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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At long last, \u003ca href=\"https://www.kqed.org/arts/tag/lady-gaga\">Lady Gaga\u003c/a> has announced San Francisco dates for her MAYHEM Ball tour. Tickets for the three shows, on July 22, 24 and 26 at the \u003ca href=\"https://www.kqed.org/arts/tag/chase-center\">Chase Center\u003c/a>, go on sale this week — and we have presale details.\u003c/p>\n\u003cp>Presale tickets for Lady Gaga’s San Francisco shows go on sale \u003cstrong>Thursday, April 24\u003c/strong> at noon Pacific Daylight Time (PDT) to Citi cardmembers. The first six digits of an eligible Citi credit or debit card are your presale code, and you’ve got to buy the tickets using a Citi card. If you don’t have a Citi credit card, you can \u003ca href=\"https://www.citi.com/usc/LPACA/Citi/Cards/CustomCash/ps/index.html?ProspectID=PxmWzcNsIt22lmf2jceyC6sAq4jDG973\">apply for something called a Citi custom cash card\u003c/a> and, if approved, “may be eligible to receive temporary card details if Citi is able to instantly verify your identity” — in other words, you’d get a credit card number to type in to access and purchase tickets on Ticketmaster \u003ca href=\"https://www.ticketmaster.com/lady-gaga-tickets/artist/1249444\">here\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Presale tickets go on sale to Verizon customers on \u003cstrong>Friday, April 25\u003c/strong> at noon PDT, “just for being a Verizon customer.” More details from Verizon \u003ca href=\"https://www.verizon.com/my-access-rewards/\">here\u003c/a>; Ticketmaster link is \u003ca href=\"https://www.ticketmaster.com/lady-gaga-tickets/artist/1249444\">here\u003c/a>. \u003c/p>\n\u003cp>An artist presale starts \u003cstrong>Monday, April 28\u003c/strong> at noon PDT. You can \u003ca href=\"https://signup.ticketmaster.com/ladygaga\">sign up here\u003c/a> to access the artist presale (the deadline to sign up is 7 a.m. PDT on Thursday, April 24).\u003c/p>\n\u003cp>Expensive \u003cstrong>VIP packages\u003c/strong> will be available for the San Francisco shows, although currently there’s no details on Live Nation’s site about them. If you’re a superfan interested in VIP, \u003ca href=\"https://www.vipnation.com/tour/2025-26\">keep checking back here\u003c/a> to see if the San Francisco shows get added. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And finally, tickets go on sale to the general public on \u003cstrong>Tuesday, April 29\u003c/strong> at noon PDT \u003ca href=\"https://www.ticketmaster.com/lady-gaga-tickets/artist/1249444\">here\u003c/a>. \u003c/p>\n\u003cp>As always, be sure to sign in to your Ticketmaster account early, have your credit card ready or already stored in your account, have patience in any virtual waiting rooms or queues, and try to fight off the anxiety that’s strategically engineered by Ticketmaster to make you panic in the moment and overspend. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Good luck!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>She hath returned: A new Lady Gaga, like the old Lady Gaga, but a different Lady Gaga.\u003c/p>\n\u003cp>\u003cem>Mayhem\u003c/em>, released Friday, is a satisfying full-length project of big pop material, both a return to her roots and a hard press on the gas pedal.\u003c/p>\n\u003cp>Her 2008 debut \u003cem>The Fame\u003c/em> introduced a new generation to the addictive properties of expertly crafted electropop. \u003cem>The Fame Monster\u003c/em> a year later cemented her position as a modern great, a savior of theatrical pop that once recalled Madonna and now serves as a reminder that big belts are cinema. Then came the genre explorations of \u003cem>Born This Way\u003c/em>, \u003cem>Artpop\u003c/em>, \u003cem>Joanne\u003c/em> (arriving years before pop would go country — she has long been prescient), and 2020’s \u003cem>Chromatica\u003c/em>.\u003c/p>\n\u003cp>Half a decade later, is the world ready again for her club anthems? Or is \u003cem>Mayhem\u003c/em> an attempt to revitalize a big pop sound left behind in the streaming era? Can an artist return home without playing some parody of themselves?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vBynw9Isr28\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The answer, of course, is up to the listener. Some will hear “Abracadabra” as life-affirming dance music. Others will press play on “Killah” and balk at its Gesaffelstein-aided sound. They might read the earworm “Disease” as a song that too easily recalls the mid-2010s of her heyday, but to do so would strip it of stadium-sized pleasures. It is a great song, a familiar song, a return to a classic Gaga. (And for what it is worth, there’s a lot more energy there than in the Grammy-winning power ballad “Die with a Smile,” her collaboration with Bruno Mars.)\u003c/p>\n\u003cp>The truth is, Gaga has reclaimed her early dark-pop sensibilities and ushered them into her 2025 reality across \u003cem>Mayhem\u003c/em>. It manifests in a few ways, most prominently in her delivery. Lady Gaga sounds like she is having fun here, from the modular Moog of the ballad fake-out “Vanish Into You” and the “Bad Romance” easter egg of “Garden of Eden,” to the springy synth of “Perfect Celebrity,” which furthers Gaga’s quest to use fame to question fame’s legitimacy. Now that is timeless pop meta-commentary.\u003c/p>\n\u003cp>Autonomy was top of mind for Gaga on \u003cem>Mayhem\u003c/em>, and it’s yielded great results. “Something that was really important to me on this was really taking from myself my own inventions,” she told The Associated Press in a recent interview. “I was the creator. This was my work. It was just not a character I was playing. It was something that I made.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mayhem\u003c/em> will sound familiar to Gaga listeners, there’s no doubt about that. But they will hear an evolved version — not an easy play at nostalgia, nor an artist appeasing contemporary trends. It is Gaga staying true to herself, as she has been known to do.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The answer, of course, is up to the listener. Some will hear “Abracadabra” as life-affirming dance music. Others will press play on “Killah” and balk at its Gesaffelstein-aided sound. They might read the earworm “Disease” as a song that too easily recalls the mid-2010s of her heyday, but to do so would strip it of stadium-sized pleasures. It is a great song, a familiar song, a return to a classic Gaga. (And for what it is worth, there’s a lot more energy there than in the Grammy-winning power ballad “Die with a Smile,” her collaboration with Bruno Mars.)\u003c/p>\n\u003cp>The truth is, Gaga has reclaimed her early dark-pop sensibilities and ushered them into her 2025 reality across \u003cem>Mayhem\u003c/em>. It manifests in a few ways, most prominently in her delivery. Lady Gaga sounds like she is having fun here, from the modular Moog of the ballad fake-out “Vanish Into You” and the “Bad Romance” easter egg of “Garden of Eden,” to the springy synth of “Perfect Celebrity,” which furthers Gaga’s quest to use fame to question fame’s legitimacy. Now that is timeless pop meta-commentary.\u003c/p>\n\u003cp>Autonomy was top of mind for Gaga on \u003cem>Mayhem\u003c/em>, and it’s yielded great results. “Something that was really important to me on this was really taking from myself my own inventions,” she told The Associated Press in a recent interview. “I was the creator. This was my work. It was just not a character I was playing. It was something that I made.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Mayhem\u003c/em> will sound familiar to Gaga listeners, there’s no doubt about that. But they will hear an evolved version — not an easy play at nostalgia, nor an artist appeasing contemporary trends. It is Gaga staying true to herself, as she has been known to do.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Why Can't Hollywood Get Pop Stardom Right?",
"headTitle": "Why Can’t Hollywood Get Pop Stardom Right? | KQED",
"content": "\u003cp>These days, according to the parlance of stan armies, you’re either a “main pop girl,” or you’re not. Main pop girl-ism is nebulous, but, like pornography, you know it when you see it. She emerges into the spotlight according to album “eras” (what ancient civilizations once referred to as \u003cem>cycles\u003c/em>). At some point she has, via red carpet outfit or awards performance or interaction with paparazzi, minorly scandalized a nation. “Authenticity” is not a word that appears in her marketing plan. She can often \u003cem>actually dance\u003c/em>. Drag queens impersonate her, and rockists bicker over the number of writers credited to her hits.\u003c/p>\n\u003cp>[aside postid='arts_13891785']She may or may not actually, by pure album sales or streaming numbers or radio plays, be \u003cem>popular\u003c/em>. The domination of her type peaked in the late 2000s to early 2010s, when the American charts were crowded with muscled, alpha entertainers like Britney, Christina, Beyoncé, Rihanna, Gaga etc. But there isn’t just one main pop girl; rather, it’s an \u003ca href=\"https://www.billboard.com/music/music-news/dua-lipa-pop-girl-energy-dazed-interview-1235335755/\">energy\u003c/a> \u003ca href=\"https://www.rollingstone.com/music/music-features/charli-xcx-new-album-crash-alone-together-1297016/\">to embody\u003c/a> — fantasy aware it’s serving fantasy, Bush-era raunch. Music is just one part of her celebrity to consume, along with relationships cataloged in the press, her breakdowns and traumas (to which many documentaries are likely dedicated).\u003c/p>\n\u003cp>Jocelyn, the superstar around whom the plot of the contentious \u003ca href=\"https://www.npr.org/2023/06/05/1180083160/tv-review-hbo-the-idol-premiere\">new HBO show \u003cem>The Idol\u003c/em>\u003c/a> swarms, has main pop girl energy. Played by Lily-Rose Depp, the singer is about to release a new single called “World Class Sinner” (the lyrics of which are about being a freak and not much else, and the quality of which wouldn’t earn a spot on Ava Max’s next record) and is still processing her mothers’ death from cancer. We meet her in the middle of a sexy photoshoot, hospital wristband still on her arm. When a compromising photo of Jocelyn leaks and becomes “the number one trending topic on Twitter,” her team leaps into damage control, worried about her suffering from another “psychotic break.”\u003c/p>\n\u003cp>“I think what Britney and Jocelyn have gone through is really unique, but ultimately universal, you know?” one handler, played by Dan Levy, says. There’s a lot for Jocelyn to prove, from her ability to execute perfect choreography to the illusion of mental stamina (“prioritizing wellness,” one team member calls it). When a shady club-owner played by The Weeknd’s Abel Tesfaye comes into her life, she seems attracted to his honesty when so few people exercise it with her. “When you’re famous, everyone lies to you,” she tells him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xVYUKxF0wMc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jocelyn’s suffering and alienation under the weight of her surveilled pop career feels all too familiar. She’s the young woman ensnared in the music industry machine, coached by handlers, every bit of her body lit flatteringly for the camera, her personality and humanity sanded down for the sake of the brand. You’ve seen her in film or television before. Take, for instance, Natalie Portman’s role as Celeste in 2018’s \u003cem>Vox Lux\u003c/em>, which follows the character as a teenager after she pens a proto-viral track following her survival of a school shooting in the early ’00s. Immediately, she’s signed by a team eager to capitalize on her trauma, whisked away to New York City, then Stockholm. Celeste transforms from innocent into self-destructive megastar, battling drug and alcohol abuse, sneering at journalists and riding fame so immense she can’t walk down the street without being accosted by fans dressed in her image.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fMCYE9hKP68\u003c/p>\n\u003cp>The pressure cooker is similarly distressing for Noni (Gugu Mbatha-Raw), the star in 2014’s \u003cem>Beyond the Lights\u003c/em>, a singer in the image of early Rihanna or Ciara (though if she had it her way, she’d be the next Nina Simone.) Groomed for fame by an overbearing momager, Noni’s life is a cycle of producing indecipherable hits, topless photoshoots and a label-orchestrated romance. When she tries to jump off a balcony, she’s stopped by a cop (Nate Parker) and the two fall in love. As her handlers try to contain her image, tainted by her near-suicide, Noni ultimately strips down to her true self, the one who wants to write and perform her own music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rieoWn9BdrQ\u003c/p>\n\u003cp>We see that careful industry transformation in reverse in 2018’s \u003cem>A Star is Born\u003c/em>, as Lady Gaga’s Ally becomes a lip-syncing, orange-haired pop singer, her husband Jackson (Bradley Cooper) disgusted by the artifice that creeps into her performances. It’s never quite clear whether Ally’s transformative choices were her own or that of her new handler, but the film positions the character’s makeover as an affront and a threat to the artistic and romantic bond between her and Jackson. And despite the fact that Ally’s songs, co-written by Gaga, \u003cem>were\u003c/em> bangers (they may have sounded intentionally dated but I won’t tolerate “\u003ca href=\"https://www.youtube.com/watch?v=01nGbIaT4Wk\">Hair Body Face\u003c/a>” slander), the new Ally was positioned as a veneer over the “real” artist lurking still underneath.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nSbzyEJ8X9E\u003c/p>\n\u003cp>There’s something exhausting about Hollywood’s copy-paste of the bubblegum star as the vessel through which all the industry’s worst impulses can be articulated or satirized. In Jocelyn’s case, her troubles also don’t feel in step with what’s demanded of mainstream music stars in 2023. The extreme, over-sexed artifice championed by her team hasn’t been en vogue these days among the tween audience I imagine her label is trying to court, who’d sooner find themselves in the lived-in songwriting of stars like Olivia Rodrigo, Lizzy McAlpine, SZA, Lana Del Rey and Taylor Swift.\u003c/p>\n\u003cp>[aside postid='pop_112407']There’s also the issue of what could erupt an artist’s career at Jocelyn’s level; pop stars cancel global tours \u003ca href=\"https://www.theguardian.com/music/2022/sep/22/this-should-not-be-normalised-why-musicians-are-cancelling-tours-to-protect-their-mental-health\">to protect\u003c/a> their “mental health” regularly, after all, and many go so far as to make that mission a marketing angle or the central thesis of a new project. \u003cem>The Idol\u003c/em> may bill itself as a project “from the gutters of Hollywood,” but have Jocelyn’s Hollywood peers ever been tamer? So removed from the glare of any \u003cem>TMZ \u003c/em>camera crew, you’re more likely to be inundated with pap photos of stars carting $14 Erewhon smoothies to pilates than sloppily stumbling out of a club at 4 a.m.? Dua Lipa is too busy \u003ca href=\"https://www.npr.org/2022/04/28/1094567222/in-dua-lipas-ever-expanding-world-theres-no-time-limit-and-theres-no-what-ifs\">podcasting\u003c/a>, anyway.\u003c/p>\n\u003cp>I can’t help but think about what on-screen depictions of messy music superstardom would look like if they turned their gaze away from pop girls like Jocelyn. The genres that soapy TV shows like \u003cem>Nashville \u003c/em>and \u003cem>Empire\u003c/em> first mined nearly a decade ago, country and hip-hop respectively, now indisputably produce America’s most popular music stars. Where is the show about the handling of an artist like Morgan Wallen? The country star was \u003ca href=\"https://www.npr.org/2021/02/03/963664999/country-star-morgan-wallen-suspended-by-label-dropped-by-radio-cmt-after-using-s\">suspended by\u003c/a> his record label, pulled from radio rotation and banned from the CMA Awards after a video surfaced of him using a racial slur. And yet it only seemed to make him \u003cem>more\u003c/em> popular — album sales for his 2021 album \u003cem>Dangerous\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/02/15/arts/music/wallen-dangerous-billboard.html\">increased\u003c/a> after the scandal, and his most recent album \u003cem>One Thing at a Time\u003c/em> \u003ca href=\"https://www.nytimes.com/2023/05/30/arts/music/morgan-wallen-one-thing-at-a-time-chart.html\">dominated\u003c/a> the charts for 12 straight weeks.\u003c/p>\n\u003cp>If we had to hold a contest for who actually embodies “main pop girl” spirit and chaos in the \u003cem>Billboard\u003c/em>-charting set, Drake might actually be closer to the title than any current popstress. Or even The Weeknd himself, who is positioned as a dorky, rat-tailed scumbag in \u003cem>The Idol \u003c/em>rather than a dark, sexy singer prone to debauchery (as he was, briefly stealing Howard Ratner’s girl, in his \u003cem>Uncut Gems\u003c/em> cameo).\u003c/p>\n\u003cp>There is also a wealth of stories worth telling about the music industry’s predations and unspoken rules beyond the cliched respectability web in which Jocelyn and her fictional pop girl brethren are often caught. I’m reminded of the hip-hop drama \u003cem>Atlanta\u003c/em>, its episodes grounded in Donald Glover’s experiences with the music industry. That show depicted the way a local scene could become a viral, global export, and the co-option of hip-hop’s stories and aesthetics by white companies and benefactors Earn and Paper Boi mingle with. An early scene in which the two of them visit a Spotify-type company and witness a rapper dancing atop a table for an audience of white start-up office workers, or episodes like the final season’s “Born 2 Die” in which the concept of the “YWA” (“Young White Avatar”) is introduced as a pathway for Paper Boi out of music-making, feel far more cutting than \u003cem>The Idol\u003c/em>‘s goofy jabs at publicists trying to control a star’s X-rated photo being leaked.\u003c/p>\n\u003cp>[aside postid='arts_13909218']Of course, a more holistic on-screen depiction of the music industry’s careful narrative-building around its stars may not be nearly as titillating to someone like Levinson, whose \u003ca href=\"https://www.npr.org/2022/02/22/1082288241/unlocking-the-sensory-overload-of-euphoria#:~:text=Press-,Unlocking%20the%20sensory%20overload%20of%20'Euphoria'%20%3A%20Pop%20Culture%20Happy,violence%2C%20and%20so%20much%20more.\">body of work\u003c/a> thrives on titillation. \u003cem>The Idol\u003c/em>‘s first episode isn’t about the music industry, so much as it is about carefully maintaining a certain strain of celebrity.\u003c/p>\n\u003cp>“Pop music is the ultimate Trojan Horse,” Tesfaye’s character Tedros tells Jocelyn. “You get people to dance. You get people to sing along.” The issue is that \u003cem>The Idol\u003c/em>‘s thin conception of what pop music sounds like (not to mention the femininity Jocelyn is selling), wouldn’t actually be as popular in today’s landscape as the show’s world makes it out to be. That a character \u003cem>within\u003c/em> the show has to evoke Britney Spears as Jocelyn’s spiritual counterpart confirms Levinson’s dated ideas about stardom and the pop music that facilitates it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Modern pop music \u003cem>can\u003c/em> be a Trojan Horse for transgressive or revolutionary ideas — \u003ca href=\"https://www.npr.org/2019/12/10/786451710/billie-eilish-is-the-class-of-2019s-weird-achiever\">about identity\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/28/1068323960/lil-nas-x-pop-revolutionary\">about sex\u003c/a>, about \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\">real hardship and trauma\u003c/a>. But \u003cem>The Idol\u003c/em> is yet another project about a fictional star that swerves past reality in favor of a focus on trappings of a fame that feels chained to a bygone era, one where main pop girls reigned supreme.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+can%27t+Hollywood+get+pop+stardom+right%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "HBO series ‘The Idol’ is awfully familiar — a copy-paste of the pop star as a vessel for the music industry's worst impulses.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>These days, according to the parlance of stan armies, you’re either a “main pop girl,” or you’re not. Main pop girl-ism is nebulous, but, like pornography, you know it when you see it. She emerges into the spotlight according to album “eras” (what ancient civilizations once referred to as \u003cem>cycles\u003c/em>). At some point she has, via red carpet outfit or awards performance or interaction with paparazzi, minorly scandalized a nation. “Authenticity” is not a word that appears in her marketing plan. She can often \u003cem>actually dance\u003c/em>. Drag queens impersonate her, and rockists bicker over the number of writers credited to her hits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She may or may not actually, by pure album sales or streaming numbers or radio plays, be \u003cem>popular\u003c/em>. The domination of her type peaked in the late 2000s to early 2010s, when the American charts were crowded with muscled, alpha entertainers like Britney, Christina, Beyoncé, Rihanna, Gaga etc. But there isn’t just one main pop girl; rather, it’s an \u003ca href=\"https://www.billboard.com/music/music-news/dua-lipa-pop-girl-energy-dazed-interview-1235335755/\">energy\u003c/a> \u003ca href=\"https://www.rollingstone.com/music/music-features/charli-xcx-new-album-crash-alone-together-1297016/\">to embody\u003c/a> — fantasy aware it’s serving fantasy, Bush-era raunch. Music is just one part of her celebrity to consume, along with relationships cataloged in the press, her breakdowns and traumas (to which many documentaries are likely dedicated).\u003c/p>\n\u003cp>Jocelyn, the superstar around whom the plot of the contentious \u003ca href=\"https://www.npr.org/2023/06/05/1180083160/tv-review-hbo-the-idol-premiere\">new HBO show \u003cem>The Idol\u003c/em>\u003c/a> swarms, has main pop girl energy. Played by Lily-Rose Depp, the singer is about to release a new single called “World Class Sinner” (the lyrics of which are about being a freak and not much else, and the quality of which wouldn’t earn a spot on Ava Max’s next record) and is still processing her mothers’ death from cancer. We meet her in the middle of a sexy photoshoot, hospital wristband still on her arm. When a compromising photo of Jocelyn leaks and becomes “the number one trending topic on Twitter,” her team leaps into damage control, worried about her suffering from another “psychotic break.”\u003c/p>\n\u003cp>“I think what Britney and Jocelyn have gone through is really unique, but ultimately universal, you know?” one handler, played by Dan Levy, says. There’s a lot for Jocelyn to prove, from her ability to execute perfect choreography to the illusion of mental stamina (“prioritizing wellness,” one team member calls it). When a shady club-owner played by The Weeknd’s Abel Tesfaye comes into her life, she seems attracted to his honesty when so few people exercise it with her. “When you’re famous, everyone lies to you,” she tells him.\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/xVYUKxF0wMc'\n title='//www.youtube.com/embed/xVYUKxF0wMc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jocelyn’s suffering and alienation under the weight of her surveilled pop career feels all too familiar. She’s the young woman ensnared in the music industry machine, coached by handlers, every bit of her body lit flatteringly for the camera, her personality and humanity sanded down for the sake of the brand. You’ve seen her in film or television before. Take, for instance, Natalie Portman’s role as Celeste in 2018’s \u003cem>Vox Lux\u003c/em>, which follows the character as a teenager after she pens a proto-viral track following her survival of a school shooting in the early ’00s. Immediately, she’s signed by a team eager to capitalize on her trauma, whisked away to New York City, then Stockholm. Celeste transforms from innocent into self-destructive megastar, battling drug and alcohol abuse, sneering at journalists and riding fame so immense she can’t walk down the street without being accosted by fans dressed in her image.\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/fMCYE9hKP68'\n title='//www.youtube.com/embed/fMCYE9hKP68'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The pressure cooker is similarly distressing for Noni (Gugu Mbatha-Raw), the star in 2014’s \u003cem>Beyond the Lights\u003c/em>, a singer in the image of early Rihanna or Ciara (though if she had it her way, she’d be the next Nina Simone.) Groomed for fame by an overbearing momager, Noni’s life is a cycle of producing indecipherable hits, topless photoshoots and a label-orchestrated romance. When she tries to jump off a balcony, she’s stopped by a cop (Nate Parker) and the two fall in love. As her handlers try to contain her image, tainted by her near-suicide, Noni ultimately strips down to her true self, the one who wants to write and perform her own music.\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/rieoWn9BdrQ'\n title='//www.youtube.com/embed/rieoWn9BdrQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We see that careful industry transformation in reverse in 2018’s \u003cem>A Star is Born\u003c/em>, as Lady Gaga’s Ally becomes a lip-syncing, orange-haired pop singer, her husband Jackson (Bradley Cooper) disgusted by the artifice that creeps into her performances. It’s never quite clear whether Ally’s transformative choices were her own or that of her new handler, but the film positions the character’s makeover as an affront and a threat to the artistic and romantic bond between her and Jackson. And despite the fact that Ally’s songs, co-written by Gaga, \u003cem>were\u003c/em> bangers (they may have sounded intentionally dated but I won’t tolerate “\u003ca href=\"https://www.youtube.com/watch?v=01nGbIaT4Wk\">Hair Body Face\u003c/a>” slander), the new Ally was positioned as a veneer over the “real” artist lurking still underneath.\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/nSbzyEJ8X9E'\n title='//www.youtube.com/embed/nSbzyEJ8X9E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s something exhausting about Hollywood’s copy-paste of the bubblegum star as the vessel through which all the industry’s worst impulses can be articulated or satirized. In Jocelyn’s case, her troubles also don’t feel in step with what’s demanded of mainstream music stars in 2023. The extreme, over-sexed artifice championed by her team hasn’t been en vogue these days among the tween audience I imagine her label is trying to court, who’d sooner find themselves in the lived-in songwriting of stars like Olivia Rodrigo, Lizzy McAlpine, SZA, Lana Del Rey and Taylor Swift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s also the issue of what could erupt an artist’s career at Jocelyn’s level; pop stars cancel global tours \u003ca href=\"https://www.theguardian.com/music/2022/sep/22/this-should-not-be-normalised-why-musicians-are-cancelling-tours-to-protect-their-mental-health\">to protect\u003c/a> their “mental health” regularly, after all, and many go so far as to make that mission a marketing angle or the central thesis of a new project. \u003cem>The Idol\u003c/em> may bill itself as a project “from the gutters of Hollywood,” but have Jocelyn’s Hollywood peers ever been tamer? So removed from the glare of any \u003cem>TMZ \u003c/em>camera crew, you’re more likely to be inundated with pap photos of stars carting $14 Erewhon smoothies to pilates than sloppily stumbling out of a club at 4 a.m.? Dua Lipa is too busy \u003ca href=\"https://www.npr.org/2022/04/28/1094567222/in-dua-lipas-ever-expanding-world-theres-no-time-limit-and-theres-no-what-ifs\">podcasting\u003c/a>, anyway.\u003c/p>\n\u003cp>I can’t help but think about what on-screen depictions of messy music superstardom would look like if they turned their gaze away from pop girls like Jocelyn. The genres that soapy TV shows like \u003cem>Nashville \u003c/em>and \u003cem>Empire\u003c/em> first mined nearly a decade ago, country and hip-hop respectively, now indisputably produce America’s most popular music stars. Where is the show about the handling of an artist like Morgan Wallen? The country star was \u003ca href=\"https://www.npr.org/2021/02/03/963664999/country-star-morgan-wallen-suspended-by-label-dropped-by-radio-cmt-after-using-s\">suspended by\u003c/a> his record label, pulled from radio rotation and banned from the CMA Awards after a video surfaced of him using a racial slur. And yet it only seemed to make him \u003cem>more\u003c/em> popular — album sales for his 2021 album \u003cem>Dangerous\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/02/15/arts/music/wallen-dangerous-billboard.html\">increased\u003c/a> after the scandal, and his most recent album \u003cem>One Thing at a Time\u003c/em> \u003ca href=\"https://www.nytimes.com/2023/05/30/arts/music/morgan-wallen-one-thing-at-a-time-chart.html\">dominated\u003c/a> the charts for 12 straight weeks.\u003c/p>\n\u003cp>If we had to hold a contest for who actually embodies “main pop girl” spirit and chaos in the \u003cem>Billboard\u003c/em>-charting set, Drake might actually be closer to the title than any current popstress. Or even The Weeknd himself, who is positioned as a dorky, rat-tailed scumbag in \u003cem>The Idol \u003c/em>rather than a dark, sexy singer prone to debauchery (as he was, briefly stealing Howard Ratner’s girl, in his \u003cem>Uncut Gems\u003c/em> cameo).\u003c/p>\n\u003cp>There is also a wealth of stories worth telling about the music industry’s predations and unspoken rules beyond the cliched respectability web in which Jocelyn and her fictional pop girl brethren are often caught. I’m reminded of the hip-hop drama \u003cem>Atlanta\u003c/em>, its episodes grounded in Donald Glover’s experiences with the music industry. That show depicted the way a local scene could become a viral, global export, and the co-option of hip-hop’s stories and aesthetics by white companies and benefactors Earn and Paper Boi mingle with. An early scene in which the two of them visit a Spotify-type company and witness a rapper dancing atop a table for an audience of white start-up office workers, or episodes like the final season’s “Born 2 Die” in which the concept of the “YWA” (“Young White Avatar”) is introduced as a pathway for Paper Boi out of music-making, feel far more cutting than \u003cem>The Idol\u003c/em>‘s goofy jabs at publicists trying to control a star’s X-rated photo being leaked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Of course, a more holistic on-screen depiction of the music industry’s careful narrative-building around its stars may not be nearly as titillating to someone like Levinson, whose \u003ca href=\"https://www.npr.org/2022/02/22/1082288241/unlocking-the-sensory-overload-of-euphoria#:~:text=Press-,Unlocking%20the%20sensory%20overload%20of%20'Euphoria'%20%3A%20Pop%20Culture%20Happy,violence%2C%20and%20so%20much%20more.\">body of work\u003c/a> thrives on titillation. \u003cem>The Idol\u003c/em>‘s first episode isn’t about the music industry, so much as it is about carefully maintaining a certain strain of celebrity.\u003c/p>\n\u003cp>“Pop music is the ultimate Trojan Horse,” Tesfaye’s character Tedros tells Jocelyn. “You get people to dance. You get people to sing along.” The issue is that \u003cem>The Idol\u003c/em>‘s thin conception of what pop music sounds like (not to mention the femininity Jocelyn is selling), wouldn’t actually be as popular in today’s landscape as the show’s world makes it out to be. That a character \u003cem>within\u003c/em> the show has to evoke Britney Spears as Jocelyn’s spiritual counterpart confirms Levinson’s dated ideas about stardom and the pop music that facilitates it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Modern pop music \u003cem>can\u003c/em> be a Trojan Horse for transgressive or revolutionary ideas — \u003ca href=\"https://www.npr.org/2019/12/10/786451710/billie-eilish-is-the-class-of-2019s-weird-achiever\">about identity\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/28/1068323960/lil-nas-x-pop-revolutionary\">about sex\u003c/a>, about \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\">real hardship and trauma\u003c/a>. But \u003cem>The Idol\u003c/em> is yet another project about a fictional star that swerves past reality in favor of a focus on trappings of a fame that feels chained to a bygone era, one where main pop girls reigned supreme.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+can%27t+Hollywood+get+pop+stardom+right%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The 2023 Oscars’ Best Original Song Nominees, Cruelly Ranked",
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"content": "\u003cp>This year’s crop of Oscar nominees for best original song may not have a James Bond theme or a ubiquitous Disney banger, but it’s got range: a viral dance number, a pair of ballads by major pop stars, a welcome surprise and… yes, the obligatory \u003ca href=\"https://www.npr.org/artists/127988436/diane-warren\">Diane Warren\u003c/a> track.\u003c/p>\n\u003cp>NPR has been publishing these lists for a few years now — here’s \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and it’s been a while since a best-original-song field has been this easy to rank. The best are great, as they either feature prominently in the films or reflect directly on the themes therein. The worst either roll vacantly over the closing credits, are by Diane Warren, or both. The middle… eh, we’ll get there.\u003c/p>\n\u003cp>\u003cstrong>5. “Applause,” \u003c/strong>\u003cstrong>\u003cem>Tell It Like a Woman\u003c/em>\u003c/strong>\u003cstrong>, performed by Sofia Carson (Diane Warren, songwriter)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VAHorHpPqb4&t=1s\u003c/p>\n\u003cp>Now might be a good time to note a few of the original songs that could have received Oscar nominations in 2023. Remember \u003cem>Turning Red’\u003c/em>s amazing boy-band pastiches? “\u003ca href=\"https://www.youtube.com/watch?v=DQQRjFzB8gY\">Nobody Like U\u003c/a>,” by last year’s best original song winners \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\">Billie Eilish\u003c/a> and \u003ca href=\"https://www.npr.org/artists/1045249930/finneas\">Finneas\u003c/a>, didn’t even make \u003ca href=\"https://variety.com/feature/2023-oscars-best-original-song-predictions-1235396256/\">the shortlist for the category\u003c/a> this year. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=bduECEfvCng\">On My Way\u003c/a>,” a Jennifer Lopez pop ballad from \u003cem>Marry Me\u003c/em> that was strong enough to make viewers think, “It is plausible that this fictional chart-topper could be a huge hit in real life.” \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\">Jazmine Sullivan\u003c/a>’s “\u003ca href=\"https://www.youtube.com/watch?v=YSYtUDDW1WU\">Stand Up\u003c/a>” (from \u003cem>Till\u003c/em>) was shortlisted, but not nominated, while the Will Ferrell/Ryan Reynolds musical number “\u003ca href=\"https://www.youtube.com/watch?v=OMkJIR9pX1w\">Good Afternoon\u003c/a>” (from \u003cem>Spirited\u003c/em>, also shortlisted-but-not-nominated) would have given the Oscars telecast a welcome bit of bonkers energy, but… here we are. Diane Warren. Again. Some more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Somewhere along the way, the Academy of Motion Picture Arts and Sciences went from having a Diane Warren fixation to a Diane Warren \u003cem>problem\u003c/em>. It’s one thing to nominate, say, 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=MUFasKZcH_c\">How Do I Live\u003c/a>,” which has more or less become a pop standard. But Warren’s boilerplate movie songs have been nominated for eight of the past nine years, and the past six — all from consecutive years! — could have been written by ChatGPT if it had been fed enough Diane Warren songs beforehand. All six of those songs are basically the same: lightly rousing but deliberately paced vehicles dispensing affirmation, with titles like “Stand Up for Something,” “I’ll Fight” and “I’m Standing With You,” heard by virtually no one in the world beyond the people who didn’t feel like getting up to make themselves a snack on Oscar night.\u003c/p>\n\u003cp>[aside postid='arts_13896127']The Academy’s members gave Warren an honorary award last fall, which makes a fair bit of sense, given that she’s never been far from their minds. She received her first Oscar nomination all the way back in 1988, yet she’s never won in 13 (soon to be 14) tries. That honorary award would be much more welcome if it meant that Oscar voters would \u003cem>stop feeling obligated to nominate her\u003c/em>, particularly when the songs she’s written are 1) generic to the point of self-parody; and 2) extremely obscure. This year’s nominee is derived from a movie (\u003cem>Tell It Like a Woman\u003c/em>) that not only isn’t available for screening or streaming by the viewing public, but could also theoretically be entirely made up. Couldn’t you imagine, say, \u003cem>30 Rock\u003c/em>‘s Jenna Maroney appearing in a movie called \u003cem>Tell It Like a Woman\u003c/em>?\u003c/p>\n\u003cp>Anyway, “Applause.” Look, it’s possible that Academy voters were deeply moved by the song’s instructions to, you know, stand up and give yourself some respect and whatnot. But… come on. This song is nominated because Diane Warren’s name is on it, and because Diane Warren is a veteran Hollywood songwriter — she lives there and works specifically in the movie industry — and not some pop star tossing out crumbs in the hope of getting an EGOT someday. The song genuinely \u003cem>does not matter\u003c/em>, and that’s true in more ways than one.\u003c/p>\n\u003cp>So, there you go. Be sure to watch this space next year, when “\u003ca href=\"https://www.youtube.com/watch?v=C3twMeHY5Ws\">Gonna Be You\u003c/a>” makes\u003cem> 80 for Brady\u003c/em> the Oscar nominee it was destined to be.\u003c/p>\n\u003cp>\u003cstrong>4. “Lift Me Up,” \u003c/strong>\u003cstrong>\u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/strong>\u003cstrong>, performed by Rihanna (Tems, Ludwig Göransson, Rihanna, Ryan Coogler, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mx_OexsUI2M\u003c/p>\n\u003cp>Remember that line a few sentences ago about “some pop star tossing out crumbs in the hope of getting an EGOT someday”? Meet \u003ca href=\"https://www.npr.org/artists/15757248/rihanna\">Rihanna’\u003c/a>s “Lift Me Up,” a ballad that barely merited a shrug when it came out last fall, even though it was 1) from the dizzily anticipated blockbuster \u003cem>Black Panther: Wakanda Forever\u003c/em>; and 2) the singer’s first piece of new music in more than six years. Revisiting the song months later, that shrug persists: Rihanna lends it a clear, emotive, luminous vocal, and it’s a more-or-less effective sonic bridge between \u003cem>Black Panther: Wakanda Forever\u003c/em> and its bonus scene, but the song could have been dropped onto the closing credits of just about any movie without the words needing to change.\u003c/p>\n\u003cp>Think about the emotional weight of the first \u003cem>Black Panther\u003c/em> movie to appear following the death of Chadwick Boseman. Now take a peek at this song’s lyric sheet: “Lift me up / Hold me down / Keep me close / Safe and sound.” There’s virtually nothing here beyond boilerplate requests for support, all the way down. Swap Rihanna’s name for that of, say, Sofia Carson, and ask yourself: Would “Lift Me Up” have even made the shortlist in this category?\u003c/p>\n\u003cp>\u003cstrong>3. “Hold My Hand,” \u003c/strong>\u003cstrong>\u003cem>Top Gun: Maverick\u003c/em>\u003c/strong>\u003cstrong>, performed by Lady Gaga (Lady Gaga and BloodPop, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O2CIAKVTOrc\u003c/p>\n\u003cp>\u003cem>Top Gun: Maverick\u003c/em> doesn’t squander many opportunities to recapture the high-flying grandeur of its 1986 predecessor. But it falls a little short in the songs department, even with the passing nod to \u003ca href=\"https://www.npr.org/artists/1140355932/kenny-loggins\">Kenny Loggins\u003c/a>’ “\u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\">Danger Zone\u003c/a>” that pops up in the film’s opening moments. The original \u003cem>Top Gun\u003c/em> was packed with hits — including “Danger Zone,” Berlin’s Oscar-winning “\u003ca href=\"https://www.youtube.com/watch?v=Bx51eegLTY8\">Take My Breath Away\u003c/a>” and Loverboy’s “\u003ca href=\"https://www.youtube.com/watch?v=3_nvASTXl-Y\">Heaven in Your Eyes\u003c/a>” — but \u003cem>Top Gun: Maverick\u003c/em> largely skimps on the original songs, with just OneRepublic’s forgettable “\u003ca href=\"https://www.youtube.com/watch?v=mNEUkkoUoIA\">I Ain’t Worried\u003c/a>” and Lady Gaga’s power ballad “Hold My Hand” to show for 36 years of buildup.\u003c/p>\n\u003cp>Where the latter song doesn’t skimp is in the sheer exertion of it all: Lady Gaga gives “Hold My Hand” every ounce of the fists-plunged-heavenward, writhing-atop-a-piano-on-a-lonely-airstrip grandeur it requires, and then some. Lyrically, it doesn’t add up to a whole lot — “I know you’re scared and your pain is imperfect / But don’t you give up on yourself” — but damned if it doesn’t pair effectively with images of planes whooshing ominously and rulebooks getting tossed into trash cans. This is Lady Gaga’s third Oscar nomination in this category alone (she won for “Shallow” in 2019), so she knows her way around a movie moment.\u003c/p>\n\u003cp>\u003cstrong>2. “This Is a Life,” \u003c/strong>\u003cstrong>\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/strong>\u003cstrong>, performed by Ryan Lott, David Byrne and Mitski (Ryan Lott, David Byrne and Mitski, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzxsTXNmVm0\u003c/p>\n\u003cp>Just based on degree-of-difficulty alone, this one deserves a lofty ranking: \u003ca href=\"https://www.npr.org/artists/92313933/son-lux\">Son Lux\u003c/a>’s Ryan Lott (also rightly nominated for best original score) helped synthesize the themes of \u003cem>Everything Everywhere All at Once\u003c/em> — of which there are many — into a singular, graceful song that mirrors the film’s grand, humanistic sweep. “This Is a Life” simply operates on another level from the other closing-credits fare on this list, in part because it fits alongside no movie but this one. It’s a song about “many lives that could have been,” about “the weight of eternity at the speed of light,” and about the impossible knot of outcomes the film has spent two-plus hours endeavoring to untangle.\u003c/p>\n\u003cp>It’s also exquisitely performed. Lott uses the orchestra at his disposal sparingly, as it slides in at key moments alongside the ideal pairing of singers \u003ca href=\"https://www.npr.org/artists/468710961/mitski\">Mitski\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15320822/david-byrne\">David Byrne\u003c/a> — two voices that know their way around the search for meaning and wonder. Each contributes mightily to the song’s (and the film’s) warm, openhearted embrace of a world defined by endless possibility.\u003c/p>\n\u003cp>\u003cstrong>1. “Naatu Naatu” \u003c/strong>\u003cstrong>\u003cem>RRR\u003c/em>\u003c/strong>\u003cstrong>, performed by Kaala Bhairava and Rahul Sipligunj (M.M. Keeravaani and Chandrabose, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4_eEgJhsBMo\u003c/p>\n\u003cp>\u003cem>RRR\u003c/em> is an absolute meal of a movie: Three hours of grand, epic spectacle, punctuated by brutal violence and none-too-subtle messaging that combines anti-colonialism with ultranationalism. You might love it, you might not, but let’s see if we can’t gather together in celebration of its greatest moment: A viral dance number called “Naatu Naatu,” in which the film’s impossibly telegenic stars (Ram Charan and N.T. Rama Rao Jr.) dance their hearts out while lip-syncing for their lives.\u003c/p>\n\u003cp>[aside postid='arts_13925431']Placing “Naatu Naatu” and “Applause” in the same field of nominees is like declaring that \u003ca href=\"https://www.smithsonianmag.com/smart-news/in-defense-of-the-blobfish-why-the-worlds-ugliest-animal-isnt-as-ugly-as-you-think-it-is-6676336/\">the humble, misunderstood blobfish\u003c/a> is visually akin to Ram Charan because they’re both living organisms. Every second of this thing is \u003cem>electric\u003c/em>: a song-and-dance number for which watching qualifies as aerobic exercise, in part because dancing along is essentially involuntary.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s honestly a shame that the credits at the top of this ranking can only note performers and songwriters, because a healthy share of the credit also belongs to \u003cem>RRR’\u003c/em>s leads. Their commitment to the bit, and to Prem Rakshith’s impeccably synchronized choreography, makes “Naatu Naatu” one of the season’s biggest Oscar slam dunks. It should win, it almost certainly \u003cem>will\u003c/em> win, and the fact that it’s being performed on the telecast means we \u003cem>all\u003c/em> win.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2023+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s crop of Oscar nominees for best original song may not have a James Bond theme or a ubiquitous Disney banger, but it’s got range: a viral dance number, a pair of ballads by major pop stars, a welcome surprise and… yes, the obligatory \u003ca href=\"https://www.npr.org/artists/127988436/diane-warren\">Diane Warren\u003c/a> track.\u003c/p>\n\u003cp>NPR has been publishing these lists for a few years now — here’s \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and it’s been a while since a best-original-song field has been this easy to rank. The best are great, as they either feature prominently in the films or reflect directly on the themes therein. The worst either roll vacantly over the closing credits, are by Diane Warren, or both. The middle… eh, we’ll get there.\u003c/p>\n\u003cp>\u003cstrong>5. “Applause,” \u003c/strong>\u003cstrong>\u003cem>Tell It Like a Woman\u003c/em>\u003c/strong>\u003cstrong>, performed by Sofia Carson (Diane Warren, songwriter)\u003c/strong>\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/VAHorHpPqb4'\n title='//www.youtube.com/embed/VAHorHpPqb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now might be a good time to note a few of the original songs that could have received Oscar nominations in 2023. Remember \u003cem>Turning Red’\u003c/em>s amazing boy-band pastiches? “\u003ca href=\"https://www.youtube.com/watch?v=DQQRjFzB8gY\">Nobody Like U\u003c/a>,” by last year’s best original song winners \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\">Billie Eilish\u003c/a> and \u003ca href=\"https://www.npr.org/artists/1045249930/finneas\">Finneas\u003c/a>, didn’t even make \u003ca href=\"https://variety.com/feature/2023-oscars-best-original-song-predictions-1235396256/\">the shortlist for the category\u003c/a> this year. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=bduECEfvCng\">On My Way\u003c/a>,” a Jennifer Lopez pop ballad from \u003cem>Marry Me\u003c/em> that was strong enough to make viewers think, “It is plausible that this fictional chart-topper could be a huge hit in real life.” \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\">Jazmine Sullivan\u003c/a>’s “\u003ca href=\"https://www.youtube.com/watch?v=YSYtUDDW1WU\">Stand Up\u003c/a>” (from \u003cem>Till\u003c/em>) was shortlisted, but not nominated, while the Will Ferrell/Ryan Reynolds musical number “\u003ca href=\"https://www.youtube.com/watch?v=OMkJIR9pX1w\">Good Afternoon\u003c/a>” (from \u003cem>Spirited\u003c/em>, also shortlisted-but-not-nominated) would have given the Oscars telecast a welcome bit of bonkers energy, but… here we are. Diane Warren. Again. Some more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Somewhere along the way, the Academy of Motion Picture Arts and Sciences went from having a Diane Warren fixation to a Diane Warren \u003cem>problem\u003c/em>. It’s one thing to nominate, say, 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=MUFasKZcH_c\">How Do I Live\u003c/a>,” which has more or less become a pop standard. But Warren’s boilerplate movie songs have been nominated for eight of the past nine years, and the past six — all from consecutive years! — could have been written by ChatGPT if it had been fed enough Diane Warren songs beforehand. All six of those songs are basically the same: lightly rousing but deliberately paced vehicles dispensing affirmation, with titles like “Stand Up for Something,” “I’ll Fight” and “I’m Standing With You,” heard by virtually no one in the world beyond the people who didn’t feel like getting up to make themselves a snack on Oscar night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Academy’s members gave Warren an honorary award last fall, which makes a fair bit of sense, given that she’s never been far from their minds. She received her first Oscar nomination all the way back in 1988, yet she’s never won in 13 (soon to be 14) tries. That honorary award would be much more welcome if it meant that Oscar voters would \u003cem>stop feeling obligated to nominate her\u003c/em>, particularly when the songs she’s written are 1) generic to the point of self-parody; and 2) extremely obscure. This year’s nominee is derived from a movie (\u003cem>Tell It Like a Woman\u003c/em>) that not only isn’t available for screening or streaming by the viewing public, but could also theoretically be entirely made up. Couldn’t you imagine, say, \u003cem>30 Rock\u003c/em>‘s Jenna Maroney appearing in a movie called \u003cem>Tell It Like a Woman\u003c/em>?\u003c/p>\n\u003cp>Anyway, “Applause.” Look, it’s possible that Academy voters were deeply moved by the song’s instructions to, you know, stand up and give yourself some respect and whatnot. But… come on. This song is nominated because Diane Warren’s name is on it, and because Diane Warren is a veteran Hollywood songwriter — she lives there and works specifically in the movie industry — and not some pop star tossing out crumbs in the hope of getting an EGOT someday. The song genuinely \u003cem>does not matter\u003c/em>, and that’s true in more ways than one.\u003c/p>\n\u003cp>So, there you go. Be sure to watch this space next year, when “\u003ca href=\"https://www.youtube.com/watch?v=C3twMeHY5Ws\">Gonna Be You\u003c/a>” makes\u003cem> 80 for Brady\u003c/em> the Oscar nominee it was destined to be.\u003c/p>\n\u003cp>\u003cstrong>4. “Lift Me Up,” \u003c/strong>\u003cstrong>\u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/strong>\u003cstrong>, performed by Rihanna (Tems, Ludwig Göransson, Rihanna, Ryan Coogler, songwriters)\u003c/strong>\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/Mx_OexsUI2M'\n title='//www.youtube.com/embed/Mx_OexsUI2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remember that line a few sentences ago about “some pop star tossing out crumbs in the hope of getting an EGOT someday”? Meet \u003ca href=\"https://www.npr.org/artists/15757248/rihanna\">Rihanna’\u003c/a>s “Lift Me Up,” a ballad that barely merited a shrug when it came out last fall, even though it was 1) from the dizzily anticipated blockbuster \u003cem>Black Panther: Wakanda Forever\u003c/em>; and 2) the singer’s first piece of new music in more than six years. Revisiting the song months later, that shrug persists: Rihanna lends it a clear, emotive, luminous vocal, and it’s a more-or-less effective sonic bridge between \u003cem>Black Panther: Wakanda Forever\u003c/em> and its bonus scene, but the song could have been dropped onto the closing credits of just about any movie without the words needing to change.\u003c/p>\n\u003cp>Think about the emotional weight of the first \u003cem>Black Panther\u003c/em> movie to appear following the death of Chadwick Boseman. Now take a peek at this song’s lyric sheet: “Lift me up / Hold me down / Keep me close / Safe and sound.” There’s virtually nothing here beyond boilerplate requests for support, all the way down. Swap Rihanna’s name for that of, say, Sofia Carson, and ask yourself: Would “Lift Me Up” have even made the shortlist in this category?\u003c/p>\n\u003cp>\u003cstrong>3. “Hold My Hand,” \u003c/strong>\u003cstrong>\u003cem>Top Gun: Maverick\u003c/em>\u003c/strong>\u003cstrong>, performed by Lady Gaga (Lady Gaga and BloodPop, songwriters)\u003c/strong>\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/O2CIAKVTOrc'\n title='//www.youtube.com/embed/O2CIAKVTOrc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Top Gun: Maverick\u003c/em> doesn’t squander many opportunities to recapture the high-flying grandeur of its 1986 predecessor. But it falls a little short in the songs department, even with the passing nod to \u003ca href=\"https://www.npr.org/artists/1140355932/kenny-loggins\">Kenny Loggins\u003c/a>’ “\u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\">Danger Zone\u003c/a>” that pops up in the film’s opening moments. The original \u003cem>Top Gun\u003c/em> was packed with hits — including “Danger Zone,” Berlin’s Oscar-winning “\u003ca href=\"https://www.youtube.com/watch?v=Bx51eegLTY8\">Take My Breath Away\u003c/a>” and Loverboy’s “\u003ca href=\"https://www.youtube.com/watch?v=3_nvASTXl-Y\">Heaven in Your Eyes\u003c/a>” — but \u003cem>Top Gun: Maverick\u003c/em> largely skimps on the original songs, with just OneRepublic’s forgettable “\u003ca href=\"https://www.youtube.com/watch?v=mNEUkkoUoIA\">I Ain’t Worried\u003c/a>” and Lady Gaga’s power ballad “Hold My Hand” to show for 36 years of buildup.\u003c/p>\n\u003cp>Where the latter song doesn’t skimp is in the sheer exertion of it all: Lady Gaga gives “Hold My Hand” every ounce of the fists-plunged-heavenward, writhing-atop-a-piano-on-a-lonely-airstrip grandeur it requires, and then some. Lyrically, it doesn’t add up to a whole lot — “I know you’re scared and your pain is imperfect / But don’t you give up on yourself” — but damned if it doesn’t pair effectively with images of planes whooshing ominously and rulebooks getting tossed into trash cans. This is Lady Gaga’s third Oscar nomination in this category alone (she won for “Shallow” in 2019), so she knows her way around a movie moment.\u003c/p>\n\u003cp>\u003cstrong>2. “This Is a Life,” \u003c/strong>\u003cstrong>\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/strong>\u003cstrong>, performed by Ryan Lott, David Byrne and Mitski (Ryan Lott, David Byrne and Mitski, songwriters)\u003c/strong>\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/EzxsTXNmVm0'\n title='//www.youtube.com/embed/EzxsTXNmVm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just based on degree-of-difficulty alone, this one deserves a lofty ranking: \u003ca href=\"https://www.npr.org/artists/92313933/son-lux\">Son Lux\u003c/a>’s Ryan Lott (also rightly nominated for best original score) helped synthesize the themes of \u003cem>Everything Everywhere All at Once\u003c/em> — of which there are many — into a singular, graceful song that mirrors the film’s grand, humanistic sweep. “This Is a Life” simply operates on another level from the other closing-credits fare on this list, in part because it fits alongside no movie but this one. It’s a song about “many lives that could have been,” about “the weight of eternity at the speed of light,” and about the impossible knot of outcomes the film has spent two-plus hours endeavoring to untangle.\u003c/p>\n\u003cp>It’s also exquisitely performed. Lott uses the orchestra at his disposal sparingly, as it slides in at key moments alongside the ideal pairing of singers \u003ca href=\"https://www.npr.org/artists/468710961/mitski\">Mitski\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15320822/david-byrne\">David Byrne\u003c/a> — two voices that know their way around the search for meaning and wonder. Each contributes mightily to the song’s (and the film’s) warm, openhearted embrace of a world defined by endless possibility.\u003c/p>\n\u003cp>\u003cstrong>1. “Naatu Naatu” \u003c/strong>\u003cstrong>\u003cem>RRR\u003c/em>\u003c/strong>\u003cstrong>, performed by Kaala Bhairava and Rahul Sipligunj (M.M. Keeravaani and Chandrabose, songwriters)\u003c/strong>\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/4_eEgJhsBMo'\n title='//www.youtube.com/embed/4_eEgJhsBMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>RRR\u003c/em> is an absolute meal of a movie: Three hours of grand, epic spectacle, punctuated by brutal violence and none-too-subtle messaging that combines anti-colonialism with ultranationalism. You might love it, you might not, but let’s see if we can’t gather together in celebration of its greatest moment: A viral dance number called “Naatu Naatu,” in which the film’s impossibly telegenic stars (Ram Charan and N.T. Rama Rao Jr.) dance their hearts out while lip-syncing for their lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Placing “Naatu Naatu” and “Applause” in the same field of nominees is like declaring that \u003ca href=\"https://www.smithsonianmag.com/smart-news/in-defense-of-the-blobfish-why-the-worlds-ugliest-animal-isnt-as-ugly-as-you-think-it-is-6676336/\">the humble, misunderstood blobfish\u003c/a> is visually akin to Ram Charan because they’re both living organisms. Every second of this thing is \u003cem>electric\u003c/em>: a song-and-dance number for which watching qualifies as aerobic exercise, in part because dancing along is essentially involuntary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s honestly a shame that the credits at the top of this ranking can only note performers and songwriters, because a healthy share of the credit also belongs to \u003cem>RRR’\u003c/em>s leads. Their commitment to the bit, and to Prem Rakshith’s impeccably synchronized choreography, makes “Naatu Naatu” one of the season’s biggest Oscar slam dunks. It should win, it almost certainly \u003cem>will\u003c/em> win, and the fact that it’s being performed on the telecast means we \u003cem>all\u003c/em> win.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2023+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The family of legendary singer Tony Bennett—a staple presence who introduced generations to the American songbook and pop standards—says he has Alzheimer’s disease.\u003c/p>\n\u003cp>The announcement was made in \u003ca href=\"https://www.aarp.org/entertainment/celebrities/info-2021/tony-bennett-alzheimers.html\" target=\"_blank\" rel=\"noopener noreferrer\">a profile of Bennett\u003c/a> published by \u003cem>AARP The Magazine\u003c/em> on Monday; his wife, Susan Benedetto, says that he was diagnosed with the debilitating disease in 2016. On Monday morning, Bennett’s Twitter account posted \u003ca href=\"https://twitter.com/itstonybennett/status/1356232201810157568?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet\" target=\"_blank\" rel=\"noopener noreferrer\">a note\u003c/a> in the singer’s name, writing: “Life is a gift—even with Alzheimer’s. Thank you to Susan and my family for their support, and \u003cem>AARP The Magazine\u003c/em> for telling my story.”\u003c/p>\n\u003cp>Benedetto also gave an interview to \u003ca href=\"https://www.cbsnews.com/news/tony-bennett-alzheimers-disease/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>CBS This Morning\u003c/em>\u003c/a> on Monday, saying that Bennett is still able to rehearse twice a week at home, singing for an hour or so at a time.\u003c/p>\n\u003cp>Benedetto told \u003cem>AARP\u003c/em> that the singer is often disoriented and sometimes doesn’t recognize the utility of household objects such as forks or keys, but that he still recognizes family members.\u003c/p>\n\u003cp>Despite his battle, Bennett has recorded a new album of duets with Lady Gaga as a follow-up to their 2014 project, \u003cem>Cheek to Cheek.\u003c/em> According to\u003cem> AARP\u003c/em>, the new material was recorded “in widely spaced sessions” between 2018 and early last year and Gaga was aware of his disease while they were recording.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When the \u003cem>AARP \u003c/em>journalist asked the singer in early November 2020 if he was excited about the project, however, Bennett “stared silently.”\u003c/p>\n\u003cp>The family—chiefly his wife and his son, Danny, who has managed Bennett’s career for the past 40 years (and who \u003ca href=\"https://variety.com/2019/music/news/verve-records-president-danny-bennett-steps-down-1203169829/\" target=\"_blank\" rel=\"noopener noreferrer\">led\u003c/a> the Verve record label between 2016 and 2019)—told \u003cem>AARP\u003c/em> that they felt that with this new—and perhaps final—album scheduled for release this spring, it was time to disclose his condition.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EIoyTlfUPPU\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Tony+Bennett+Has+Alzheimer%27s+Disease&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The family of legendary singer Tony Bennett—a staple presence who introduced generations to the American songbook and pop standards—says he has Alzheimer’s disease.\u003c/p>\n\u003cp>The announcement was made in \u003ca href=\"https://www.aarp.org/entertainment/celebrities/info-2021/tony-bennett-alzheimers.html\" target=\"_blank\" rel=\"noopener noreferrer\">a profile of Bennett\u003c/a> published by \u003cem>AARP The Magazine\u003c/em> on Monday; his wife, Susan Benedetto, says that he was diagnosed with the debilitating disease in 2016. On Monday morning, Bennett’s Twitter account posted \u003ca href=\"https://twitter.com/itstonybennett/status/1356232201810157568?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Etweet\" target=\"_blank\" rel=\"noopener noreferrer\">a note\u003c/a> in the singer’s name, writing: “Life is a gift—even with Alzheimer’s. Thank you to Susan and my family for their support, and \u003cem>AARP The Magazine\u003c/em> for telling my story.”\u003c/p>\n\u003cp>Benedetto also gave an interview to \u003ca href=\"https://www.cbsnews.com/news/tony-bennett-alzheimers-disease/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>CBS This Morning\u003c/em>\u003c/a> on Monday, saying that Bennett is still able to rehearse twice a week at home, singing for an hour or so at a time.\u003c/p>\n\u003cp>Benedetto told \u003cem>AARP\u003c/em> that the singer is often disoriented and sometimes doesn’t recognize the utility of household objects such as forks or keys, but that he still recognizes family members.\u003c/p>\n\u003cp>Despite his battle, Bennett has recorded a new album of duets with Lady Gaga as a follow-up to their 2014 project, \u003cem>Cheek to Cheek.\u003c/em> According to\u003cem> AARP\u003c/em>, the new material was recorded “in widely spaced sessions” between 2018 and early last year and Gaga was aware of his disease while they were recording.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>President-elect Joe Biden may not have big crowds at his coronavirus-limited inauguration, but he won’t be lacking for star power.\u003c/p>\n\u003cp>The Presidential Inaugural Committee announced Thursday that pop star Lady Gaga will sing the National Anthem and Jennifer Lopez will perform a musical number at the Capitol ceremony next week.\u003c/p>\n\u003cp>Other participants will include Leo J. O’Donovan, a Jesuit priest and former Georgetown University president who will lead the invocation, and Andrea Hall, the first Black woman to be named captain with the South Fulton Fire and Rescue Department in Georgia, who will lead the Pledge of Allegiance.\u003c/p>\n\u003cp>There will also be a poetry reading by Amanda Gorman, the first-ever national Youth Poet Laureate. The Rev. Silvester Beaman, pastor of Bethel African Methodist Episcopal Church in Wilmington, Del., will conduct the benediction.\u003c/p>\n\u003cp>The announcement of their participation comes one day after word that Tom Hanks will host a \u003ca href=\"https://apnews.com/article/joe-biden-inauguration-tv-special-425933c038629dba55d56ac569e83d38\" rel=\"noopener noreferrer\" target=\"_blank\">90-minute primetime TV special\u003c/a> celebrating Biden’s inauguration. Other performers for the special include Justin Timberlake, Jon Bon Jovi, Demi Lovato and Ant Clemons.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In making the inauguration announcement, the CEO of the inaugural committee, Tony Allen, said that the participants “represent one clear picture of the grand diversity of our great nation and will help honor and celebrate the time-honored traditions of the presidential inauguration as President-elect Biden and Vice President-elect Harris take the oath of office on the West Front of the U.S. Capitol.”\u003c/p>\n\u003cp>The announcement notes that Lady Gaga “worked closely with President-elect Biden’s ‘It’s On Us’ campaign to address sexual assault on college campuses” and that Lopez and her partner, former baseball player Alex Rodriguez, “have been outspoken about the disproportionate impact of coronavirus on Latinos and the need to contain the virus, rebuild the economy, and unify the country.” \u003c/p>\n\u003cp>Allen said the group is also committed to the president-elect and the vice president-elect’s “steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation.”\u003c/p>\n\u003cp>The ceremony will be held on Jan. 20 on the West Front of the U.S. Capitol. It will take place just two weeks after the Capitol was ransacked by a pro-Trump mob seeking to stop the counting of Electoral College votes showing Biden and Harris won the election. \u003c/p>\n\u003cp>The Capitol and the U.S. Supreme Court across the street are now surrounded by nonscalable fencing with troops stationed in and around the buildings. On Wednesday, Trump became the first president to be impeached twice because of his actions leading up to the violence Jan. 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Attendance at the inauguration will be limited, with members of Congress being given just one ticket because of the coronavirus. In addition, local government leaders are urging people not to come to Washington that day because of threats of violence, following last week’s storming of the Capitol. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+Gaga%2C+J-Lo+To+Headline+Biden+Inauguration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>President-elect Joe Biden may not have big crowds at his coronavirus-limited inauguration, but he won’t be lacking for star power.\u003c/p>\n\u003cp>The Presidential Inaugural Committee announced Thursday that pop star Lady Gaga will sing the National Anthem and Jennifer Lopez will perform a musical number at the Capitol ceremony next week.\u003c/p>\n\u003cp>Other participants will include Leo J. O’Donovan, a Jesuit priest and former Georgetown University president who will lead the invocation, and Andrea Hall, the first Black woman to be named captain with the South Fulton Fire and Rescue Department in Georgia, who will lead the Pledge of Allegiance.\u003c/p>\n\u003cp>There will also be a poetry reading by Amanda Gorman, the first-ever national Youth Poet Laureate. The Rev. Silvester Beaman, pastor of Bethel African Methodist Episcopal Church in Wilmington, Del., will conduct the benediction.\u003c/p>\n\u003cp>The announcement of their participation comes one day after word that Tom Hanks will host a \u003ca href=\"https://apnews.com/article/joe-biden-inauguration-tv-special-425933c038629dba55d56ac569e83d38\" rel=\"noopener noreferrer\" target=\"_blank\">90-minute primetime TV special\u003c/a> celebrating Biden’s inauguration. Other performers for the special include Justin Timberlake, Jon Bon Jovi, Demi Lovato and Ant Clemons.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In making the inauguration announcement, the CEO of the inaugural committee, Tony Allen, said that the participants “represent one clear picture of the grand diversity of our great nation and will help honor and celebrate the time-honored traditions of the presidential inauguration as President-elect Biden and Vice President-elect Harris take the oath of office on the West Front of the U.S. Capitol.”\u003c/p>\n\u003cp>The announcement notes that Lady Gaga “worked closely with President-elect Biden’s ‘It’s On Us’ campaign to address sexual assault on college campuses” and that Lopez and her partner, former baseball player Alex Rodriguez, “have been outspoken about the disproportionate impact of coronavirus on Latinos and the need to contain the virus, rebuild the economy, and unify the country.” \u003c/p>\n\u003cp>Allen said the group is also committed to the president-elect and the vice president-elect’s “steadfast vision of a new chapter in our American story in which we are an America united in overcoming the deep divisions and challenges facing our people, unifying the country, and restoring the soul of our nation.”\u003c/p>\n\u003cp>The ceremony will be held on Jan. 20 on the West Front of the U.S. Capitol. It will take place just two weeks after the Capitol was ransacked by a pro-Trump mob seeking to stop the counting of Electoral College votes showing Biden and Harris won the election. \u003c/p>\n\u003cp>The Capitol and the U.S. Supreme Court across the street are now surrounded by nonscalable fencing with troops stationed in and around the buildings. On Wednesday, Trump became the first president to be impeached twice because of his actions leading up to the violence Jan. 6. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Attendance at the inauguration will be limited, with members of Congress being given just one ticket because of the coronavirus. In addition, local government leaders are urging people not to come to Washington that day because of threats of violence, following last week’s storming of the Capitol. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lady+Gaga%2C+J-Lo+To+Headline+Biden+Inauguration&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The MTV VMAs In 2020: 10 Takeaways",
"headTitle": "The MTV VMAs In 2020: 10 Takeaways | KQED",
"content": "\u003cp>Awards shows often take place amid distractions, from natural disasters to civil unrest to the aftermath of a high-profile death. Sunday night’s MTV Video Music Awards had to coexist with all three, not to mention a worldwide pandemic that made it impossible — and, in New York City, illegal — to assemble a live audience.\u003c/p>\n\u003cp>How did it go? Here are 10 takeaways.\u003c/p>\n\u003cp>1) \u003cstrong>The VMAs actually happened in 2020.\u003c/strong> You’d be forgiven if they’d slipped your mind, but MTV somehow made a performance-driven awards show without live crowds. The energy was weird and spontaneity was hard to come by — more on that in a moment — but they pulled it off, complete with lavishly staged performances by Lady Gaga, BTS, The Weeknd, Doja Cat, DaBaby, Miley Cyrus, Maluma, Black Eyed Peas and others.\u003c/p>\n\u003cp>2) \u003cstrong>It was a big night for Lady Gaga.\u003c/strong> The superstar took home the inaugural Tricon Award — “triple threat/icon”? — which is basically the equivalent of being inducted into the VMAs Hall of Fame. She put on a grand and game performance with a guest appearance from Ariana Grande, she won a bucket of other awards (Artist of the Year, Song of the Year, Best Collaboration, Best Cinematography), she gave a bunch of speeches and she rocked a series of truly magnificent masks. It was her night.\u003c/p>\n\u003cp>https://youtu.be/5D4vjndnB0w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3) \u003cstrong>It was also a big night for green screens. \u003c/strong>Without crowds, artists seized the opportunity to seriously blur the lines separating “live performances” from “music videos.” What they lost in spontaneity, they gained in production values, from BTS dancing in front of an assortment of wildly different backdrops to Maluma and CNCO each performing at what looked like a neon-lit drive-in theater. Bonus points to rapper DaBaby, who brought in the dance troupe Jabbawockeez to help serve up a bit of visual commentary about police violence.\u003c/p>\n\u003cp>https://youtu.be/WUQXgU-R_wM\u003c/p>\n\u003cp>4) \u003cstrong>The show appeared to be almost entirely pre-taped.\u003c/strong> At the very beginning of the show, host Keke Palmer appeared in a lo-res video — it looked as if it was shot on a webcam or cell phone — in which she dedicated the night to the memory of actor Chadwick Boseman, who died Friday. Everything else with Palmer looked a lot slicker, which suggests that the intro was tacked on after the rest of her work was completed. Given the green-screen effects in so many of the performances, there wasn’t much here that could really be considered “live.”\u003c/p>\n\u003cp>5) \u003cstrong>Pre-taped means pre-vetted.\u003c/strong> The VMAs are typically known for bonkers moments — beefs between performers, Kanye West interrupting Taylor Swift’s acceptance speech, that sort of thing. But nothing here could really be engineered to fly off the rails or otherwise surprise, which made for a relatively uneventful evening. The Weeknd gave the night a dose of humanity and gravity by accepting his awards — for Video of the Year and Best R&B — with a plea for “justice for Jacob Blake, justice for Breonna Taylor.” But if you were hoping for Kanye West to burst in via hologram and announce that he’s a wizard now, it didn’t happen.\u003c/p>\n\u003cp>6) \u003cstrong>The actual awards were easy to predict.\u003c/strong> If you wanted to break a tie between, say, Lady Gaga (who performed) and Billie Eilish (who didn’t), you didn’t have to think very hard. An unforgivably cruel and cynical viewer might be left to wonder whether they’d booked the performers with award winners in mind (or worse). Based on \u003ca href=\"https://www.bustle.com/articles/36113-the-mtv-vmas-are-determined-by-fans-and-mysterious-strangers\">the opaqueness of the VMAs’ process\u003c/a>, we may never know.\u003c/p>\n\u003cp>7) \u003cstrong>BTS was more than an afterthought.\u003c/strong> For the past few years, the VMAs have made more of a place for BTS than, say, the Grammys. But this was still the K-pop juggernaut’s first time actually \u003cem>performing\u003c/em> on the VMAs — and the group picked up well-earned trophies for Best Pop, Best Group, Best K-Pop and Best Choreography.\u003c/p>\n\u003cp>https://youtu.be/zJCdkOpU90g\u003c/p>\n\u003cp>8) \u003cstrong>About that “Tricon Award”…\u003c/strong> The VMAs’ equivalent of a Lifetime Achievement Award began as something called the “Video Vanguard Award” — and, later, the “Michael Jackson Video Vanguard Award.” Without fanfare or even explanation, it would appear that the prize has again been renamed, this time as the “Tricon Award,” perhaps as a quiet effort to distance the VMAs from \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">controversies surrounding Jackson\u003c/a>. If you hear about these VMAs at all in the coming days, this issue might be the reason why. [aside postid='arts_13885461']\u003c/p>\n\u003cp>9) \u003cstrong>Black Eyed Peas?\u003c/strong> Black Eyed Peas were inescapable a few years back, performing at a Super Bowl halftime show and frequently turning up in brightly lit showcases at the Grammys. But somehow, the group had never performed at the VMAs… until the closing set of this year’s telecast. Why? Who knows? But those weird glowing crotches will linger as the VMAs’ deeply unnerving final image. Thanks, 2020.\u003c/p>\n\u003cp>https://youtu.be/4OJEeR8Aj4o\u003c/p>\n\u003cp>10) \u003cstrong>Give Keke Palmer credit.\u003c/strong> The actress, singer and newly minted VMAs host had a basically impossible job: She had to maintain energy, perform skits, tell jokes and otherwise keep an awards show moving, and she had to do it in empty rooms. Sure, the production simulated crowd noise, in a bit of fakery that distracted as much as it helped. But Palmer held her own — and, seriously, that was a \u003cem>feat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See a \u003c/em>\u003ca href=\"http://www.mtv.com/vma/vote/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>complete list of winners\u003c/em>\u003c/a>\u003cem> from the 2020 Video Music Awards.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">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+MTV+VMAs+In+2020%3A+10+Takeaways&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>3) \u003cstrong>It was also a big night for green screens. \u003c/strong>Without crowds, artists seized the opportunity to seriously blur the lines separating “live performances” from “music videos.” What they lost in spontaneity, they gained in production values, from BTS dancing in front of an assortment of wildly different backdrops to Maluma and CNCO each performing at what looked like a neon-lit drive-in theater. Bonus points to rapper DaBaby, who brought in the dance troupe Jabbawockeez to help serve up a bit of visual commentary about police violence.\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/WUQXgU-R_wM'\n title='//www.youtube.com/embed/WUQXgU-R_wM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>4) \u003cstrong>The show appeared to be almost entirely pre-taped.\u003c/strong> At the very beginning of the show, host Keke Palmer appeared in a lo-res video — it looked as if it was shot on a webcam or cell phone — in which she dedicated the night to the memory of actor Chadwick Boseman, who died Friday. Everything else with Palmer looked a lot slicker, which suggests that the intro was tacked on after the rest of her work was completed. Given the green-screen effects in so many of the performances, there wasn’t much here that could really be considered “live.”\u003c/p>\n\u003cp>5) \u003cstrong>Pre-taped means pre-vetted.\u003c/strong> The VMAs are typically known for bonkers moments — beefs between performers, Kanye West interrupting Taylor Swift’s acceptance speech, that sort of thing. But nothing here could really be engineered to fly off the rails or otherwise surprise, which made for a relatively uneventful evening. The Weeknd gave the night a dose of humanity and gravity by accepting his awards — for Video of the Year and Best R&B — with a plea for “justice for Jacob Blake, justice for Breonna Taylor.” But if you were hoping for Kanye West to burst in via hologram and announce that he’s a wizard now, it didn’t happen.\u003c/p>\n\u003cp>6) \u003cstrong>The actual awards were easy to predict.\u003c/strong> If you wanted to break a tie between, say, Lady Gaga (who performed) and Billie Eilish (who didn’t), you didn’t have to think very hard. An unforgivably cruel and cynical viewer might be left to wonder whether they’d booked the performers with award winners in mind (or worse). Based on \u003ca href=\"https://www.bustle.com/articles/36113-the-mtv-vmas-are-determined-by-fans-and-mysterious-strangers\">the opaqueness of the VMAs’ process\u003c/a>, we may never know.\u003c/p>\n\u003cp>7) \u003cstrong>BTS was more than an afterthought.\u003c/strong> For the past few years, the VMAs have made more of a place for BTS than, say, the Grammys. But this was still the K-pop juggernaut’s first time actually \u003cem>performing\u003c/em> on the VMAs — and the group picked up well-earned trophies for Best Pop, Best Group, Best K-Pop and Best Choreography.\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/zJCdkOpU90g'\n title='//www.youtube.com/embed/zJCdkOpU90g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8) \u003cstrong>About that “Tricon Award”…\u003c/strong> The VMAs’ equivalent of a Lifetime Achievement Award began as something called the “Video Vanguard Award” — and, later, the “Michael Jackson Video Vanguard Award.” Without fanfare or even explanation, it would appear that the prize has again been renamed, this time as the “Tricon Award,” perhaps as a quiet effort to distance the VMAs from \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">controversies surrounding Jackson\u003c/a>. If you hear about these VMAs at all in the coming days, this issue might be the reason why. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>9) \u003cstrong>Black Eyed Peas?\u003c/strong> Black Eyed Peas were inescapable a few years back, performing at a Super Bowl halftime show and frequently turning up in brightly lit showcases at the Grammys. But somehow, the group had never performed at the VMAs… until the closing set of this year’s telecast. Why? Who knows? But those weird glowing crotches will linger as the VMAs’ deeply unnerving final image. Thanks, 2020.\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/4OJEeR8Aj4o'\n title='//www.youtube.com/embed/4OJEeR8Aj4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10) \u003cstrong>Give Keke Palmer credit.\u003c/strong> The actress, singer and newly minted VMAs host had a basically impossible job: She had to maintain energy, perform skits, tell jokes and otherwise keep an awards show moving, and she had to do it in empty rooms. Sure, the production simulated crowd noise, in a bit of fakery that distracted as much as it helped. But Palmer held her own — and, seriously, that was a \u003cem>feat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See a \u003c/em>\u003ca href=\"http://www.mtv.com/vma/vote/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>complete list of winners\u003c/em>\u003c/a>\u003cem> from the 2020 Video Music Awards.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">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+MTV+VMAs+In+2020%3A+10+Takeaways&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Lady Gaga released “Rain On Me,” the second single ahead of her upcoming album \u003cem>Chromatica\u003c/em> midnight Friday morning, followed by a music video Friday afternoon.\u003c/p>\n\u003cp>Featuring guest vocals from Ariana Grande, “Rain On Me” is Gaga at her electronic-dance-pop \u003cem>most\u003c/em>, with those signature booming vocals and even some dramatic spoken lyrics just before the drop, another Germanotta staple. Few can belt the way that Gaga can and Grande is one of them, giving this the kind of grand-event feel that makes this kind of pop superstar team-up hum.\u003c/p>\n\u003cp>Fitting in with the sort-of-cyberpunk aesthetic around \u003cem>Chromatica \u003c/em>as a whole, the video features Gaga and Grande clad in sci-fi-inspired plastic-and-leather-wear, dancing amidst a rainstorm in a morose, futuristic city. At one point, Gaga becomes a giant, \u003cem>Blade Runner\u003c/em>-style projection and—underscoring the song’s message of making the best of a bad situation—by the end turns the dystopia into a dance floor.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AoAm4om0wTs&feature=emb_logo\u003c/p>\n\u003cp>(All of that said, only time will tell if it can topple Natasha Bedingfield’s “Unwritten” as the world’s foremost rain-based pop anthem.)\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Lady Gaga’s new album, \u003c/em>Chromatica\u003cem>, will be released May 29 on Interscope Records. \u003c/em>\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=In+Their+First+Collaboration%2C+Lady+Gaga+And+Ariana+Grande+Get+Exuberantly+Dystopic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lady Gaga released “Rain On Me,” the second single ahead of her upcoming album \u003cem>Chromatica\u003c/em> midnight Friday morning, followed by a music video Friday afternoon.\u003c/p>\n\u003cp>Featuring guest vocals from Ariana Grande, “Rain On Me” is Gaga at her electronic-dance-pop \u003cem>most\u003c/em>, with those signature booming vocals and even some dramatic spoken lyrics just before the drop, another Germanotta staple. Few can belt the way that Gaga can and Grande is one of them, giving this the kind of grand-event feel that makes this kind of pop superstar team-up hum.\u003c/p>\n\u003cp>Fitting in with the sort-of-cyberpunk aesthetic around \u003cem>Chromatica \u003c/em>as a whole, the video features Gaga and Grande clad in sci-fi-inspired plastic-and-leather-wear, dancing amidst a rainstorm in a morose, futuristic city. At one point, Gaga becomes a giant, \u003cem>Blade Runner\u003c/em>-style projection and—underscoring the song’s message of making the best of a bad situation—by the end turns the dystopia into a dance floor.\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/AoAm4om0wTs'\n title='//www.youtube.com/embed/AoAm4om0wTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>(All of that said, only time will tell if it can topple Natasha Bedingfield’s “Unwritten” as the world’s foremost rain-based pop anthem.)\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Lady Gaga’s new album, \u003c/em>Chromatica\u003cem>, will be released May 29 on Interscope Records. \u003c/em>\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=In+Their+First+Collaboration%2C+Lady+Gaga+And+Ariana+Grande+Get+Exuberantly+Dystopic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Where is America’s Outpouring of Grief Over COVID-19?",
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"content": "\u003cp>[dropcap]A[/dropcap]merica has a long history of coming together to grieve after a national tragedy. It was visible in the days after 9/11 when stars and stripes suddenly filled the windows of shopfronts and homes across America. It was overwhelming after the Sandy Hook mass shooting in 2012, when \u003ca href=\"https://www.thetrace.org/2015/12/sandy-hook-shooting-donations/\" target=\"_blank\" rel=\"noopener noreferrer\">65,000 teddy bears and 500,000 letters\u003c/a> were sent to Newtown, Connecticut. And the grief that Americans shared after the assassination of President Lincoln was so immense, it’s \u003ca href=\"https://marthahodes.com/book-detail.php?recordID=4\" target=\"_blank\" rel=\"noopener noreferrer\">still with us in a variety of forms\u003c/a> more than a century and a half later.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" class=\"alignright size-full wp-image-13882786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">Yet, a public display of collective grief for the more than 70,000 American lives lost to COVID-19 remains largely absent. We are willing to make \u003ca href=\"https://www.kron4.com/health/coronavirus/howling-for-healthcare-workers-across-the-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">noise for healthcare workers\u003c/a>, put \u003ca href=\"https://abc7news.com/teddy-bear-hunts-hunt-we-are-going-on-a-window-bears/6055934/\" target=\"_blank\" rel=\"noopener noreferrer\">teddy bears in windows\u003c/a> for children, and we might even make and distribute face masks. But when it comes to the lives of the thousands we’ve lost, few people are yet ready to look directly into the eye of that particular storm, and deal with all the mourning that will inevitably come with it.\u003c/p>\n\u003cp>What we as a nation usually do after a tragedy is look straight to the victims of it. When there are high profile mass shootings, for example, we spend days learning the names and life stories of those lost in the tragedy. We get to know the dead through news reports and newspaper profiles and testimonies from friends told to journalists. We take time to think of these people; we look at their faces; we weep for their families.\u003c/p>\n\u003cp>But with COVID-19, we’ve all become suddenly much more interested in statistical analysis. Although it’s worth noting that NBC managed to tell \u003ca href=\"https://www.nbcnews.com/news/obituaries/coronavirus-deaths-60-stories-victims-around-country-n1194396\" target=\"_blank\" rel=\"noopener noreferrer\">the stories of 60\u003c/a> people killed by COVID-19, and CNN is gathering \u003ca href=\"https://www.cnn.com/interactive/2020/health/coronavirus-victims-memories/\" target=\"_blank\" rel=\"noopener noreferrer\">obituaries from loved ones\u003c/a> on an ongoing basis, this pandemic has largely been framed in the media by data, not sorrow.\u003c/p>\n\u003cp>There are two likely reasons for this. The first is that the danger remains at large, and it’s more comfortable to prioritize facts over feelings right now. Americans are still worrying about their likelihood of contracting the virus, trying to learn the best practices to stay safe, and worrying about their bank balances after catastrophic job losses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The second is an issue of the sheer, unfathomable numbers involved. COVID-19 has now killed \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/04/28/846701304/pandemic-death-toll-in-u-s-now-exceeds-vietnam-wars-u-s-fatalities\" target=\"_blank\" rel=\"noopener noreferrer\">more Americans than the Vietnam War\u003c/a>—thousands more, in fact—in a tiny fraction of the time. That number is (currently) roughly the equivalent of 24 9/11s. For many people trying to keep their heads above water, their families safe and their friends in check, it’s simply too much loss to contemplate on top of everything else.\u003c/p>\n\u003cp>Under the circumstances, when Americans do allow themselves to feel emotional, it is often directed towards healthcare workers. As the very personification of the crisis, doctors, nurses and first responders represent the bravery and tenacity we look for in all American heroes. They give us reasons to feel grateful—for both the work they do, and the relief we feel to not be the ones doing it. And we turn to them because it puts some kind of barrier between us and the true, gruesome nightmare of the situation.\u003c/p>\n\u003cp>America has done this before. In the aftermath of 9/11, we looked to the firefighters in much the same way. Because it was easier to filter our own shock, horror and sadness through the heroes still on the ground, than it was to ponder the thousands of bodies in the rubble that they were tirelessly searching for. (Let’s just hope our healthcare workers are given more support down the line than\u003ca href=\"https://www.youtube.com/watch?v=_uYpDC3SRpM\" target=\"_blank\" rel=\"noopener noreferrer\"> the firefighters\u003c/a> were.)\u003c/p>\n\u003cp>At some point, the gravity and grief of this strangest of periods will inevitably catch up to us all. Publicly acknowledging it together and gathering in some way—whether that’s in-person when this is all finally over, or virtually, online, sooner than that—is a necessary step on the path to our nation’s recovery. Coming together to feel and acknowledge the loss of so many people isn’t just the right thing to do for the thousands of families who’ve been affected, it’s the right thing to do for a nation in shock and struggling to comprehend the enormity of what’s just happened.\u003c/p>\n\u003cp>Though the inherent dangers of the virus are obviously an impediment to any kind of public gathering, most of us have the means to share an experience remotely. On April 18, Global Citizen demonstrated this with the \u003cem>\u003ca href=\"https://www.globalcitizen.org/en/connect/togetherathome/\" target=\"_blank\" rel=\"noopener noreferrer\">One World: Together at Home\u003c/a>\u003c/em> event, curated by Lady Gaga. Virtual performances from the likes of Taylor Swift, the Rolling Stones, Billie Eilish and Stevie Wonder connected 270 million viewers worldwide and helped raise over $127 million.\u003c/p>\n\u003cp>What’s more, prior national tragedies have proven that we don’t need to physically gather in one location to share a meaningful, healing moment. In 1986, after the nation witnessed the explosion of the Challenger space shuttle live on TV, America grieved together by once again gathering around televisions and giving full attention to the astronauts’ memorial service.\u003c/p>\n\u003cp>The following day—Feb. 1, 1986—the \u003ca href=\"https://www.nytimes.com/1986/02/01/us/anger-confusion-and-fear-in-the-nation-s-grief.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em> \u003c/a>wrote about the necessity of sharing grief, especially in times of national crisis. UC San Francisco psychiatrist Dr. Mardi Horowitz was quoted as saying: “The psychological purpose of ritual is not just to honor the dead but to re-establish a common bond and counter the sense of being alone in a hostile universe.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That sense of being alone in an inhospitable landscape is familiar to many of us now. Alienation has become the status quo while we shelter in place away from our communities. And because grief heightens the need to connect with others, it’s no wonder we’ve been avoiding these feelings out of a sense of self-preservation. But the circumstances surrounding the coronavirus pandemic make the need for collective mourning more important than ever. The longer we reduce the agony of families across the nation to mere numbers on graphs, the harder it will be to reunify as a country when this tragedy is all over.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>merica has a long history of coming together to grieve after a national tragedy. It was visible in the days after 9/11 when stars and stripes suddenly filled the windows of shopfronts and homes across America. It was overwhelming after the Sandy Hook mass shooting in 2012, when \u003ca href=\"https://www.thetrace.org/2015/12/sandy-hook-shooting-donations/\" target=\"_blank\" rel=\"noopener noreferrer\">65,000 teddy bears and 500,000 letters\u003c/a> were sent to Newtown, Connecticut. And the grief that Americans shared after the assassination of President Lincoln was so immense, it’s \u003ca href=\"https://marthahodes.com/book-detail.php?recordID=4\" target=\"_blank\" rel=\"noopener noreferrer\">still with us in a variety of forms\u003c/a> more than a century and a half later.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" class=\"alignright size-full wp-image-13882786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">Yet, a public display of collective grief for the more than 70,000 American lives lost to COVID-19 remains largely absent. We are willing to make \u003ca href=\"https://www.kron4.com/health/coronavirus/howling-for-healthcare-workers-across-the-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">noise for healthcare workers\u003c/a>, put \u003ca href=\"https://abc7news.com/teddy-bear-hunts-hunt-we-are-going-on-a-window-bears/6055934/\" target=\"_blank\" rel=\"noopener noreferrer\">teddy bears in windows\u003c/a> for children, and we might even make and distribute face masks. But when it comes to the lives of the thousands we’ve lost, few people are yet ready to look directly into the eye of that particular storm, and deal with all the mourning that will inevitably come with it.\u003c/p>\n\u003cp>What we as a nation usually do after a tragedy is look straight to the victims of it. When there are high profile mass shootings, for example, we spend days learning the names and life stories of those lost in the tragedy. We get to know the dead through news reports and newspaper profiles and testimonies from friends told to journalists. We take time to think of these people; we look at their faces; we weep for their families.\u003c/p>\n\u003cp>But with COVID-19, we’ve all become suddenly much more interested in statistical analysis. Although it’s worth noting that NBC managed to tell \u003ca href=\"https://www.nbcnews.com/news/obituaries/coronavirus-deaths-60-stories-victims-around-country-n1194396\" target=\"_blank\" rel=\"noopener noreferrer\">the stories of 60\u003c/a> people killed by COVID-19, and CNN is gathering \u003ca href=\"https://www.cnn.com/interactive/2020/health/coronavirus-victims-memories/\" target=\"_blank\" rel=\"noopener noreferrer\">obituaries from loved ones\u003c/a> on an ongoing basis, this pandemic has largely been framed in the media by data, not sorrow.\u003c/p>\n\u003cp>There are two likely reasons for this. The first is that the danger remains at large, and it’s more comfortable to prioritize facts over feelings right now. Americans are still worrying about their likelihood of contracting the virus, trying to learn the best practices to stay safe, and worrying about their bank balances after catastrophic job losses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The second is an issue of the sheer, unfathomable numbers involved. COVID-19 has now killed \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/04/28/846701304/pandemic-death-toll-in-u-s-now-exceeds-vietnam-wars-u-s-fatalities\" target=\"_blank\" rel=\"noopener noreferrer\">more Americans than the Vietnam War\u003c/a>—thousands more, in fact—in a tiny fraction of the time. That number is (currently) roughly the equivalent of 24 9/11s. For many people trying to keep their heads above water, their families safe and their friends in check, it’s simply too much loss to contemplate on top of everything else.\u003c/p>\n\u003cp>Under the circumstances, when Americans do allow themselves to feel emotional, it is often directed towards healthcare workers. As the very personification of the crisis, doctors, nurses and first responders represent the bravery and tenacity we look for in all American heroes. They give us reasons to feel grateful—for both the work they do, and the relief we feel to not be the ones doing it. And we turn to them because it puts some kind of barrier between us and the true, gruesome nightmare of the situation.\u003c/p>\n\u003cp>America has done this before. In the aftermath of 9/11, we looked to the firefighters in much the same way. Because it was easier to filter our own shock, horror and sadness through the heroes still on the ground, than it was to ponder the thousands of bodies in the rubble that they were tirelessly searching for. (Let’s just hope our healthcare workers are given more support down the line than\u003ca href=\"https://www.youtube.com/watch?v=_uYpDC3SRpM\" target=\"_blank\" rel=\"noopener noreferrer\"> the firefighters\u003c/a> were.)\u003c/p>\n\u003cp>At some point, the gravity and grief of this strangest of periods will inevitably catch up to us all. Publicly acknowledging it together and gathering in some way—whether that’s in-person when this is all finally over, or virtually, online, sooner than that—is a necessary step on the path to our nation’s recovery. Coming together to feel and acknowledge the loss of so many people isn’t just the right thing to do for the thousands of families who’ve been affected, it’s the right thing to do for a nation in shock and struggling to comprehend the enormity of what’s just happened.\u003c/p>\n\u003cp>Though the inherent dangers of the virus are obviously an impediment to any kind of public gathering, most of us have the means to share an experience remotely. On April 18, Global Citizen demonstrated this with the \u003cem>\u003ca href=\"https://www.globalcitizen.org/en/connect/togetherathome/\" target=\"_blank\" rel=\"noopener noreferrer\">One World: Together at Home\u003c/a>\u003c/em> event, curated by Lady Gaga. Virtual performances from the likes of Taylor Swift, the Rolling Stones, Billie Eilish and Stevie Wonder connected 270 million viewers worldwide and helped raise over $127 million.\u003c/p>\n\u003cp>What’s more, prior national tragedies have proven that we don’t need to physically gather in one location to share a meaningful, healing moment. In 1986, after the nation witnessed the explosion of the Challenger space shuttle live on TV, America grieved together by once again gathering around televisions and giving full attention to the astronauts’ memorial service.\u003c/p>\n\u003cp>The following day—Feb. 1, 1986—the \u003ca href=\"https://www.nytimes.com/1986/02/01/us/anger-confusion-and-fear-in-the-nation-s-grief.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em> \u003c/a>wrote about the necessity of sharing grief, especially in times of national crisis. UC San Francisco psychiatrist Dr. Mardi Horowitz was quoted as saying: “The psychological purpose of ritual is not just to honor the dead but to re-establish a common bond and counter the sense of being alone in a hostile universe.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That sense of being alone in an inhospitable landscape is familiar to many of us now. Alienation has become the status quo while we shelter in place away from our communities. And because grief heightens the need to connect with others, it’s no wonder we’ve been avoiding these feelings out of a sense of self-preservation. But the circumstances surrounding the coronavirus pandemic make the need for collective mourning more important than ever. The longer we reduce the agony of families across the nation to mere numbers on graphs, the harder it will be to reunify as a country when this tragedy is all over.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SOLD OUT: Rethinking Housing in America",
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"userAccountReducer": {
"user": {
"email": null,
"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
"loggingChecked": false,
"articles": [],
"firstName": null,
"lastName": null,
"phoneNumber": null,
"fetchingMembership": false,
"membershipError": false,
"memberships": [
{
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"lastName": null,
"familyNumber": null,
"memberNumber": null,
"memberSince": null,
"expirationDate": null,
"pfsEligible": false,
"isSustaining": false,
"membershipLevel": "Prospect",
"membershipStatus": "Non Member",
"lastGiftDate": null,
"renewalDate": null
}
]
},
"authModal": {
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"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {},
"restaurantData": []
},
"location": {
"pathname": "/arts/tag/lady-gaga",
"previousPathname": "/"
}
}
