the \u003cem>Game of Thrones \u003c/em>cast did, but … the way you recognize shows on an awards show is with awards. If you don’t have enough to do, move some awards back from Creative Arts. Or just make the show shorter. Nobody will mind. You’ve got to believe me.\u003c/p>\n\u003cp>The lead actress in a limited series or movie was Michelle Williams for her indelible work as Gwen Verdon in FX’s \u003cem>Fosse/Verdon\u003c/em>. Williams, who gave that series most of its finest moments, made a stirring speech in which she told the story of having been supported in the things she asked for—more dance lessons, a better wig, better fake teeth—and having been paid equally. She called out the particularly low pay that goes to women of color, and said that valuing people leads them to put that value back into their work.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/UbMUl57nDAQ'\n title='//www.youtube.com/embed/UbMUl57nDAQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Emmy for limited series went to \u003cem>Chernobyl\u003c/em>, and there’s a good argument to be made that that award, while it’s in the middle of the show rather than at the end, is as prestigious as any. Limited series are the home of a lot of the most interesting work that’s happening at any given moment.\u003c/p>\n\u003cp>\u003cstrong>Variety Series\u003c/strong>\u003c/p>\n\u003cp>When you think about it, “Variety” is an inappropriate name for the variety category. You know how you can tell? The award for variety series writing went to the writers from \u003cem>Last Week Tonight With John Oliver\u003c/em>, which has been winning and winning, and the award for outstanding sketch series went to the young upstart known as \u003cem>Saturday Night Live\u003c/em>, which also took the directing award. Not to take anything away from these winners that have won a billion awards already, but if you haven’t yet watched \u003cem>Documentary Now!\u003c/em>, which was nominated in the sketch category and didn’t win, I encourage you to track it down immediately. It was fun, we must admit, to see Billy Porter, wearing perhaps the best hat of the year, present the award for best variety talk series to \u003cem>Last Week Tonight With John Oliver\u003c/em>, even if it was for the fourth straight time.\u003c/p>\n\u003cp>For whatever reason, variety category winners tend to win for 11 years in a row or what have you, or they never win at all. Variety, indeed.\u003c/p>\n\u003cp>\u003cstrong>Drama Series Awards\u003c/strong>\u003c/p>\n\u003cp>And then it was time for some drama.\u003c/p>\n\u003cp>Viola Davis came out in some genuinely great sneakers (comfort is important!) to present the award for supporting actor in a drama series. Unsurprisingly, it went to Peter Dinklage, who won for the fourth time for \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>In fresher news, Jesse Armstrong won for drama series writing, for HBO’s exceptional \u003cem>Succession\u003c/em>, which seems destined to one day win for drama series, even if it was not to be this year. The supporting actress Emmy was nabbed by another actor from a somewhat lower-profile show: Julia Garner for \u003cem>Ozark\u003c/em>, a Netflix drama that’s maintained a solid awards profile and has an enthusiastic following but more modest critical attention. \u003cem>Ozark \u003c/em>also won Jason Bateman, its star, an Emmy for directing. (Raise your hand if you called that one back when he was on \u003cem>Silver Spoons\u003c/em>.)\u003c/p>\n\u003cp>Some awards just seem like good news all around, and the next one to be handed out fit that bill: The award for lead actor in a drama series went to the wonderful Billy Porter for \u003cem>Pose\u003c/em>, and if you didn’t feel good about anything else that happened at this ceremony, how could you not feel good about that? And then Billy Porter was followed by a win for Jodie Comer, who plays the wicked Villanelle on \u003cem>Killing Eve\u003c/em>; she won for lead actress in a drama series. So that’s two winning roles—on \u003cem>Killing Eve \u003c/em>and \u003cem>Fleabag\u003c/em>—that were developed by the same creator, Phoebe Waller-Bridge.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/U2qO9UdA6WA'\n title='//www.youtube.com/embed/U2qO9UdA6WA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wasn’t over yet.\u003c/p>\n\u003cp>\u003cem>Fleabag\u003c/em>‘s night—and its Emmy run—concluded with a comedy series win for this unusual, beautiful, very funny show that probably could not have existed in quite this way even 10 years ago. This was the part of the evening where things felt surprising.\u003c/p>\n\u003cp>Best drama series went to \u003cem>Game of Thrones—\u003c/em>which, it turns out, did not need to have been given a tribute in the middle of the broadcast as if it were an adorable hero dog who saved someone from drowning, on top of winning the top award of them all … again. This was the part where things felt unsurprising.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is the Emmys, in a nutshell: You win some—or the people whose work you like win some—and you lose some. But if you grew up watching this show turn its nose up at almost everything that felt new or fresh or experimental, seeing Billy Porter and Phoebe Waller-Bridge and Jodie Comer and Bill Hader winning Emmys for these roles? It’s not bad.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Fleabag%27+And+%27Game+Of+Thrones%27+Win+Big+At+The+Emmys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "10 Things You Might As Well Know About The 2019 VMAs",
"headTitle": "10 Things You Might As Well Know About The 2019 VMAs | KQED",
"content": "\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\u003c/p>\n\u003cp>https://youtu.be/i9I-ut1TXoA\u003c/p>\n\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Uo0RK_olDb4\u003c/p>\n\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\u003c/p>\n\u003cp>https://youtu.be/eIRCskNRTDY\u003c/p>\n\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\u003c/p>\n\u003cp>https://youtu.be/RQJGqgq7MeE\u003c/p>\n\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\u003c/p>\n\u003cp>https://youtu.be/wC53WdkG44w\u003c/p>\n\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\u003c/p>\n\u003cp>https://youtu.be/BjMQC_bnaNE\u003c/p>\n\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\u003c/p>\n\u003cp>https://youtu.be/LBxTDp6Cpyg\u003c/p>\n\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE SUMMER\u003c/strong>\u003cbr>\nAriana Grande & Social House, “boyfriend”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+Things+You+Might+As+Well+Know+About+The+2019+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/i9I-ut1TXoA'\n title='//www.youtube.com/embed/i9I-ut1TXoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Uo0RK_olDb4'\n title='//www.youtube.com/embed/Uo0RK_olDb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eIRCskNRTDY'\n title='//www.youtube.com/embed/eIRCskNRTDY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qOSSmwK-PR0'\n title='//www.youtube.com/embed/qOSSmwK-PR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RQJGqgq7MeE'\n title='//www.youtube.com/embed/RQJGqgq7MeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wC53WdkG44w'\n title='//www.youtube.com/embed/wC53WdkG44w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BjMQC_bnaNE'\n title='//www.youtube.com/embed/BjMQC_bnaNE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LBxTDp6Cpyg'\n title='//www.youtube.com/embed/LBxTDp6Cpyg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There were over two dozen Bay Area nominees at the 2019 Grammys—most of them in blues, jazz, classical and other categories you won’t see on TV. The seven awards Bay Area artists took home attest to the breadth and diversity of the region’s creative scenes.\u003c/p>\n\u003cp>Vallejo-raised singer \u003cstrong>H.E.R.\u003c/strong> won Best R&B Performance for “\u003ca href=\"https://www.youtube.com/watch?v=hKgl5-lkT8U\" target=\"_blank\" rel=\"noopener\">Best Part\u003c/a>” with Daniel Caesar and Best R&B Album for her self-titled 2017 project. On stage at the Staples Center, where the ceremony took place, her performance of the cathartic love song “\u003ca href=\"https://youtu.be/ya0LhdgXiaQ\" target=\"_blank\" rel=\"noopener\">Hard Place\u003c/a>” represented a full-circle moment: H.E.R. made her industry debut when she covered Alicia Keys on the \u003cem>Today Show \u003c/em>at 12 years old, and at the Grammys, Alicia Keys introduced her on stage with enthusiastic praise: “She’s completely in charge of her sound and creative process, and that’s what makes her next.”\u003c/p>\n\u003cp>Oakland blues luminary \u003cstrong>Fantastic Negrito\u003c/strong> took home the award for Best Contemporary Blues Album for his \u003ca href=\"https://open.spotify.com/album/0w1G67UUZQzMHsqO9cAZ06\" target=\"_blank\" rel=\"noopener\">\u003cem>Please Don’t Be Dead\u003c/em>\u003c/a>, a roots rock, blues and funk record that optimistically delivers a defiant message of survival. \u003cstrong>High on Fire\u003c/strong>, a veteran Oakland metal band, won Best Metal Performance for their high-intensity album \u003ca href=\"https://www.youtube.com/watch?v=op9E1fhyV2Y\" target=\"_blank\" rel=\"noopener\">\u003cem>Electric Messiah\u003c/em>\u003c/a>, a tribute to the late Lemmy Kilmister from pioneering hard rock band Motörhead. [contextly_sidebar id=”aegPM1aJbUGHg4rZKoumubHB9GeydshH”]\u003c/p>\n\u003cp>Forward-thinking string ensemble \u003cstrong>Kronos Quartet\u003c/strong> won for Best Chamber Music/Small Ensemble Performance for their moody, surreal collaborative album \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\" target=\"_blank\" rel=\"noopener\">\u003cem>Landfall\u003c/em>\u003c/a> with interdisciplinary artist Laurie Anderson, who was the resident artistic director at SFJazz in 2018. Composer \u003cstrong>Mason Bates \u003c/strong>took home Best Opera Recording for \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a>, an opera about the Apple founder coming to San Francisco Opera in the 2019-2020 season. (It debuted with the Santa Fe Opera in 2017). And engineer \u003cstrong>Shawn Murphy\u003c/strong> won Best Engineered Classical Album for his work on Boston Symphony Orchestra’s Shostakovich Symphonies Nos. 4 and 11. [contextly_sidebar id=”PG9gW2jdmBWy0PpW48bRxfJQiBjMY5BC”]\u003c/p>\n\u003cp>\u003cem>This post has been updated to reflect H.E.R.’s Best R&B Album win.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were over two dozen Bay Area nominees at the 2019 Grammys—most of them in blues, jazz, classical and other categories you won’t see on TV. The seven awards Bay Area artists took home attest to the breadth and diversity of the region’s creative scenes.\u003c/p>\n\u003cp>Vallejo-raised singer \u003cstrong>H.E.R.\u003c/strong> won Best R&B Performance for “\u003ca href=\"https://www.youtube.com/watch?v=hKgl5-lkT8U\" target=\"_blank\" rel=\"noopener\">Best Part\u003c/a>” with Daniel Caesar and Best R&B Album for her self-titled 2017 project. On stage at the Staples Center, where the ceremony took place, her performance of the cathartic love song “\u003ca href=\"https://youtu.be/ya0LhdgXiaQ\" target=\"_blank\" rel=\"noopener\">Hard Place\u003c/a>” represented a full-circle moment: H.E.R. made her industry debut when she covered Alicia Keys on the \u003cem>Today Show \u003c/em>at 12 years old, and at the Grammys, Alicia Keys introduced her on stage with enthusiastic praise: “She’s completely in charge of her sound and creative process, and that’s what makes her next.”\u003c/p>\n\u003cp>Oakland blues luminary \u003cstrong>Fantastic Negrito\u003c/strong> took home the award for Best Contemporary Blues Album for his \u003ca href=\"https://open.spotify.com/album/0w1G67UUZQzMHsqO9cAZ06\" target=\"_blank\" rel=\"noopener\">\u003cem>Please Don’t Be Dead\u003c/em>\u003c/a>, a roots rock, blues and funk record that optimistically delivers a defiant message of survival. \u003cstrong>High on Fire\u003c/strong>, a veteran Oakland metal band, won Best Metal Performance for their high-intensity album \u003ca href=\"https://www.youtube.com/watch?v=op9E1fhyV2Y\" target=\"_blank\" rel=\"noopener\">\u003cem>Electric Messiah\u003c/em>\u003c/a>, a tribute to the late Lemmy Kilmister from pioneering hard rock band Motörhead. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Forward-thinking string ensemble \u003cstrong>Kronos Quartet\u003c/strong> won for Best Chamber Music/Small Ensemble Performance for their moody, surreal collaborative album \u003ca href=\"https://www.npr.org/2018/02/08/584036854/first-listen-laurie-anderson-kronos-quartet-landfall\" target=\"_blank\" rel=\"noopener\">\u003cem>Landfall\u003c/em>\u003c/a> with interdisciplinary artist Laurie Anderson, who was the resident artistic director at SFJazz in 2018. Composer \u003cstrong>Mason Bates \u003c/strong>took home Best Opera Recording for \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a>, an opera about the Apple founder coming to San Francisco Opera in the 2019-2020 season. (It debuted with the Santa Fe Opera in 2017). And engineer \u003cstrong>Shawn Murphy\u003c/strong> won Best Engineered Classical Album for his work on Boston Symphony Orchestra’s Shostakovich Symphonies Nos. 4 and 11. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated to reflect H.E.R.’s Best R&B Album win.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The best of the best have recorded Robert Schumann’s Symphonies Nos. 1–4, including world-renowned ensembles such as Herbert von Karajan conducting the Berlin Philharmonic and Leonard Bernstein leading the New York Philharmonic. So how can an orchestra possibly re-imagine a piece of music that’s been performed since the mid-19th century, let alone render that performance original enough to be worthy of a Grammy nomination in 2019?\u003c/p>\n\u003cp>“In this traditional literature that we record, there’s certainly no point in recording it in these times unless you have something unique to say about it,” says Jack Vad, a producer and engineer who collaborated with outgoing music director Michael Tilson Thomas on the San Francisco Symphony’s recordings of Schumann’s symphonies. The double-disc set \u003cem>Schumann: Symphonies Nos. 1–4\u003c/em> (SFS Media), recorded in Davies Symphony Hall and released on the symphony’s own label, is up for Best Orchestral Performance at the 61st Grammy Awards this Sunday.\u003c/p>\n\u003cp>“The differences in interpretation that are exemplified in this particular set are ones that reflect a more nuanced, more sensitive and more intimate feeling about these pieces,” Vad tells me. “I think when you get to that level of subtlety, all of a sudden you find things that are a bit different. It’s easy to be loud and it’s easy to be quiet and simple, but there are a whole lot of other things in between.”\u003c/p>\n\u003cp>https://youtu.be/DnSQlqBmW-8\u003c/p>\n\u003cp>Admittedly, like most people, I’ve always been more into to the pop performances and celebrity drama at the Grammy Awards (like Ariana Grande \u003ca href=\"https://www.elle.com/culture/celebrities/a26242352/ariana-grande-grammy-producer-lying-tweets/\" target=\"_blank\" rel=\"noopener\">beefing\u003c/a> with Grammy producer Ken Ehlrich this year). But there are dozens of Grammy categories—in classical, opera, jazz, metal and blues—that don’t get televised. This year’s awards feature two dozen-plus Bay Area nominees that you won’t see on TV this weekend, and close to half of those \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">nominees\u003c/a>, including MTT and the San Francisco Symphony, are in the classical and opera categories.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mason Bates’ tech-inspired opera \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a> is a hot contender for Best Opera Recording, Best Engineered Classical Album and Best Contemporary Classical Composition. \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is up for Best Opera Recording for \u003cem>Doctor Atomic\u003c/em>, which premiered at San Francisco Opera. Conductor \u003cspan style=\"font-weight: 400\">Constantine Orbelian and producer Vilius Keras, both locals, could take home the Best Opera Recording award for their work on Verdi’s \u003cem>Rigoletto\u003c/em> with the Kaunas City Symphony Orchestra and the Men Of The Kaunas State Choir. And in Contemporary Classical Composition, Bates competes against fellow Bay Area composer Jake Heggie, who is nominated for his farcical meta-opera \u003cem>Great Scott\u003c/em>. [contextly_sidebar id=”ig9G0wxIy1dWqoj9EcuVkxnUgGBvOhCv”]\u003c/span>\u003c/p>\n\u003cp>“I think getting this far does reflect a whole village,” says Bates of reaching Grammy-level contention. “There’s the singers, who are amazing, and obviously there’s the recording engineers. And then there’s the music and libretto—and that is the anchor of it all—but it all has to work together.”\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, one of the country’s most boundary-pushing string ensembles, is in the running for Best Chamber Music/Small Ensemble Performance with \u003cem>Landfall\u003c/em>, the moody and surrealist album they recorded with musician and performance artist Laurie Anderson. And veteran Bay Area engineers Keith O. Johnson and Sean Royce Martin are up for Best Engineered Classical Album for their work on the Dallas Winds’ \u003cem>John Williams at the Movies\u003c/em>, competing against fellow local engineer Shawn Murphy, who worked on Andris Nelsons and Boston Symphony Orchestra’s rendition of Shostakovich’s Symphonies Nos. 4 and 11. [contextly_sidebar id=”4Pg74aEbfe4miG4RHq29kG5LfUbaA8YR”]\u003c/p>\n\u003cp>“[The recordings] that have merit—it’s a lot more than technical do-how,” says Keith O. Johnson, explaining that engineering the Dallas Winds’ renditions of Williams’ classic theme songs for \u003cem>Superman\u003c/em> and \u003cem>Star Wars\u003c/em> required creative decision-making such as knowing when to emphasize a soloist or re-position the listener’s vantage point from the audience to the orchestra pit. “[The Recording Academy] is interested in performance, emotions, feelings, drama, staging—the kinds of things that make a recording something special to listen to.”\u003c/p>\n\u003cp>https://youtu.be/ddTQmLyfbqo\u003c/p>\n\u003cp>Although the Grammys aren’t quite as prestigious in the classical music world as the Pulitzer Prize—and, according to industry insiders, don’t make a big difference in sales—some critics argue that the Grammys’ emphasis on contemporary and historical works alike reward orchestras for taking risks.\u003c/p>\n\u003cp>“These days, the classical Grammys are much more closely linked to live orchestral performance than they’ve been for quite some time,” writes Anne Midgette for \u003cem>\u003ca href=\"https://www.washingtonpost.com/entertainment/music/orchestras-dont-get-record-deals-any-more-the-grammys-show-a-silver-lining/2019/02/07/161ebcc4-2990-11e9-b011-d8500644dc98_story.html?noredirect=on&utm_term=.12e0fceb1a00\" target=\"_blank\" rel=\"noopener\">The Washington Post\u003c/a>\u003c/em>. “That’s because most orchestral recordings these days are made during performances, and are issued, in many cases, on orchestras’ own in-house labels. Recording, increasingly, is part of an orchestra’s mandate. And since, as we’ve seen, recordings tend to feature different repertoire than standard subscription programs, this trend of recording concerts for release is contributing, slowly but surely, to a perceptible broadening of the orchestral repertoire.”\u003c/p>\n\u003cp>Though the winners of the classical and opera categories won’t be seen on TV this Sunday at the Grammys, it’s heartening to know that the Bay Area’s forward-thinking classical music talent is recognized on such a mainstream platform.\u003c/p>\n\u003cp>As Kronos Quartet’s David Harrington jokes: “\u003cem>Landfall\u003c/em> for \u003ca href=\"https://www.grammy.com/grammys/news/album-year-nominees-revealed-2019-grammy-awards\" target=\"_blank\" rel=\"noopener\">Album of the Year\u003c/a>!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The best of the best have recorded Robert Schumann’s Symphonies Nos. 1–4, including world-renowned ensembles such as Herbert von Karajan conducting the Berlin Philharmonic and Leonard Bernstein leading the New York Philharmonic. So how can an orchestra possibly re-imagine a piece of music that’s been performed since the mid-19th century, let alone render that performance original enough to be worthy of a Grammy nomination in 2019?\u003c/p>\n\u003cp>“In this traditional literature that we record, there’s certainly no point in recording it in these times unless you have something unique to say about it,” says Jack Vad, a producer and engineer who collaborated with outgoing music director Michael Tilson Thomas on the San Francisco Symphony’s recordings of Schumann’s symphonies. The double-disc set \u003cem>Schumann: Symphonies Nos. 1–4\u003c/em> (SFS Media), recorded in Davies Symphony Hall and released on the symphony’s own label, is up for Best Orchestral Performance at the 61st Grammy Awards this Sunday.\u003c/p>\n\u003cp>“The differences in interpretation that are exemplified in this particular set are ones that reflect a more nuanced, more sensitive and more intimate feeling about these pieces,” Vad tells me. “I think when you get to that level of subtlety, all of a sudden you find things that are a bit different. It’s easy to be loud and it’s easy to be quiet and simple, but there are a whole lot of other things in between.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DnSQlqBmW-8'\n title='//www.youtube.com/embed/DnSQlqBmW-8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Admittedly, like most people, I’ve always been more into to the pop performances and celebrity drama at the Grammy Awards (like Ariana Grande \u003ca href=\"https://www.elle.com/culture/celebrities/a26242352/ariana-grande-grammy-producer-lying-tweets/\" target=\"_blank\" rel=\"noopener\">beefing\u003c/a> with Grammy producer Ken Ehlrich this year). But there are dozens of Grammy categories—in classical, opera, jazz, metal and blues—that don’t get televised. This year’s awards feature two dozen-plus Bay Area nominees that you won’t see on TV this weekend, and close to half of those \u003ca href=\"https://www.grammy.com/grammys/news/2019-grammy-awards-complete-nominations-list\" target=\"_blank\" rel=\"noopener\">nominees\u003c/a>, including MTT and the San Francisco Symphony, are in the classical and opera categories.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mason Bates’ tech-inspired opera \u003ca href=\"https://www.kqed.org/news/11572666/silicon-valley-composer-transforms-steve-jobs-life-story-into-opera\" target=\"_blank\" rel=\"noopener\">\u003cem>The (R)evolution of Steve Jobs\u003c/em>\u003c/a> is a hot contender for Best Opera Recording, Best Engineered Classical Album and Best Contemporary Classical Composition. \u003ca href=\"https://www.kqed.org/arts/12731274/why-john-adams-wont-write-an-opera-about-president-trump\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> is up for Best Opera Recording for \u003cem>Doctor Atomic\u003c/em>, which premiered at San Francisco Opera. Conductor \u003cspan style=\"font-weight: 400\">Constantine Orbelian and producer Vilius Keras, both locals, could take home the Best Opera Recording award for their work on Verdi’s \u003cem>Rigoletto\u003c/em> with the Kaunas City Symphony Orchestra and the Men Of The Kaunas State Choir. And in Contemporary Classical Composition, Bates competes against fellow Bay Area composer Jake Heggie, who is nominated for his farcical meta-opera \u003cem>Great Scott\u003c/em>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/span>\u003c/p>\n\u003cp>“I think getting this far does reflect a whole village,” says Bates of reaching Grammy-level contention. “There’s the singers, who are amazing, and obviously there’s the recording engineers. And then there’s the music and libretto—and that is the anchor of it all—but it all has to work together.”\u003c/p>\n\u003cp>San Francisco’s \u003ca href=\"https://www.kqed.org/arts/13819256/tell-em-about-the-dream-kronos-quartet-explores-moment-mlk-went-off-script\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, one of the country’s most boundary-pushing string ensembles, is in the running for Best Chamber Music/Small Ensemble Performance with \u003cem>Landfall\u003c/em>, the moody and surrealist album they recorded with musician and performance artist Laurie Anderson. And veteran Bay Area engineers Keith O. Johnson and Sean Royce Martin are up for Best Engineered Classical Album for their work on the Dallas Winds’ \u003cem>John Williams at the Movies\u003c/em>, competing against fellow local engineer Shawn Murphy, who worked on Andris Nelsons and Boston Symphony Orchestra’s rendition of Shostakovich’s Symphonies Nos. 4 and 11. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“[The recordings] that have merit—it’s a lot more than technical do-how,” says Keith O. Johnson, explaining that engineering the Dallas Winds’ renditions of Williams’ classic theme songs for \u003cem>Superman\u003c/em> and \u003cem>Star Wars\u003c/em> required creative decision-making such as knowing when to emphasize a soloist or re-position the listener’s vantage point from the audience to the orchestra pit. “[The Recording Academy] is interested in performance, emotions, feelings, drama, staging—the kinds of things that make a recording something special to listen to.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ddTQmLyfbqo'\n title='//www.youtube.com/embed/ddTQmLyfbqo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although the Grammys aren’t quite as prestigious in the classical music world as the Pulitzer Prize—and, according to industry insiders, don’t make a big difference in sales—some critics argue that the Grammys’ emphasis on contemporary and historical works alike reward orchestras for taking risks.\u003c/p>\n\u003cp>“These days, the classical Grammys are much more closely linked to live orchestral performance than they’ve been for quite some time,” writes Anne Midgette for \u003cem>\u003ca href=\"https://www.washingtonpost.com/entertainment/music/orchestras-dont-get-record-deals-any-more-the-grammys-show-a-silver-lining/2019/02/07/161ebcc4-2990-11e9-b011-d8500644dc98_story.html?noredirect=on&utm_term=.12e0fceb1a00\" target=\"_blank\" rel=\"noopener\">The Washington Post\u003c/a>\u003c/em>. “That’s because most orchestral recordings these days are made during performances, and are issued, in many cases, on orchestras’ own in-house labels. Recording, increasingly, is part of an orchestra’s mandate. And since, as we’ve seen, recordings tend to feature different repertoire than standard subscription programs, this trend of recording concerts for release is contributing, slowly but surely, to a perceptible broadening of the orchestral repertoire.”\u003c/p>\n\u003cp>Though the winners of the classical and opera categories won’t be seen on TV this Sunday at the Grammys, it’s heartening to know that the Bay Area’s forward-thinking classical music talent is recognized on such a mainstream platform.\u003c/p>\n\u003cp>As Kronos Quartet’s David Harrington jokes: “\u003cem>Landfall\u003c/em> for \u003ca href=\"https://www.grammy.com/grammys/news/album-year-nominees-revealed-2019-grammy-awards\" target=\"_blank\" rel=\"noopener\">Album of the Year\u003c/a>!”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Two authors with significant Bay Area ties are among 25 finalists in five categories of the prestigious National Book Awards, the National Book Foundation announced Wednesday. \u003c/p>\n\u003cp>Short-story collection \u003cem>A Lucky Man\u003c/em> by Jamel Brinkley, a Wallace Stegner Fellow in Fiction at Stanford University, is competing in the fiction category, and \u003cem>Wobble\u003c/em> by Rae Armantrout, a Vallejo-born poet associated with the Language movement, is in the running for poetry. \u003c/p>\n\u003cp>\u003cem>A Lucky Man\u003c/em>, Brinkley’s debut collection, critically examines masculinity through nine short-stories set in Brooklyn and the South Bronx. In a May review, KQED Arts book columnist Ingrid Rojas Contreras \u003ca href=\"https://www.kqed.org/arts/13831050/a-lucky-man-a-feminist-approved-book-about-masculinity\">wrote\u003c/a> that \u003cem>A Lucky Man\u003c/em> “acknowledges male stereotypes while subverting them and exploring the psychic damage they leave in their wake,” while the \u003cem>New Yorker\u003c/em> called it a “trenchant exploration of race and class.” \u003c/p>\n\u003cp>\u003cem>Wobble\u003c/em>, meanwhile, is described by its publisher as “sometimes funny, sometimes alarming” body of poems that “play peek-a-boo with doom.” The Poetry Foundation calls Armantrout a founding member of the West Coast group of avant-garde Language poets. The 71-year-old UC Berkeley and San Francisco State University graduate, who currently teaches literature at UC San Diego, won a Pulitzer Prize in 2010 for \u003cem>Versed\u003c/em>, which was also a National Book Awards finalist. \u003c/p>\n\u003cp>Judges culled the finalists from 1,637 books. In September, Brinkley and Armantrout were \u003ca href=\"https://www.kqed.org/news/11692825/tommy-orange-rebecca-solnit-among-bay-area-authors-longlisted-for-2018-national-book-award\">longlisted\u003c/a> alongside books by four other Bay Area authors: Daniel Gumbiner, Tommy Orange, Elizabeth Partridge and Rebecca Solnit. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Winners of the National Book Awards, now in its 69th year, will be announced Nov. 14 following readings at the New School in New York City. The prize comes with a $10,000 award. \u003c/p>\n\n",
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"content": "\u003cp>Onstage at the Billboard Music Awards, Janet Jackson finally got her due.\u003c/p>\n\u003cp>In the 14 years since the “wardrobe malfunction” incident at the 2004 Super Bowl, \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener\">fans have drawn attention to the music industry’s blackball of Jackson\u003c/a> as a clear case of sexist double standards, considering that Justin Timberlake, who was actively involved in the incident, emerged unscathed. Meanwhile, a mix of racism, sexism and the abstinence-only cultural climate of the Bush era meant that the media dragged Jackson’s name through the mud, and the five-time Grammy winning artist receded from the spotlight.\u003c/p>\n\u003cp>Now, with the ongoing #TimesUp movement against gender inequality in the music industry, the moment is ripe for Jackson to have her long overdue comeback.\u003c/p>\n\u003cp>https://twitter.com/BBMAs/status/998386324699688966\u003c/p>\n\u003cp>Sunday at the Billboard Music Awards, Jackson became the first black female artist to receive the Icon Award, which honors an artist “whose body of work has made a profound influence over pop music on a global level.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We live at a glorious moment in history,” Jackson said as she accepted the award. “It’s a moment when at long last women have made it clear that we will no longer be controlled, manipulated or abused. I stand with those women and with those men equally outraged by discrimination who support us in heart and mind.”\u003c/p>\n\u003cp>https://twitter.com/essencefest/status/998385619469414401\u003c/p>\n\u003cp>Jackson then delivered her first television performance in nine years—a powerful display of female solidarity, with dancers of diverse body types and ethnicities on the stage. “Nasty” particularly struck a chord, when the dancers fiercely assembled (got in formation?) along the steps of a pyramid with Jackson at the top. The song is a warning to disrespectful dudes, and the anti-Trump reclamation of the “nasty woman” epithet also came to mind as Jackson and the dancers stared boldly at the audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With this inspiring night and Jackson’s upcoming headlining set at \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in San Francisco this August, 2018 is proving to be her year.\u003c/p>\n\n",
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"content": "\u003cp>Many people will tell you that it’s been decades since Berkeley natives Green Day could truly be considered a punk band. (I am one of those people, sometimes — \u003ca href=\"https://ww2.kqed.org/arts/2016/10/21/live-review-green-day-drinks-from-the-fountain-of-youth-at-berkeleys-uc-theatre/\" target=\"_blank\" rel=\"noopener\">it’s, well, complicated\u003c/a>.)\u003c/p>\n\u003cp>But no matter what you think of Green Day’s ascent from \u003ca href=\"https://ww2.kqed.org/arts/2016/02/17/green-day-dookie-924-gilman/\" target=\"_blank\" rel=\"noopener\">924 Gilman darlings\u003c/a> to major-label rock stardom, it doesn’t mean Billie Joe, Mike Dirnt, and Tre Cool have forgotten how to voice dissent through music. Need proof? The band performed at the American Music Awards in Los Angeles on Sunday, Nov. 20, and took the opportunity to make a highly unambiguous statement about where they stand on the recent presidential election, interrupting their song “Bang Bang” with a recurring chant of “No Trump! / No KKK! / No fascist USA!”\u003c/p>\n\u003cp>Here’s a quick clip of the chant, captured on Twitter.\u003c/p>\n\u003cp>https://twitter.com/ErickFernandez/status/800541942652223488?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>And here’s a video of the full performance below. (Billie Joe Armstrong starts the chant at about 2:15.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eSZ0KzA9e1s\u003c/p>\n\u003cp>Bonus points for local punk fans: some will no doubt recognize the chant as a reference to the song “Born to Die,” by 1980s San Francisco hardcore band MDC. That song begins and ends with the lyrics “No war / No KKK / No fascist USA.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CjOYxqgKceg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Green Day’s \u003cem>Revolution Radio, \u003c/em>the band’s 12th studio album,\u003cem> \u003c/em>was\u003cem> \u003c/em>released just last month. \u003ca href=\"http://www.rollingstone.com/music/features/billie-joe-armstrong-on-green-days-topical-new-lp-w433483\" target=\"_blank\" rel=\"noopener\">Armstrong told\u003cem> Rolling Stone\u003c/em>\u003c/a> that “Bang Bang,” the record’s lead single, is about “the culture of mass shooting that happens in America mixed with narcissistic social media.”\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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"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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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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