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"content": "\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>[aside postID='arts_13951126']“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>AP Entertainment writer Andrew Dalton and former AP Entertainment Writer Sandy Cohen contributed to this report from Los Angeles.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies",
"headTitle": "‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies | KQED",
"content": "\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>[aside postid='arts_13910810']That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlPxt33aC_4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>[aside postid='pop_97337']Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\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/YlPxt33aC_4'\n title='//www.youtube.com/embed/YlPxt33aC_4'\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>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "When Art You Love Was Made by ‘Monsters’: A Critic Lays Out the ‘Fan’s Dilemma’",
"headTitle": "When Art You Love Was Made by ‘Monsters’: A Critic Lays Out the ‘Fan’s Dilemma’ | KQED",
"content": "\u003cfigure id=\"attachment_13928975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928975\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-800x1184.jpg\" alt=\"A book cover depicting a shirtless man standing on a beach wearing a horned mask.\" width=\"800\" height=\"1184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-800x1184.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-1020x1510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-768x1137.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-1038x1536.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba.jpg 1206w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Monsters: A Fan’s Dilemma,’ by Claire Dederer. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last month, I gave a talk at a conference in honor of the late writer \u003ca href=\"https://www.npr.org/2007/11/10/15573385/norman-mailer-author-and-social-critic-dies-at-84\">Norman Mailer\u003c/a>. When I mentioned this conference in class to my Georgetown students, a couple of them blurted out, “But, he stabbed his wife.” I could feel the mood in that classroom shifting: The students seemed puzzled, disappointed even. What was I doing speaking at a conference in honor of a man capable of such an act?\u003c/p>\n\u003cp>[aside postid='forum_2010101892940']The situation was reversed at the conference itself: When I confessed in my talk that, much as I revere Mailer’s nonfiction writing, I was just as glad never to have met him, some audience members were taken aback, offended on Mailer’s behalf.\u003c/p>\n\u003cp>If Mailer’s writing had always been as bad as his \u003ca href=\"https://www.npr.org/2013/10/26/240289747/norman-mailer-warts-and-all-in-a-double-life\">sporadic behavior\u003c/a> there would be no problem. But as \u003ca href=\"https://www.kqed.org/forum/2010101892940/can-you-love-the-art-of-a-person-you-loathe\">Claire Dederer\u003c/a> points out in her superb new book, \u003cem>Monsters\u003c/em>, the problem arises when great art is made by men who’ve done bad things: men like Picasso, \u003ca href=\"https://www.npr.org/2021/03/30/982637327/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\">Hemingway\u003c/a>, \u003ca href=\"https://www.npr.org/2022/07/18/1112004834/polanski-sex-case-sentencing\">Roman Polanski\u003c/a>, Miles Davis, \u003ca href=\"https://www.npr.org/2020/03/06/812687472/after-woody-allens-memoir-was-signed-book-publisher-s-employees-walk-out\">Woody Allen\u003c/a> and, yes, Mailer.\u003c/p>\n\u003cp>Do we put blinders on and just focus on the work? Do geniuses, as Dederer asks, get a “hall pass” for their behavior? Or, do we “cancel” the art of men — and some women — who’ve done “monstrous” things?\u003c/p>\n\u003cp>I hope that Dederer herself doesn’t turn out to be a monster because I flat-out admire her book and want to share it with my students. As a thinker, Dederer is smart, informed, nuanced and very funny. She started out as a film critic and credits Pauline Kael as a model for grounding her judgments in her own subjectivity, her own emotions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13923921']The subtitle of \u003cem>Monsters \u003c/em>is \u003cem>A Fan’s Dilemma\u003c/em>: the dilemma being still loving, say, the music of Wagner or \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">Michael Jackson\u003c/a>; still being caught up in movies like \u003cem>Chinatown\u003c/em> or maybe even \u003cem>Manhattan\u003c/em>. In short, Dederer wants to dive deep into the murk of being “unwilling to give up the work [of art you love], and [yet, also being] unwilling to look away from the stain [of the monster who created it].”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.npr.org/2022/10/28/1131500833/me-too-harvey-weinstein-anniversary\">#MeToo \u003c/a>movement propels this exploration but so, too, does our own social media, biography-saturated moment: “When I was young,” Dederer writes, “it was hard to find information about artists whose work I loved. Record albums and books appeared before us as if they had arrived after hurtling through space’s black reaches, unmoored from all context.”\u003c/p>\n\u003cp>These days, however, “[w]e turn on \u003cem>Seinfeld\u003c/em>, and whether we want to or not, we think of Michael Richard’s racist rant … Biography used to be something you sought out, yearned for, actively pursued. Now it falls on your head all day long.”\u003c/p>\n\u003cp>Maybe you can hear in those quotes how alive Dederer’s own critical language is. She also frequently flings open the door of the stuffy seminar room, so to speak, to take her readers along on field trips: There’s a swank dinner in New York with an intimidating “man of letters” who, she says, likes to play the part, “ironically but not — ties and blazers and low-key misogyny and brown alcohol in a tumbler.”\u003c/p>\n\u003cp>When she expresses distaste for Allen’s \u003cem>Manhattan \u003c/em>normalizing a middle-aged man in a relationship with a 17-year-old he tells her to “Get over it. You really need to judge it strictly on aesthetics.” Dederer confesses to finding herself put off-balance in that conversation, doubting herself.\u003c/p>\n\u003cp>[aside postid='arts_13928256']We also march through a Picasso show at the Vancouver Art Gallery in the company of Dederer and her children. At the time, she says they “possessed the fierce moral sense to be found in teenagers and maniacs, [and] were starting to look a bit nettled” at the exhibit’s disclosures of Picasso’s abusive treatment of the women in his life.\u003c/p>\n\u003cp>So where does all this walking and talking and thinking and reacting get us on the issues of monsters and their art? Still in the murk, perhaps, but maybe buoyed up a bit by a sharp question Dederer tosses out in the middle of her book:\u003c/p>\n\u003cblockquote>\u003cp>What if criticism involves trusting our feelings — not just about the crime, which we deplore, but about the work we love.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>To do that we’ll have to think \u003cem>and \u003c/em>feel with much greater urgency and, yet, more care than we are currently doing. As Dederer suggests — and \u003ca href=\"https://www.npr.org/2011/11/03/140824540/a-critic-to-remember-pauline-kael-at-the-movies\">Pauline Kael \u003c/a>famously did — we should go ahead and lose it at the movies and then think hard about what we’ve lost.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+art+you+love+was+made+by+%27Monsters%27%3A+A+critic+lays+out+the+%27Fan%27s+Dilemma%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13928975\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928975\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-800x1184.jpg\" alt=\"A book cover depicting a shirtless man standing on a beach wearing a horned mask.\" width=\"800\" height=\"1184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-800x1184.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-1020x1510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-768x1137.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba-1038x1536.jpg 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/05/9780525655114_custom-6207346a1004c379f66a37b2236d641be08625ba.jpg 1206w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Monsters: A Fan’s Dilemma,’ by Claire Dederer. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last month, I gave a talk at a conference in honor of the late writer \u003ca href=\"https://www.npr.org/2007/11/10/15573385/norman-mailer-author-and-social-critic-dies-at-84\">Norman Mailer\u003c/a>. When I mentioned this conference in class to my Georgetown students, a couple of them blurted out, “But, he stabbed his wife.” I could feel the mood in that classroom shifting: The students seemed puzzled, disappointed even. What was I doing speaking at a conference in honor of a man capable of such an act?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The situation was reversed at the conference itself: When I confessed in my talk that, much as I revere Mailer’s nonfiction writing, I was just as glad never to have met him, some audience members were taken aback, offended on Mailer’s behalf.\u003c/p>\n\u003cp>If Mailer’s writing had always been as bad as his \u003ca href=\"https://www.npr.org/2013/10/26/240289747/norman-mailer-warts-and-all-in-a-double-life\">sporadic behavior\u003c/a> there would be no problem. But as \u003ca href=\"https://www.kqed.org/forum/2010101892940/can-you-love-the-art-of-a-person-you-loathe\">Claire Dederer\u003c/a> points out in her superb new book, \u003cem>Monsters\u003c/em>, the problem arises when great art is made by men who’ve done bad things: men like Picasso, \u003ca href=\"https://www.npr.org/2021/03/30/982637327/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\">Hemingway\u003c/a>, \u003ca href=\"https://www.npr.org/2022/07/18/1112004834/polanski-sex-case-sentencing\">Roman Polanski\u003c/a>, Miles Davis, \u003ca href=\"https://www.npr.org/2020/03/06/812687472/after-woody-allens-memoir-was-signed-book-publisher-s-employees-walk-out\">Woody Allen\u003c/a> and, yes, Mailer.\u003c/p>\n\u003cp>Do we put blinders on and just focus on the work? Do geniuses, as Dederer asks, get a “hall pass” for their behavior? Or, do we “cancel” the art of men — and some women — who’ve done “monstrous” things?\u003c/p>\n\u003cp>I hope that Dederer herself doesn’t turn out to be a monster because I flat-out admire her book and want to share it with my students. As a thinker, Dederer is smart, informed, nuanced and very funny. She started out as a film critic and credits Pauline Kael as a model for grounding her judgments in her own subjectivity, her own emotions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The subtitle of \u003cem>Monsters \u003c/em>is \u003cem>A Fan’s Dilemma\u003c/em>: the dilemma being still loving, say, the music of Wagner or \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">Michael Jackson\u003c/a>; still being caught up in movies like \u003cem>Chinatown\u003c/em> or maybe even \u003cem>Manhattan\u003c/em>. In short, Dederer wants to dive deep into the murk of being “unwilling to give up the work [of art you love], and [yet, also being] unwilling to look away from the stain [of the monster who created it].”\u003c/p>\n\u003cp>The \u003ca href=\"https://www.npr.org/2022/10/28/1131500833/me-too-harvey-weinstein-anniversary\">#MeToo \u003c/a>movement propels this exploration but so, too, does our own social media, biography-saturated moment: “When I was young,” Dederer writes, “it was hard to find information about artists whose work I loved. Record albums and books appeared before us as if they had arrived after hurtling through space’s black reaches, unmoored from all context.”\u003c/p>\n\u003cp>These days, however, “[w]e turn on \u003cem>Seinfeld\u003c/em>, and whether we want to or not, we think of Michael Richard’s racist rant … Biography used to be something you sought out, yearned for, actively pursued. Now it falls on your head all day long.”\u003c/p>\n\u003cp>Maybe you can hear in those quotes how alive Dederer’s own critical language is. She also frequently flings open the door of the stuffy seminar room, so to speak, to take her readers along on field trips: There’s a swank dinner in New York with an intimidating “man of letters” who, she says, likes to play the part, “ironically but not — ties and blazers and low-key misogyny and brown alcohol in a tumbler.”\u003c/p>\n\u003cp>When she expresses distaste for Allen’s \u003cem>Manhattan \u003c/em>normalizing a middle-aged man in a relationship with a 17-year-old he tells her to “Get over it. You really need to judge it strictly on aesthetics.” Dederer confesses to finding herself put off-balance in that conversation, doubting herself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We also march through a Picasso show at the Vancouver Art Gallery in the company of Dederer and her children. At the time, she says they “possessed the fierce moral sense to be found in teenagers and maniacs, [and] were starting to look a bit nettled” at the exhibit’s disclosures of Picasso’s abusive treatment of the women in his life.\u003c/p>\n\u003cp>So where does all this walking and talking and thinking and reacting get us on the issues of monsters and their art? Still in the murk, perhaps, but maybe buoyed up a bit by a sharp question Dederer tosses out in the middle of her book:\u003c/p>\n\u003cblockquote>\u003cp>What if criticism involves trusting our feelings — not just about the crime, which we deplore, but about the work we love.\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>To do that we’ll have to think \u003cem>and \u003c/em>feel with much greater urgency and, yet, more care than we are currently doing. As Dederer suggests — and \u003ca href=\"https://www.npr.org/2011/11/03/140824540/a-critic-to-remember-pauline-kael-at-the-movies\">Pauline Kael \u003c/a>famously did — we should go ahead and lose it at the movies and then think hard about what we’ve lost.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+art+you+love+was+made+by+%27Monsters%27%3A+A+critic+lays+out+the+%27Fan%27s+Dilemma%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lisa Marie Presley, Singer and Only Child of Elvis, Dies at 54",
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"content": "\u003cp>Lisa Marie Presley, the only child of Elvis Presley and a singer-songwriter dedicated to her father’s legacy, died Thursday after being hospitalized for a medical emergency. She was 54.\u003c/p>\n\u003cp>Her death in a Los Angeles hospital was confirmed by her mother, Priscilla, a few hours after her daughter was rushed to the hospital by paramedics after a medical episode at her home.\u003c/p>\n\u003cp>“It is with a heavy heart that I must share the devastating news that my beautiful daughter Lisa Marie has left us,” Priscilla Presley said in a statement. “She was the most passionate, strong and loving woman I have ever known.”\u003c/p>\n\u003cp>Presley shared her father’s brooding charisma — the hooded eyes, the insolent smile, the low, sultry voice — and followed him professionally, releasing her own rock albums in the 2000s, and appearing on stage with Pat Benatar and Richard Hawley among others.\u003c/p>\n\u003cp>She even formed direct musical ties with her father, joining her voice to such Elvis recordings as “In the Ghetto” and “Don’t Cry Daddy,” a mournful ballad which had reminded him of the early death of his mother (and Lisa Marie’s grandmother), Gladys Presley.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s been all my life,” she told The Associated Press in 2012, speaking of her father’s influence. “It’s not something that I now listen to and it’s different. Although I might listen closer. I remain consistent on the fact that I’ve always been an admirer. He’s always influenced me.”\u003c/p>\n\u003cp>Her birth, nine months exactly after her parents’ wedding, was international news and her background was rarely far from her mind. With the release last year of Baz Luhrmann’s major musical feature “Elvis,” Lisa Marie and Priscilla Presley had been attending red carpets and award shows alongside stars from the film.\u003c/p>\n\u003cp>She was at the Golden Globes on Tuesday, on hand to celebrate Austin Butler’s award for playing her father. Just days before, she was in Memphis at Graceland — the mansion where Elvis lived, and died — on Jan. 8 to celebrate her father’s birth anniversary.\u003c/p>\n\u003cp>Presley lived with her mother, an actor known for “Dallas” and the “Naked Gun” movies, in California after her parents split up in 1973. She recalled early memories of her dad during her visits to Graceland, riding golf carts through the neighborhood and seeing his daily entrances down the stairs.\u003c/p>\n\u003cp>“He was always fully, fully geared up. You’d never see him in his pajamas coming down the steps, ever,” she told The Associated Press in 2012. “You’d never see him in anything but ‘ready to be seen’ attire.”\u003c/p>\n\u003cp>Elvis Presley died in August 1977, when he was just 42, and she 9 years old. Lisa Marie was staying at Graceland at the time and would recall him kissing her goodnight hours before he would collapse and never recover. When she next saw him, the following day, he was lying face down in the bathroom.\u003c/p>\n\u003cp>“I just had a feeling,” she told Rolling Stone in 2003. “He wasn’t doing well. All I know is I had it (a feeling), and it happened. I was obsessed with death at a very early age.”\u003c/p>\n\u003cp>She would later make headlines of her own. Struggles with drugs and some very public marriages. Her four husbands included Michael Jackson and Nicolas Cage.\u003c/p>\n\u003cp>Jackson and Presley were married in the Dominican Republic in 1994, but the marriage ended two years later and was defined by numerous awkward public appearances, including an unexpected kiss from Jackson during the MTV Video Music Awards and a joint interview with Diane Sawyer when she defended her husband against allegations he had sexually abused a minor.\u003c/p>\n\u003cp>Her other celebrity marriage was even shorter: Cage filed for divorce after four months of marriage in 2002.\u003c/p>\n\u003cp>“I had to sort of run into many walls and trees,” she told the AP in 2012. “But now I can also look back at it and tell you all the stuff that was going on around me and all the different people around me and all the awww — and it was not a good situation anyway. That wasn’t helping. Either way, it was a growing process. It was just in a different way. It was just out in front of everybody all the time. Because it’s all documented of course.”\u003c/p>\n\u003cp>Lisa Marie became involved in numerous humanitarian causes, from anti-poverty programs administered through the Elvis Presley Charitable Foundation to relief efforts after Hurricane Katrina. She would receive formal citations from New Orleans and Memphis, Tennessee for her work.\u003c/p>\n\u003cp>Presley had two children, actor Riley Keough, born in 1989, and Benjamin Keough, born in 1992, with her former husband Danny Keough. She also had twin daughters, Harper and Finley Lockwood, with ex-husband Michael Lockwood in 2008.\u003c/p>\n\u003cp>Her marriage to Lockwood would end in a combative and protracted divorce that began in 2016 and still was not resolved when she died, though they were declared single in 2021. The fight saw the girls, now 15, put temporarily in protective custody in 2017. Presley and Lockwood later had joint custody, but were still at odds over the issue, with Lockwood seeking more child support from Presley.\u003c/p>\n\u003cp>Benjamin Keough died by suicide in 2020 at 27. Presley was vocal about her grief, writing in an essay last August that she had “been living in the horrific reality of its unrelenting grips since my son’s death two years ago.”\u003c/p>\n\u003cp>“I’ve dealt with death, grief and loss since the age of 9 years old. I’ve had more than anyone’s fair share of it in my lifetime and somehow, I’ve made it this far,” she wrote in an essay shared with People magazine.\u003c/p>\n\u003cp>“But this one, the death of my beautiful, beautiful son? The sweetest and most incredible being that I have ever had the privilege of knowing, who made me feel so honored every single day to be his mother? Who was so much like his grandfather on so many levels that he actually scared me? Which made me worry about him even more than I naturally would have?” the essay continued. “No. Just no … no no no no …”\u003c/p>\n\u003cp>Lisa Marie became the sole heir of the Elvis Presley Trust after her father died. Along with Elvis Presley Enterprises, the trust managed Graceland and other assets until she sold her majority interest in 2005. She retained ownership of Graceland Mansion itself, the 13 acres around it and items inside the home. Her son is buried there, along with her father and other members of the Presley family.\u003c/p>\n\u003cp>Lisa Marie Presley is a former Scientologist — her son was born in 1992 under guidelines set by Church of Scientology founder L. Ron Hubbard, according to an AP story at the time — but later broke with Scientology.\u003c/p>\n\u003cp>Lisa Marie and Priscilla Presley would make regular trips to Graceland during huge fan celebrations on the anniversaries of Elvis’ death and birthday. One of the two airplanes at Graceland is named the Lisa Marie.\u003c/p>\n\u003cp>After her first album “To Whom It May Concern,” in 2003, some fans came out to see her perform just out of curiosity given her famous family, she told the AP in 2005.\u003c/p>\n\u003cp>“First I had to overcome a pre-speculated idea of me,” she said of the barriers to becoming a singer-songwriter.\u003c/p>\n\u003cp>“I had to sort of burst through that and introduce myself, and that was the first hurdle, and then now sing in front of everybody, and then that was the second one, and I’m the offspring of — you know, who I’m the offspring of — I had a few hurdles to get through, no doubt about it,” she continued. “But the scales never tipped in the other direction too much.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Entertainment Writers Andrew Dalton and Ryan Pearson contributed to this report.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s been all my life,” she told The Associated Press in 2012, speaking of her father’s influence. “It’s not something that I now listen to and it’s different. Although I might listen closer. I remain consistent on the fact that I’ve always been an admirer. He’s always influenced me.”\u003c/p>\n\u003cp>Her birth, nine months exactly after her parents’ wedding, was international news and her background was rarely far from her mind. With the release last year of Baz Luhrmann’s major musical feature “Elvis,” Lisa Marie and Priscilla Presley had been attending red carpets and award shows alongside stars from the film.\u003c/p>\n\u003cp>She was at the Golden Globes on Tuesday, on hand to celebrate Austin Butler’s award for playing her father. Just days before, she was in Memphis at Graceland — the mansion where Elvis lived, and died — on Jan. 8 to celebrate her father’s birth anniversary.\u003c/p>\n\u003cp>Presley lived with her mother, an actor known for “Dallas” and the “Naked Gun” movies, in California after her parents split up in 1973. She recalled early memories of her dad during her visits to Graceland, riding golf carts through the neighborhood and seeing his daily entrances down the stairs.\u003c/p>\n\u003cp>“He was always fully, fully geared up. You’d never see him in his pajamas coming down the steps, ever,” she told The Associated Press in 2012. “You’d never see him in anything but ‘ready to be seen’ attire.”\u003c/p>\n\u003cp>Elvis Presley died in August 1977, when he was just 42, and she 9 years old. Lisa Marie was staying at Graceland at the time and would recall him kissing her goodnight hours before he would collapse and never recover. When she next saw him, the following day, he was lying face down in the bathroom.\u003c/p>\n\u003cp>“I just had a feeling,” she told Rolling Stone in 2003. “He wasn’t doing well. All I know is I had it (a feeling), and it happened. I was obsessed with death at a very early age.”\u003c/p>\n\u003cp>She would later make headlines of her own. Struggles with drugs and some very public marriages. Her four husbands included Michael Jackson and Nicolas Cage.\u003c/p>\n\u003cp>Jackson and Presley were married in the Dominican Republic in 1994, but the marriage ended two years later and was defined by numerous awkward public appearances, including an unexpected kiss from Jackson during the MTV Video Music Awards and a joint interview with Diane Sawyer when she defended her husband against allegations he had sexually abused a minor.\u003c/p>\n\u003cp>Her other celebrity marriage was even shorter: Cage filed for divorce after four months of marriage in 2002.\u003c/p>\n\u003cp>“I had to sort of run into many walls and trees,” she told the AP in 2012. “But now I can also look back at it and tell you all the stuff that was going on around me and all the different people around me and all the awww — and it was not a good situation anyway. That wasn’t helping. Either way, it was a growing process. It was just in a different way. It was just out in front of everybody all the time. Because it’s all documented of course.”\u003c/p>\n\u003cp>Lisa Marie became involved in numerous humanitarian causes, from anti-poverty programs administered through the Elvis Presley Charitable Foundation to relief efforts after Hurricane Katrina. She would receive formal citations from New Orleans and Memphis, Tennessee for her work.\u003c/p>\n\u003cp>Presley had two children, actor Riley Keough, born in 1989, and Benjamin Keough, born in 1992, with her former husband Danny Keough. She also had twin daughters, Harper and Finley Lockwood, with ex-husband Michael Lockwood in 2008.\u003c/p>\n\u003cp>Her marriage to Lockwood would end in a combative and protracted divorce that began in 2016 and still was not resolved when she died, though they were declared single in 2021. The fight saw the girls, now 15, put temporarily in protective custody in 2017. Presley and Lockwood later had joint custody, but were still at odds over the issue, with Lockwood seeking more child support from Presley.\u003c/p>\n\u003cp>Benjamin Keough died by suicide in 2020 at 27. Presley was vocal about her grief, writing in an essay last August that she had “been living in the horrific reality of its unrelenting grips since my son’s death two years ago.”\u003c/p>\n\u003cp>“I’ve dealt with death, grief and loss since the age of 9 years old. I’ve had more than anyone’s fair share of it in my lifetime and somehow, I’ve made it this far,” she wrote in an essay shared with People magazine.\u003c/p>\n\u003cp>“But this one, the death of my beautiful, beautiful son? The sweetest and most incredible being that I have ever had the privilege of knowing, who made me feel so honored every single day to be his mother? Who was so much like his grandfather on so many levels that he actually scared me? Which made me worry about him even more than I naturally would have?” the essay continued. “No. Just no … no no no no …”\u003c/p>\n\u003cp>Lisa Marie became the sole heir of the Elvis Presley Trust after her father died. Along with Elvis Presley Enterprises, the trust managed Graceland and other assets until she sold her majority interest in 2005. She retained ownership of Graceland Mansion itself, the 13 acres around it and items inside the home. Her son is buried there, along with her father and other members of the Presley family.\u003c/p>\n\u003cp>Lisa Marie Presley is a former Scientologist — her son was born in 1992 under guidelines set by Church of Scientology founder L. Ron Hubbard, according to an AP story at the time — but later broke with Scientology.\u003c/p>\n\u003cp>Lisa Marie and Priscilla Presley would make regular trips to Graceland during huge fan celebrations on the anniversaries of Elvis’ death and birthday. One of the two airplanes at Graceland is named the Lisa Marie.\u003c/p>\n\u003cp>After her first album “To Whom It May Concern,” in 2003, some fans came out to see her perform just out of curiosity given her famous family, she told the AP in 2005.\u003c/p>\n\u003cp>“First I had to overcome a pre-speculated idea of me,” she said of the barriers to becoming a singer-songwriter.\u003c/p>\n\u003cp>“I had to sort of burst through that and introduce myself, and that was the first hurdle, and then now sing in front of everybody, and then that was the second one, and I’m the offspring of — you know, who I’m the offspring of — I had a few hurdles to get through, no doubt about it,” she continued. “But the scales never tipped in the other direction too much.”\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Many of the biggest hits in pop music used to have something in common: a key change, like the one you hear in Whitney Houston’s “I Wanna Dance With Somebody.”\u003c/p>\n\u003cp>But key changes have become harder to find in top hits.\u003c/p>\n\u003cp>Chris Dalla Riva, a musician and data analyst at Audiomack, wanted to learn more about what it takes to compose a top hit. He spent the last few years listening to every number one hit listed on the Billboard Hot 100 since 1958 — more than 1100 songs.\u003c/p>\n\u003cp>“I just started noticing some trends, and I set down to writing about them,” says Dalla Riva, who published some of those findings in an article for the website \u003ca href=\"https://tedium.co/2022/11/09/the-death-of-the-key-change/\">Tedium\u003c/a>.\u003c/p>\n\u003cp>He found that about a quarter of those songs from the 1960s to the 1990s included a key change.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But from 2010 to 2020, there was just one top song: Travis Scott’s 2018 track, “Sicko Mode.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6ONRf7h3Mdk&t=1s\u003c/p>\n\u003cp>\u003cstrong>How the key change is used in pop music \u003c/strong>\u003c/p>\n\u003cp>According to Dalla Riva, changing the key — or shifting the base scale of a song — is a tool used across musical genres to “inject energy” into a pop number.\u003c/p>\n\u003cp>There are two common ways to place a key change into a top hit, he says. The first is to take the key up toward the end of a number, like Beyoncé does in her 2011 song “Love on Top,” which took listeners through four consecutive key changes. This placement helps a song crescendo to its climax.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ob7vObnFUJc\u003c/p>\n\u003cp>The second common placement, Dalla Riva says, is in the middle of a song to signal a change in mood. The Beach Boys took this approach in their 1966 release “\u003ca href=\"https://www.youtube.com/watch?v=apBWI6xrbLY\">Good Vibrations\u003c/a>,” as did Scott’s “Sicko Mode.”\u003c/p>\n\u003cp>“The key is just a tool,” Dalla Riva says. “And like all tools and music, the idea is to evoke emotion.”\u003c/p>\n\u003cp>\u003cstrong>Key changes falling flat \u003c/strong>\u003c/p>\n\u003cp>[aside postid='arts_13921576']According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PivWY9wn5ps\u003c/p>\n\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>[aside postid='arts_13921777']In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But from 2010 to 2020, there was just one top song: Travis Scott’s 2018 track, “Sicko Mode.”\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/6ONRf7h3Mdk'\n title='//www.youtube.com/embed/6ONRf7h3Mdk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>How the key change is used in pop music \u003c/strong>\u003c/p>\n\u003cp>According to Dalla Riva, changing the key — or shifting the base scale of a song — is a tool used across musical genres to “inject energy” into a pop number.\u003c/p>\n\u003cp>There are two common ways to place a key change into a top hit, he says. The first is to take the key up toward the end of a number, like Beyoncé does in her 2011 song “Love on Top,” which took listeners through four consecutive key changes. This placement helps a song crescendo to its climax.\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/Ob7vObnFUJc'\n title='//www.youtube.com/embed/Ob7vObnFUJc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The second common placement, Dalla Riva says, is in the middle of a song to signal a change in mood. The Beach Boys took this approach in their 1966 release “\u003ca href=\"https://www.youtube.com/watch?v=apBWI6xrbLY\">Good Vibrations\u003c/a>,” as did Scott’s “Sicko Mode.”\u003c/p>\n\u003cp>“The key is just a tool,” Dalla Riva says. “And like all tools and music, the idea is to evoke emotion.”\u003c/p>\n\u003cp>\u003cstrong>Key changes falling flat \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to NYU professor and author of \u003cem>Dilla Time\u003c/em> Dan Charnas, the key change has faded out of popularity alongside the often slow and emotional ballad, which he calls a “bastion of key changes.” Meanwhile, hip-hop has taken center stage.\u003c/p>\n\u003cp>“Hip-hop is a rejection of a lot of the tropes of traditional musicianship,” Charnas says. Music composition has also changed, prioritizing rhythm and texture over individual notes and chords.\u003c/p>\n\u003cp>There are some numbers from the late ‘80s, like Michael Jackson’s 1988 hit “Man in the Mirror,” where the key change can be seen as both a mark of beauty and a cliché.\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/PivWY9wn5ps'\n title='//www.youtube.com/embed/PivWY9wn5ps'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“You can look at that song in two different ways. On one level, it’s a perfectly constructed song, a beautiful piece of songwriting. A lot of craft goes into it,” Charnas says. “In another view, it’s tropey, maudlin and completely manipulative.”\u003c/p>\n\u003cp>While the key change was once a mark of musical sophistication, many now consider it a crutch. Dalla Riva says a lot of his peers think using the key change is lazy.\u003c/p>\n\u003cp>“It’s just like you get to the last chorus and you’re like, all right, we need to inject some more energy. Let’s just shift the key up a half-step or a whole step.”\u003c/p>\n\u003cp>\u003cstrong>Where pop music is headed \u003c/strong>\u003c/p>\n\u003cp>Some fans and pop music experts might be inclined to mourn the “death” of the key change, but Charnas says musical tools and composition techniques are constantly evolving.\u003c/p>\n\u003cp>“There’s lots of ways to get dynamics in a song and in a composition,” Charnas says. “Key change is just one of the ways.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In the absence of key changes — and in a time where hip-hop and electronic music have gained popularity — composers have turned to varying rhythmic patterns and more evocative lyrics.\u003c/p>\n\u003cp>And if you’re one of those folks who wants the key change to come back, Charnas believes there’s one way to do it: fund music education.\u003c/p>\n\u003cp>“You want to know why Motown was such an incredible font of composition? Three words: Detroit Public Schools.”\u003c/p>\n\u003cp>Though it can be cliched, Charnas says he does miss hearing a key change when it’s used at its best.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Do I miss good key changes? Absolutely. Do I wish more people could rock a key change like Stevie Wonder? Absolutely.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Where+did+all+the+key+changes+go%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first time I stood in a room with the outsized icons of \u003ca href=\"https://www.kellyinouye.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Inouye\u003c/a>’s \u003ci>MTV Generation\u003c/i>, a show of large-scale watercolor paintings, I was immediately transported back to my childhood. Back to 1983 and my cousin’s living room floor for the premiere of Michael Jackson’s “Thriller” video. To my family couch the first time we all witnessed Boy George finger-snapping his way through “Karma Chameleon.” (“Is that a man or a woman?” my dad asked no one in particular.) To the countless Saturday mornings when I’d wake up early to catch a glimpse of Public Enemy on \u003cem>Yo! MTV Raps\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13865253']For people like me who grew up in the ’80s, awed and impressed by the pop idols of the period, gazing upon Inouye’s latest work is a visceral experience. Here, the haze that watercolors naturally yield evoke an intense nostalgia. The portraits become a DeLorean back to a time when music was curated by—and filtered through—an all-powerful marketing machine that decided who was cool and what records Americans bought. They’re also a reminder of the excitement of catching your favorite music videos in the years when watching anything on demand was impossible.\u003c/p>\n\u003cp>“It felt transgressive to watch MTV when it first came out because it was so scandalous,” Inouye says during a studio visit with KQED Arts as she was finishing the work for a solo show at San Francisco’s Marrow Gallery. “There is a different cultural zeitgeist today. It’s not a collective culture anymore. I thought about making smaller paintings and more [of them], but I didn’t feel like that would convey the power and the strength that was wielded by MTV.”\u003c/p>\n\u003cfigure id=\"attachment_13910812\" class=\"wp-caption aligncenter\" style=\"max-width: 736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png\" alt=\"Vertical painting on paper made with black watercolor\" width=\"736\" height=\"1318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png 736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM-160x287.png 160w\" sizes=\"(max-width: 736px) 100vw, 736px\">\u003cfigcaption class=\"wp-caption-text\">A watercolor rendition of Janet Jackson in her ‘Rhythm Nation 1814’ days. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Generation MTV\u003c/em> features imposing renditions of Madonna, Michael Jackson, Duran Duran, Boy George, Prince and the Revolution, Twisted Sister, Janet Jackson and Public Enemy. The paintings—supported by a grant from the San Francisco Arts Commission—are presented in the chronological order (1981–1989) of the moments and videos Inouye based them on. And while most of her subjects were the biggest stars of the decade, that’s not the only reason Inouye selected them.\u003c/p>\n\u003cp>“If you think about all of these artists,” she explains, “they were not people who were elevated in society. I wanted to include the Revolution with Prince because they were such a diverse, interesting, alternative group of people. Wendy and Lisa were gay and together on screen—that never happened before. Culture Club had a multi-ethnicity that reflected the ‘United Colors of Benetton’ tone of the time. That’s what I felt like the future would be like, but it’s not,” Inouye continues. “That was part of the inclination for me to do this—the world now feels different to the one I was promised when I was a kid.”\u003c/p>\n\u003cfigure id=\"attachment_13910813\" class=\"wp-caption aligncenter\" style=\"max-width: 1002px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910813\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png\" alt=\"Watercolor painting of singer in hat\" width=\"1002\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png 1002w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-768x934.png 768w\" sizes=\"(max-width: 1002px) 100vw, 1002px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Inouye’s watercolor painting of Boy George. \u003ccite>(Courtesy of the artist.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inouye has spent much of the last 20 years examining and exploring pop culture from a personal perspective. Her last show before the pandemic focused on \u003ca href=\"https://www.kqed.org/arts/13865253/watercolors-find-empowerment-in-female-professional-wrestlers\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Gorgeous Ladies of Wrestling\u003c/em>\u003c/a>. Prior to that, she focused her energy on painting memorable \u003ca href=\"https://www.kellyinouye.com/sitcom-series\" target=\"_blank\" rel=\"noopener noreferrer\">moments from popular TV shows of the 1970s and ’80s\u003c/a>. In 2015, she painted \u003ca href=\"https://www.kellyinouye.com/art-on-market-street-poster-series\" target=\"_blank\" rel=\"noopener noreferrer\">stills from San Francisco movies\u003c/a> including \u003cem>Dirty Harry\u003c/em>, \u003cem>Milk\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> for display in bus shelters along Market Street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, Inouye refers to \u003cem>MTV Generation\u003c/em> as “by far the most influential set of images from my lifetime.” To do them justice during the creative process, the artist immersed herself in a soundtrack of music from—and podcasts about—the ’80s. She also devoured books that analyzed the era, including \u003cem>Outlaw Culture\u003c/em> by bell hooks and Questlove’s \u003cem>Music is History\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_10561']“I was trying to feed my brain with stuff that communicated the feeling that I wanted to paint,” Inouye says. “With watercolor, it’s fleeting, right? If you don’t touch it at the right time, it doesn’t have the same feeling.”\u003c/p>\n\u003cp>\u003cem>MTV Generation\u003c/em> is likely not the end of Inouye’s examination of the channel’s influence on pop culture (then and now). “I feel like I’ve just scratched the surface,” she says. “There’s really a lot to do here. A lot of directions to take it. And I mean, that’s a good feeling. Being finished with paintings for a show, and I’m still excited.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘MTV Generation’ is on view May 4—June 4 at Marrow Gallery (548 Irving Street, San Francisco), with an opening reception at 5pm on May 7. Visitors are invited to record their own MTV memories for a future book. \u003ca href=\"https://www.marrowgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I stood in a room with the outsized icons of \u003ca href=\"https://www.kellyinouye.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Inouye\u003c/a>’s \u003ci>MTV Generation\u003c/i>, a show of large-scale watercolor paintings, I was immediately transported back to my childhood. Back to 1983 and my cousin’s living room floor for the premiere of Michael Jackson’s “Thriller” video. To my family couch the first time we all witnessed Boy George finger-snapping his way through “Karma Chameleon.” (“Is that a man or a woman?” my dad asked no one in particular.) To the countless Saturday mornings when I’d wake up early to catch a glimpse of Public Enemy on \u003cem>Yo! MTV Raps\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For people like me who grew up in the ’80s, awed and impressed by the pop idols of the period, gazing upon Inouye’s latest work is a visceral experience. Here, the haze that watercolors naturally yield evoke an intense nostalgia. The portraits become a DeLorean back to a time when music was curated by—and filtered through—an all-powerful marketing machine that decided who was cool and what records Americans bought. They’re also a reminder of the excitement of catching your favorite music videos in the years when watching anything on demand was impossible.\u003c/p>\n\u003cp>“It felt transgressive to watch MTV when it first came out because it was so scandalous,” Inouye says during a studio visit with KQED Arts as she was finishing the work for a solo show at San Francisco’s Marrow Gallery. “There is a different cultural zeitgeist today. It’s not a collective culture anymore. I thought about making smaller paintings and more [of them], but I didn’t feel like that would convey the power and the strength that was wielded by MTV.”\u003c/p>\n\u003cfigure id=\"attachment_13910812\" class=\"wp-caption aligncenter\" style=\"max-width: 736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png\" alt=\"Vertical painting on paper made with black watercolor\" width=\"736\" height=\"1318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png 736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM-160x287.png 160w\" sizes=\"(max-width: 736px) 100vw, 736px\">\u003cfigcaption class=\"wp-caption-text\">A watercolor rendition of Janet Jackson in her ‘Rhythm Nation 1814’ days. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Generation MTV\u003c/em> features imposing renditions of Madonna, Michael Jackson, Duran Duran, Boy George, Prince and the Revolution, Twisted Sister, Janet Jackson and Public Enemy. The paintings—supported by a grant from the San Francisco Arts Commission—are presented in the chronological order (1981–1989) of the moments and videos Inouye based them on. And while most of her subjects were the biggest stars of the decade, that’s not the only reason Inouye selected them.\u003c/p>\n\u003cp>“If you think about all of these artists,” she explains, “they were not people who were elevated in society. I wanted to include the Revolution with Prince because they were such a diverse, interesting, alternative group of people. Wendy and Lisa were gay and together on screen—that never happened before. Culture Club had a multi-ethnicity that reflected the ‘United Colors of Benetton’ tone of the time. That’s what I felt like the future would be like, but it’s not,” Inouye continues. “That was part of the inclination for me to do this—the world now feels different to the one I was promised when I was a kid.”\u003c/p>\n\u003cfigure id=\"attachment_13910813\" class=\"wp-caption aligncenter\" style=\"max-width: 1002px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910813\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png\" alt=\"Watercolor painting of singer in hat\" width=\"1002\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png 1002w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-768x934.png 768w\" sizes=\"(max-width: 1002px) 100vw, 1002px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Inouye’s watercolor painting of Boy George. \u003ccite>(Courtesy of the artist.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inouye has spent much of the last 20 years examining and exploring pop culture from a personal perspective. Her last show before the pandemic focused on \u003ca href=\"https://www.kqed.org/arts/13865253/watercolors-find-empowerment-in-female-professional-wrestlers\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Gorgeous Ladies of Wrestling\u003c/em>\u003c/a>. Prior to that, she focused her energy on painting memorable \u003ca href=\"https://www.kellyinouye.com/sitcom-series\" target=\"_blank\" rel=\"noopener noreferrer\">moments from popular TV shows of the 1970s and ’80s\u003c/a>. In 2015, she painted \u003ca href=\"https://www.kellyinouye.com/art-on-market-street-poster-series\" target=\"_blank\" rel=\"noopener noreferrer\">stills from San Francisco movies\u003c/a> including \u003cem>Dirty Harry\u003c/em>, \u003cem>Milk\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> for display in bus shelters along Market Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, Inouye refers to \u003cem>MTV Generation\u003c/em> as “by far the most influential set of images from my lifetime.” To do them justice during the creative process, the artist immersed herself in a soundtrack of music from—and podcasts about—the ’80s. She also devoured books that analyzed the era, including \u003cem>Outlaw Culture\u003c/em> by bell hooks and Questlove’s \u003cem>Music is History\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I was trying to feed my brain with stuff that communicated the feeling that I wanted to paint,” Inouye says. “With watercolor, it’s fleeting, right? If you don’t touch it at the right time, it doesn’t have the same feeling.”\u003c/p>\n\u003cp>\u003cem>MTV Generation\u003c/em> is likely not the end of Inouye’s examination of the channel’s influence on pop culture (then and now). “I feel like I’ve just scratched the surface,” she says. “There’s really a lot to do here. A lot of directions to take it. And I mean, that’s a good feeling. Being finished with paintings for a show, and I’m still excited.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘MTV Generation’ is on view May 4—June 4 at Marrow Gallery (548 Irving Street, San Francisco), with an opening reception at 5pm on May 7. Visitors are invited to record their own MTV memories for a future book. \u003ca href=\"https://www.marrowgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lifetime and A&E's Janet Jackson Docuseries Promises More Than it Delivers",
"headTitle": "Lifetime and A&E’s Janet Jackson Docuseries Promises More Than it Delivers | KQED",
"content": "\u003cp>The promise of A&E and Lifetime’s four-part docuseries on pop icon Janet Jackson, titled simply, \u003cem>Janet Jackson.—\u003c/em>with a period—is obvious.\u003c/p>\n\u003cp>Executive produced by Miss Jackson and her brother Randy—with never before seen home movie footage and interviews with big stars like Tyler Perry, Samuel L. Jackson and Missy Elliot—the project offers a close-up look at a famously private music legend told from her perspective.\u003c/p>\n\u003cp>[aside postid='arts_13906331']But, after watching two of the four hours A&E and Lifetime will air over two days, I thought this artist—who has spent her entire career protecting her public image and private moments—wasn’t really prepared to allow a fully incisive documentary about her own life.\u003c/p>\n\u003cp>It feels as if there is a tension inside \u003cem>Janet Jackson.\u003c/em>; the docuseries often provides interesting revelations, only to scurry away from big moments for the next story point—as if unwilling to dig too deep into painful memories or controversial times.\u003c/p>\n\u003ch3>The tension between disclosure and privacy\u003c/h3>\n\u003cp>For example, in the first episode, Janet Jackson speaks emotionally about her first marriage to singer James DeBarge. The two eloped and got married in secret when she was just 18 years old, and she discovered DeBarge had a raging drug habit which he couldn’t shake; their marriage was annulled about a year later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, as heartbreaking as that story is—she says DeBarge left her alone in a hotel room in Grand Rapids, Mich. for three hours on their wedding night—it feels like there is much more left unsaid. Her father Joe Jackson was famously controlling; his rigid ways helped mold The Jacksons into a hit group for Motown and guided her early performing career. How did he and the rest of the family react to her surprise marriage—especially when it became obvious how much DeBarge was struggling with substance abuse issues?\u003c/p>\n\u003cp>Her union with DeBarge wouldn’t be the only time Janet Jackson surprised her family with nuptials. Her sister, Rebbie Jackson, said she was also “blindsided” when Janet married second husband Rene Elizondo, Jr. in 1991. But there’s not much explanation here for why Janet has been so secretive about those events, beyond Rebbie’s observation that her sister is intensely private.\u003c/p>\n\u003cp>[aside postid='arts_13894392']The docuseries isn’t above a little empty hype, either. The first episode closes with ominous clips suggesting Janet will \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-10445801/Janet-Jackson-denies-carrying-secret-child-ex-husband-James-DeBarge.html\" target=\"_blank\" rel=\"noopener noreferrer\">speak on the longstanding rumors\u003c/a> that she had a secret daughter while married to DeBarge that she either gave to Rebbie or put up for adoption. Early in the second episode, Janet and Rebbie imply it’s not true—a denial the family has maintained for years.\u003c/p>\n\u003cp>“I could never keep a child away from James,” Janet Jackson tells the camera at one point, without directly saying the child does not exist. “How could I keep a child from their father? I could never do that, that’s not right.”\u003c/p>\n\u003cp>But the docuseries doesn’t note that one reason the rumors persisted is because members of DeBarge’s family \u003ca href=\"https://www.insideedition.com/22247-janet-jacksons-ex-sister-in-law-apologizes-over-singers-secret-daughter-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">have told press outlets\u003c/a> they thought Janet was pregnant when the marriage ended. James DeBarge said on a reality TV show in 2016 that \u003ca href=\"https://www.etonline.com/news/202631_janet_jackson_ex_husband_james_debarge_claims_the_two_have_a_secret_daughter_together\" target=\"_blank\" rel=\"noopener noreferrer\">he believed the child existed\u003c/a>.\u003c/p>\n\u003cp>Still, even though DeBarge appears in \u003cem>Janet Jackson.—\u003c/em>and the docuseries shows images of newspaper clippings about his statements on the child—he isn’t shown answering any questions about that issue on camera. And Janet Jackson never mentions him or his family as a possible source of the rumors.\u003c/p>\n\u003cp>It is odd, given how much attention those allegations got just a few years ago, that the docuseries doesn’t fully explore this—if only to refute or explain what they show DeBarge has said.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yPHFcDHJYTU\u003c/p>\n\u003ch3>Telling moments in home movie footage\u003c/h3>\n\u003cp>There are some telling moments revealed in the first two episodes, in part, because Jackson’s second husband Elizondo documented much of their life with his own cameras. We see her writing lyrics for songs while recording the album \u003cem>Rhythm Nation 1814\u003c/em>, pushing back on criticisms that her artistic identity is solely a creation of producers Jimmy Jam and Terry Lewis.\u003c/p>\n\u003cp>Another scene, where Jimmy Jam gets into an argument with her while recording vocals for \u003cem>Rhythm Nation—\u003c/em>he is pushing her to deliver more energy in her performance—perfectly encapsulates how fatigue and pressure can bring emotional combustion in recording.\u003c/p>\n\u003cp>[aside postID='pop_20175,arts_13892744,pop_108623']The docuseries also often references her desire to escape the shadow of her superstar brother, her willful father and her famous last name. “It has opened a great deal of doors for me… having that name,” she says at one point. “[But] I wanted my own identity.”\u003c/p>\n\u003cp>As a native of Gary, Indiana, I loved how the docuseries began with Janet and Randy visiting the tiny, two-bedroom home there that she, her parents and her eight siblings lived in during the 1960s. (It was, in fact, just a few blocks north of my grandmother’s house.) But it was also odd to see her experience Gary mostly from behind the window of an automobile, surveying a crumbling, economically depressed area that is now a shadow of the bustling city it was when she lived there.\u003c/p>\n\u003cp>The third episode promises to deliver her perspective on the child molestation accusations made against her brother, now-deceased pop icon Michael Jackson.\u003c/p>\n\u003cp>And there will be lots of interest in hearing her side of the infamous 2004 Super Bowl “wardrobe malfunction,” where her breast was exposed briefly at the end of her halftime performance by guest Justin Timberlake. Fans have long held she was unfairly damaged by the incident—paying a heavier price than Timberlake, perhaps due to the ire of then-CBS CEO Les Moonves.\u003c/p>\n\u003cp>A docuseries like this one would be a good venue to find out exactly what happened from her perspective. What was planned for the halftime show, did it go wrong, did she feel Moonves was gunning for her afterward and did she feel abandoned by Timberlake?\u003c/p>\n\u003cp>I wasn’t able to see the final episode, so I don’t know if those questions were answered or how. But given what I have seen of \u003cem>Janet Jackson.\u003c/em>, I’m not confident we’ll get the kind of in-depth examination that usually makes for a great docuseries.\u003c/p>\n\u003cp>Like the moment when Jimmy Jam presses Janet to deliver a better performance in the studio, this documentary needed an outside voice strong enough to push her to go deeper—revealing more than we can read in a Wikipedia entry or see in gossip columns.\u003c/p>\n\u003cp>Over the years, you get the sense that the Jackson family has devoted a lot of energy to downplaying, avoiding and publicly ignoring the dramas which have swirled around them for decades. It’s a defense mechanism which makes sense on a human level, especially given how much attention, commentary and coverage the superstar family has drawn since the 1970s.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But that reflex doesn’t serve \u003cem>Janet Jackson.\u003c/em>, leading to a docuseries that pulls back the curtain a bit, but falls short of fully revealing the inner life of a groundbreaking pop star with so many compelling stories left to tell.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lifetime+and+A%26E%27s+Janet+Jackson+docuseries+promises+more+than+it+delivers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The promise of A&E and Lifetime’s four-part docuseries on pop icon Janet Jackson, titled simply, \u003cem>Janet Jackson.—\u003c/em>with a period—is obvious.\u003c/p>\n\u003cp>Executive produced by Miss Jackson and her brother Randy—with never before seen home movie footage and interviews with big stars like Tyler Perry, Samuel L. Jackson and Missy Elliot—the project offers a close-up look at a famously private music legend told from her perspective.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But, after watching two of the four hours A&E and Lifetime will air over two days, I thought this artist—who has spent her entire career protecting her public image and private moments—wasn’t really prepared to allow a fully incisive documentary about her own life.\u003c/p>\n\u003cp>It feels as if there is a tension inside \u003cem>Janet Jackson.\u003c/em>; the docuseries often provides interesting revelations, only to scurry away from big moments for the next story point—as if unwilling to dig too deep into painful memories or controversial times.\u003c/p>\n\u003ch3>The tension between disclosure and privacy\u003c/h3>\n\u003cp>For example, in the first episode, Janet Jackson speaks emotionally about her first marriage to singer James DeBarge. The two eloped and got married in secret when she was just 18 years old, and she discovered DeBarge had a raging drug habit which he couldn’t shake; their marriage was annulled about a year later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, as heartbreaking as that story is—she says DeBarge left her alone in a hotel room in Grand Rapids, Mich. for three hours on their wedding night—it feels like there is much more left unsaid. Her father Joe Jackson was famously controlling; his rigid ways helped mold The Jacksons into a hit group for Motown and guided her early performing career. How did he and the rest of the family react to her surprise marriage—especially when it became obvious how much DeBarge was struggling with substance abuse issues?\u003c/p>\n\u003cp>Her union with DeBarge wouldn’t be the only time Janet Jackson surprised her family with nuptials. Her sister, Rebbie Jackson, said she was also “blindsided” when Janet married second husband Rene Elizondo, Jr. in 1991. But there’s not much explanation here for why Janet has been so secretive about those events, beyond Rebbie’s observation that her sister is intensely private.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The docuseries isn’t above a little empty hype, either. The first episode closes with ominous clips suggesting Janet will \u003ca href=\"https://www.dailymail.co.uk/tvshowbiz/article-10445801/Janet-Jackson-denies-carrying-secret-child-ex-husband-James-DeBarge.html\" target=\"_blank\" rel=\"noopener noreferrer\">speak on the longstanding rumors\u003c/a> that she had a secret daughter while married to DeBarge that she either gave to Rebbie or put up for adoption. Early in the second episode, Janet and Rebbie imply it’s not true—a denial the family has maintained for years.\u003c/p>\n\u003cp>“I could never keep a child away from James,” Janet Jackson tells the camera at one point, without directly saying the child does not exist. “How could I keep a child from their father? I could never do that, that’s not right.”\u003c/p>\n\u003cp>But the docuseries doesn’t note that one reason the rumors persisted is because members of DeBarge’s family \u003ca href=\"https://www.insideedition.com/22247-janet-jacksons-ex-sister-in-law-apologizes-over-singers-secret-daughter-controversy\" target=\"_blank\" rel=\"noopener noreferrer\">have told press outlets\u003c/a> they thought Janet was pregnant when the marriage ended. James DeBarge said on a reality TV show in 2016 that \u003ca href=\"https://www.etonline.com/news/202631_janet_jackson_ex_husband_james_debarge_claims_the_two_have_a_secret_daughter_together\" target=\"_blank\" rel=\"noopener noreferrer\">he believed the child existed\u003c/a>.\u003c/p>\n\u003cp>Still, even though DeBarge appears in \u003cem>Janet Jackson.—\u003c/em>and the docuseries shows images of newspaper clippings about his statements on the child—he isn’t shown answering any questions about that issue on camera. And Janet Jackson never mentions him or his family as a possible source of the rumors.\u003c/p>\n\u003cp>It is odd, given how much attention those allegations got just a few years ago, that the docuseries doesn’t fully explore this—if only to refute or explain what they show DeBarge has said.\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/yPHFcDHJYTU'\n title='//www.youtube.com/embed/yPHFcDHJYTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Telling moments in home movie footage\u003c/h3>\n\u003cp>There are some telling moments revealed in the first two episodes, in part, because Jackson’s second husband Elizondo documented much of their life with his own cameras. We see her writing lyrics for songs while recording the album \u003cem>Rhythm Nation 1814\u003c/em>, pushing back on criticisms that her artistic identity is solely a creation of producers Jimmy Jam and Terry Lewis.\u003c/p>\n\u003cp>Another scene, where Jimmy Jam gets into an argument with her while recording vocals for \u003cem>Rhythm Nation—\u003c/em>he is pushing her to deliver more energy in her performance—perfectly encapsulates how fatigue and pressure can bring emotional combustion in recording.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The docuseries also often references her desire to escape the shadow of her superstar brother, her willful father and her famous last name. “It has opened a great deal of doors for me… having that name,” she says at one point. “[But] I wanted my own identity.”\u003c/p>\n\u003cp>As a native of Gary, Indiana, I loved how the docuseries began with Janet and Randy visiting the tiny, two-bedroom home there that she, her parents and her eight siblings lived in during the 1960s. (It was, in fact, just a few blocks north of my grandmother’s house.) But it was also odd to see her experience Gary mostly from behind the window of an automobile, surveying a crumbling, economically depressed area that is now a shadow of the bustling city it was when she lived there.\u003c/p>\n\u003cp>The third episode promises to deliver her perspective on the child molestation accusations made against her brother, now-deceased pop icon Michael Jackson.\u003c/p>\n\u003cp>And there will be lots of interest in hearing her side of the infamous 2004 Super Bowl “wardrobe malfunction,” where her breast was exposed briefly at the end of her halftime performance by guest Justin Timberlake. Fans have long held she was unfairly damaged by the incident—paying a heavier price than Timberlake, perhaps due to the ire of then-CBS CEO Les Moonves.\u003c/p>\n\u003cp>A docuseries like this one would be a good venue to find out exactly what happened from her perspective. What was planned for the halftime show, did it go wrong, did she feel Moonves was gunning for her afterward and did she feel abandoned by Timberlake?\u003c/p>\n\u003cp>I wasn’t able to see the final episode, so I don’t know if those questions were answered or how. But given what I have seen of \u003cem>Janet Jackson.\u003c/em>, I’m not confident we’ll get the kind of in-depth examination that usually makes for a great docuseries.\u003c/p>\n\u003cp>Like the moment when Jimmy Jam presses Janet to deliver a better performance in the studio, this documentary needed an outside voice strong enough to push her to go deeper—revealing more than we can read in a Wikipedia entry or see in gossip columns.\u003c/p>\n\u003cp>Over the years, you get the sense that the Jackson family has devoted a lot of energy to downplaying, avoiding and publicly ignoring the dramas which have swirled around them for decades. It’s a defense mechanism which makes sense on a human level, especially given how much attention, commentary and coverage the superstar family has drawn since the 1970s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Residents at the Sydmar Lodge Care Home in Edgeware, England, have been in lockdown for four months.\u003c/p>\n\u003cp>As activities manager at the home, Robert Speker wanted to keep spirits up while visitors and outside entertainment aren’t permitted.\u003c/p>\n\u003cp>Thus, a brilliant project was born: re-creating classic album covers with residents cast as the rock stars.\u003c/p>\n\u003cp>Speker \u003ca href=\"https://twitter.com/robertspeker/status/1281627807546839042\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted \u003c/a>side-by-side photos of the original covers and the Sydmar Lodge residents’ new takes, and the tweets quickly took off.\u003c/p>\n\u003cp>https://twitter.com/robertspeker/status/1281627747136274432\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Instead of British singer Adele, meet 93-year-old Vera.\u003c/p>\n\u003cp>Riffing on Springsteen’s famous \u003cem>Born In The U.S.A.\u003c/em>, there’s a blue-jeaned Martin Steinberg in front of the English flag.\u003c/p>\n\u003cp>Could anyone improve upon David Bowie’s iconic lightning-bolt painted face? Roma Cohen appears to be an icon herself with the lightning bolt highlighted by her white hair.\u003c/p>\n\u003cp>https://twitter.com/robertspeker/status/1281627807546839042?s=20\u003c/p>\n\u003cp>There’s Toba David as Michael Jackson, tough in a leather jacket.\u003c/p>\n\u003cp>And Sheila Solomon as a Sydmar Lodge punk, reinventing The Clash’s guitar-smashing with a walking cane ready to come crashing down.\u003c/p>\n\u003cp>Staffers got in on the project, too, with four carers lit from below looking every bit as moody as Queen.\u003c/p>\n\u003cp>“I made the suggestions of which albums and which resident best suited the look, or had a vague similarity to the artist,” Speker \u003ca href=\"https://twitter.com/robertspeker/status/1282455570944069636\" target=\"_blank\" rel=\"noopener noreferrer\">explained\u003c/a> on Twitter. “Then I proposed the idea to each resident. Gladly all of them were enthused and perhaps a bit bemused by the idea, but happy to participate.”\u003c/p>\n\u003cp>He says he did the residents’ makeup, drew their tattoos, and did the photography and editing. A care home manager helped with hair and makeup touch-ups.\u003c/p>\n\u003cp>Speker, who began working at Sydmar Lodge in 2015, has won accolades for his inventiveness before. “Robert continues to astound us with his creative, and somewhat ‘out of the box’ ideas,” Sydmar Lodge Manager Julie Davey testifies on the home’s website.\u003c/p>\n\u003cp>Noting that Speker had won an activities coordinator award, Sydmar Lodge \u003ca href=\"https://www.sydmarlodge.co.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a> that he “performs his activities with creativeness, ingenuity, individuality and originality” and recently took a resident swimming for the first time in 20 years.\u003c/p>\n\u003cp>These have been bleak times at some care homes in the U.K. Among residents at nursing homes in England and Wales from Dec. 28, 2019, to June 12, 2020, there were \u003ca href=\"https://www.ons.gov.uk/peoplepopulationandcommunity/birthsdeathsandmarriages/deaths/articles/deathsinvolvingcovid19inthecaresectorenglandandwales/deathsoccurringupto12june2020andregisteredupto20june2020provisional\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 30,000\u003c/a> more deaths than during the same period last year.\u003c/p>\n\u003cp>“As this situation is on-going it could be months before the situation changes for them and the need to keep them happy entertained and full of spirit has never been more crucial,” Speker wrote on \u003ca href=\"https://www.gofundme.com/f/8rz5n-the-show-must-go-on\" target=\"_blank\" rel=\"noopener noreferrer\">a GoFundMe page\u003c/a> he created to support the care home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Elderly people will remain in lockdown for a long time,” he wrote, “and I want to make their time as happy and full of enjoyment and interest as possible.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+U.K.+Care+Home%2C+Residents+Brilliantly+Re-Create+Iconic+Album+Covers+On+Twitter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Residents at the Sydmar Lodge Care Home in Edgeware, England, have been in lockdown for four months.\u003c/p>\n\u003cp>As activities manager at the home, Robert Speker wanted to keep spirits up while visitors and outside entertainment aren’t permitted.\u003c/p>\n\u003cp>Thus, a brilliant project was born: re-creating classic album covers with residents cast as the rock stars.\u003c/p>\n\u003cp>Speker \u003ca href=\"https://twitter.com/robertspeker/status/1281627807546839042\" target=\"_blank\" rel=\"noopener noreferrer\">tweeted \u003c/a>side-by-side photos of the original covers and the Sydmar Lodge residents’ new takes, and the tweets quickly took off.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Instead of British singer Adele, meet 93-year-old Vera.\u003c/p>\n\u003cp>Riffing on Springsteen’s famous \u003cem>Born In The U.S.A.\u003c/em>, there’s a blue-jeaned Martin Steinberg in front of the English flag.\u003c/p>\n\u003cp>Could anyone improve upon David Bowie’s iconic lightning-bolt painted face? Roma Cohen appears to be an icon herself with the lightning bolt highlighted by her white hair.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There’s Toba David as Michael Jackson, tough in a leather jacket.\u003c/p>\n\u003cp>And Sheila Solomon as a Sydmar Lodge punk, reinventing The Clash’s guitar-smashing with a walking cane ready to come crashing down.\u003c/p>\n\u003cp>Staffers got in on the project, too, with four carers lit from below looking every bit as moody as Queen.\u003c/p>\n\u003cp>“I made the suggestions of which albums and which resident best suited the look, or had a vague similarity to the artist,” Speker \u003ca href=\"https://twitter.com/robertspeker/status/1282455570944069636\" target=\"_blank\" rel=\"noopener noreferrer\">explained\u003c/a> on Twitter. “Then I proposed the idea to each resident. Gladly all of them were enthused and perhaps a bit bemused by the idea, but happy to participate.”\u003c/p>\n\u003cp>He says he did the residents’ makeup, drew their tattoos, and did the photography and editing. A care home manager helped with hair and makeup touch-ups.\u003c/p>\n\u003cp>Speker, who began working at Sydmar Lodge in 2015, has won accolades for his inventiveness before. “Robert continues to astound us with his creative, and somewhat ‘out of the box’ ideas,” Sydmar Lodge Manager Julie Davey testifies on the home’s website.\u003c/p>\n\u003cp>Noting that Speker had won an activities coordinator award, Sydmar Lodge \u003ca href=\"https://www.sydmarlodge.co.uk/\" target=\"_blank\" rel=\"noopener noreferrer\">notes\u003c/a> that he “performs his activities with creativeness, ingenuity, individuality and originality” and recently took a resident swimming for the first time in 20 years.\u003c/p>\n\u003cp>These have been bleak times at some care homes in the U.K. Among residents at nursing homes in England and Wales from Dec. 28, 2019, to June 12, 2020, there were \u003ca href=\"https://www.ons.gov.uk/peoplepopulationandcommunity/birthsdeathsandmarriages/deaths/articles/deathsinvolvingcovid19inthecaresectorenglandandwales/deathsoccurringupto12june2020andregisteredupto20june2020provisional\" target=\"_blank\" rel=\"noopener noreferrer\">nearly 30,000\u003c/a> more deaths than during the same period last year.\u003c/p>\n\u003cp>“As this situation is on-going it could be months before the situation changes for them and the need to keep them happy entertained and full of spirit has never been more crucial,” Speker wrote on \u003ca href=\"https://www.gofundme.com/f/8rz5n-the-show-must-go-on\" target=\"_blank\" rel=\"noopener noreferrer\">a GoFundMe page\u003c/a> he created to support the care home.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Elderly people will remain in lockdown for a long time,” he wrote, “and I want to make their time as happy and full of enjoyment and interest as possible.”\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+U.K.+Care+Home%2C+Residents+Brilliantly+Re-Create+Iconic+Album+Covers+On+Twitter&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For non-football types, the Super Bowl halftime show can be the only life raft in a confusing sea of frowning men wearing shoulder pads and over-long commercial breaks. And, since 1993, when Michael Jackson turned in his game-changing, five-song performance in Pasadena, standards for a successful halftime have been incredibly high.\u003c/p>\n\u003cp>No wonder. Super Bowl \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_television_ratings\" target=\"_blank\" rel=\"noopener noreferrer\">viewing figures\u003c/a> haven’t fallen under 100 million since 1981, and are more commonly closer to the 150 million mark—and that’s in America alone.\u003c/p>\n\u003cp>[aside postid='pop_20247']When it’s done right, the halftime show can be a source of national pride (as when \u003ca href=\"https://www.youtube.com/watch?v=pH5tHgXS-2M\" target=\"_blank\" rel=\"noopener noreferrer\">U2 tried to heal\u003c/a> the nation after 9/11). It can have an immediate and lasting impact on pop culture (Katy Perry’s \u003ca href=\"https://www.youtube.com/watch?v=ZD1QrIe--_Y\" target=\"_blank\" rel=\"noopener noreferrer\">Left Shark\u003c/a> will live on as a\u003ca href=\"https://knowyourmeme.com/memes/super-bowl-xlix-halftime-left-shark\" target=\"_blank\" rel=\"noopener noreferrer\"> meme\u003c/a> forever). And it can bring the country together during turbulent times (everyone stopped thinking about 2017’s divisive inauguration the second \u003ca href=\"https://www.youtube.com/watch?v=txXwg712zw4\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga threw herself\u003c/a> off the top of that stadium).\u003c/p>\n\u003cp>So it’s easy to forget quite how much the pre-Jackson Super Bowl halftime, well, sucked.\u003c/p>\n\u003cp>Going all the way back to the beginning, the first three halftime shows (’67-’69) consisted simply of \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">marching bands\u003c/a>. In 1970, when the NFL decided to jazz things up \u003ca href=\"https://www.theguardian.com/sport/2016/feb/06/carol-channing-super-bowl-broadway\" target=\"_blank\" rel=\"noopener noreferrer\">for Super Bowl IV\u003c/a> in New Orleans, it saw fit to give America \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">a surreal reenactment\u003c/a> of the 1815 Battle of New Orleans. Cannons, on-field “deaths” and Carol Channing singing “When the Saints Go Marching In” were all involved. (All of which makes \u003ca href=\"https://www.youtube.com/watch?v=NGRfz5_Cuo8\" target=\"_blank\" rel=\"noopener noreferrer\">Black Eyed Peas’ \u003cem>Tron\u003c/em> musical \u003c/a>in 2011 look perfectly reasonable.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carol Channing was invited back again two years later, when Ella Fitzgerald and Al Hirt performed a rendition of “Mack the Knife” as part of a single-song “tribute to Louis Armstrong.” And by ’73, Andy Williams had been dragged in to pelt the crowd with two easy listening gems while the Michigan Marching Band did its thing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ny-1Q6qxn-A\u003c/p>\n\u003cp>Despite the fact that the flashiest thing about Williams’ performance was his belt, in subsequent years, the decision was made to return to simpler times. For the next 15 years, marching bands performing a grab bag of “themes” dominated.\u003c/p>\n\u003cp>These regimented “salutes” ranged from fairly reasonable celebrations (America’s bicentennial, “the Big Band era,” Hollywood’s 100th Anniversary), to totally random subjects (Duke Ellington, the Caribbean, Motown). And in between, there were moments of abject surreality (“World of Children’s Dreams,” “KaleidoSUPERscope” and “Beat of the Future,” anyone?)\u003c/p>\n\u003cp>Occasionally, flagrant advertising would interrupt proceedings—even more so than Pepsi does now. The most egregious example of this was 1977’s “It’s a Small World.” Produced by The Walt Disney Company, the halftime exhibition featured grinning but under-utilized Mouseketeers, a human reproduction of Disneyland’s “It’s a Small World” ride and, for reasons that remain unclear, green-hooded figures waving white sheets in formations that made… nothing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-K-7je-6Dk0\u003c/p>\n\u003cp>1987’s “\u003ca href=\"https://www.youtube.com/watch?v=oSXMNbK2e98\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood’s 100th Anniversary\u003c/a>” special with George Burns, as well as New Kids On The Block’s \u003ca href=\"https://www.youtube.com/watch?v=ZTOt6CjYaHc\" target=\"_blank\" rel=\"noopener noreferrer\">weird, child-laden\u003c/a> set in 1991 also served as thinly-veiled Disney commercials.\u003c/p>\n\u003cp>[aside postid='arts_13863975']As late as 1989, the Super Bowl halftime show was such a mess, \u003ca href=\"https://www.youtube.com/watch?v=VqusO8PegFI&t=381s\" target=\"_blank\" rel=\"noopener noreferrer\">the NFL thought nothing of bringing in Elvis Presto, a magician and Elvis impersonator\u003c/a> who spent his time on the field doing one large-scale card trick for the stadium, then a bunch of smaller illusions while singing “Do You Love Me” by The Contours—instead of, you know, an Elvis song.\u003c/p>\n\u003cp>The most noteworthy halftime of that period came in 1988 with a show that answered the question: What happens when you have too many ideas and decide to do all of them at the same time?\u003c/p>\n\u003cp>The final result, featuring 88 grand pianos, 44 Rockettes, four dudes on roller skates, an untold number of “dancersizers,” hundreds of cheerleaders, “the biggest big band ever to swing” and—wouldn’t you know it?—Chubby Checker, is the single most entertaining (and unintentionally hilarious) halftime show of all time. Behold its majesty:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wqrksVDVO6w\u003c/p>\n\u003cp>In the last 25 years, the strides made by the Super Bowl halftime show are immense. But we still find reasons to quibble. For every \u003ca href=\"https://www.youtube.com/watch?v=sLrOSZi2pfw\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny’s Child reunion\u003c/a>, there is a \u003ca href=\"https://www.youtube.com/watch?v=0wL8sAr1Ym0\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars trying\u003c/a> (and failing) to make it work with Red Hot Chili Peppers. For every \u003ca href=\"https://www.youtube.com/watch?v=7NN3gsSf-Ys&t=105s\" target=\"_blank\" rel=\"noopener noreferrer\">Prince flawlessly powering through\u003c/a> a thunderstorm, there is an \u003ca href=\"https://www.youtube.com/watch?v=zIwkhEqVq4s\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Levine\u003c/a> assuming that removing his shirt constitutes a grand finale. And for every \u003ca href=\"https://www.youtube.com/watch?v=i4-0nbHFi4o\" target=\"_blank\" rel=\"noopener noreferrer\">inter-generationally loved Bruce Springsteen set\u003c/a>, there’s an \u003ca href=\"https://www.youtube.com/watch?v=X3ik_8QjM3U\" target=\"_blank\" rel=\"noopener noreferrer\">M.I.A. middle finger\u003c/a> or a \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener noreferrer\">Janet Jackson nipple guard\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_20175']Right now, there are three guarantees when it comes to the Super Bowl halftime show. It \u003cem>will\u003c/em> be spectacular, it \u003cem>won’t\u003c/em> please everyone and, even at its worst, it’s still about a million times better than it was in its fledgling years. So this Sunday, if you happen to end up sitting next to someone complaining, feel free to send them a gentle reminder of how bad things used to be. The \u003cem>Peanuts\u003c/em>-related fever dream below ought to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X4zzu4Jrl4o\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For non-football types, the Super Bowl halftime show can be the only life raft in a confusing sea of frowning men wearing shoulder pads and over-long commercial breaks. And, since 1993, when Michael Jackson turned in his game-changing, five-song performance in Pasadena, standards for a successful halftime have been incredibly high.\u003c/p>\n\u003cp>No wonder. Super Bowl \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_television_ratings\" target=\"_blank\" rel=\"noopener noreferrer\">viewing figures\u003c/a> haven’t fallen under 100 million since 1981, and are more commonly closer to the 150 million mark—and that’s in America alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When it’s done right, the halftime show can be a source of national pride (as when \u003ca href=\"https://www.youtube.com/watch?v=pH5tHgXS-2M\" target=\"_blank\" rel=\"noopener noreferrer\">U2 tried to heal\u003c/a> the nation after 9/11). It can have an immediate and lasting impact on pop culture (Katy Perry’s \u003ca href=\"https://www.youtube.com/watch?v=ZD1QrIe--_Y\" target=\"_blank\" rel=\"noopener noreferrer\">Left Shark\u003c/a> will live on as a\u003ca href=\"https://knowyourmeme.com/memes/super-bowl-xlix-halftime-left-shark\" target=\"_blank\" rel=\"noopener noreferrer\"> meme\u003c/a> forever). And it can bring the country together during turbulent times (everyone stopped thinking about 2017’s divisive inauguration the second \u003ca href=\"https://www.youtube.com/watch?v=txXwg712zw4\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga threw herself\u003c/a> off the top of that stadium).\u003c/p>\n\u003cp>So it’s easy to forget quite how much the pre-Jackson Super Bowl halftime, well, sucked.\u003c/p>\n\u003cp>Going all the way back to the beginning, the first three halftime shows (’67-’69) consisted simply of \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">marching bands\u003c/a>. In 1970, when the NFL decided to jazz things up \u003ca href=\"https://www.theguardian.com/sport/2016/feb/06/carol-channing-super-bowl-broadway\" target=\"_blank\" rel=\"noopener noreferrer\">for Super Bowl IV\u003c/a> in New Orleans, it saw fit to give America \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">a surreal reenactment\u003c/a> of the 1815 Battle of New Orleans. Cannons, on-field “deaths” and Carol Channing singing “When the Saints Go Marching In” were all involved. (All of which makes \u003ca href=\"https://www.youtube.com/watch?v=NGRfz5_Cuo8\" target=\"_blank\" rel=\"noopener noreferrer\">Black Eyed Peas’ \u003cem>Tron\u003c/em> musical \u003c/a>in 2011 look perfectly reasonable.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carol Channing was invited back again two years later, when Ella Fitzgerald and Al Hirt performed a rendition of “Mack the Knife” as part of a single-song “tribute to Louis Armstrong.” And by ’73, Andy Williams had been dragged in to pelt the crowd with two easy listening gems while the Michigan Marching Band did its thing.\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/ny-1Q6qxn-A'\n title='//www.youtube.com/embed/ny-1Q6qxn-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the fact that the flashiest thing about Williams’ performance was his belt, in subsequent years, the decision was made to return to simpler times. For the next 15 years, marching bands performing a grab bag of “themes” dominated.\u003c/p>\n\u003cp>These regimented “salutes” ranged from fairly reasonable celebrations (America’s bicentennial, “the Big Band era,” Hollywood’s 100th Anniversary), to totally random subjects (Duke Ellington, the Caribbean, Motown). And in between, there were moments of abject surreality (“World of Children’s Dreams,” “KaleidoSUPERscope” and “Beat of the Future,” anyone?)\u003c/p>\n\u003cp>Occasionally, flagrant advertising would interrupt proceedings—even more so than Pepsi does now. The most egregious example of this was 1977’s “It’s a Small World.” Produced by The Walt Disney Company, the halftime exhibition featured grinning but under-utilized Mouseketeers, a human reproduction of Disneyland’s “It’s a Small World” ride and, for reasons that remain unclear, green-hooded figures waving white sheets in formations that made… nothing.\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/-K-7je-6Dk0'\n title='//www.youtube.com/embed/-K-7je-6Dk0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1987’s “\u003ca href=\"https://www.youtube.com/watch?v=oSXMNbK2e98\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood’s 100th Anniversary\u003c/a>” special with George Burns, as well as New Kids On The Block’s \u003ca href=\"https://www.youtube.com/watch?v=ZTOt6CjYaHc\" target=\"_blank\" rel=\"noopener noreferrer\">weird, child-laden\u003c/a> set in 1991 also served as thinly-veiled Disney commercials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As late as 1989, the Super Bowl halftime show was such a mess, \u003ca href=\"https://www.youtube.com/watch?v=VqusO8PegFI&t=381s\" target=\"_blank\" rel=\"noopener noreferrer\">the NFL thought nothing of bringing in Elvis Presto, a magician and Elvis impersonator\u003c/a> who spent his time on the field doing one large-scale card trick for the stadium, then a bunch of smaller illusions while singing “Do You Love Me” by The Contours—instead of, you know, an Elvis song.\u003c/p>\n\u003cp>The most noteworthy halftime of that period came in 1988 with a show that answered the question: What happens when you have too many ideas and decide to do all of them at the same time?\u003c/p>\n\u003cp>The final result, featuring 88 grand pianos, 44 Rockettes, four dudes on roller skates, an untold number of “dancersizers,” hundreds of cheerleaders, “the biggest big band ever to swing” and—wouldn’t you know it?—Chubby Checker, is the single most entertaining (and unintentionally hilarious) halftime show of all time. Behold its majesty:\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/wqrksVDVO6w'\n title='//www.youtube.com/embed/wqrksVDVO6w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last 25 years, the strides made by the Super Bowl halftime show are immense. But we still find reasons to quibble. For every \u003ca href=\"https://www.youtube.com/watch?v=sLrOSZi2pfw\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny’s Child reunion\u003c/a>, there is a \u003ca href=\"https://www.youtube.com/watch?v=0wL8sAr1Ym0\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars trying\u003c/a> (and failing) to make it work with Red Hot Chili Peppers. For every \u003ca href=\"https://www.youtube.com/watch?v=7NN3gsSf-Ys&t=105s\" target=\"_blank\" rel=\"noopener noreferrer\">Prince flawlessly powering through\u003c/a> a thunderstorm, there is an \u003ca href=\"https://www.youtube.com/watch?v=zIwkhEqVq4s\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Levine\u003c/a> assuming that removing his shirt constitutes a grand finale. And for every \u003ca href=\"https://www.youtube.com/watch?v=i4-0nbHFi4o\" target=\"_blank\" rel=\"noopener noreferrer\">inter-generationally loved Bruce Springsteen set\u003c/a>, there’s an \u003ca href=\"https://www.youtube.com/watch?v=X3ik_8QjM3U\" target=\"_blank\" rel=\"noopener noreferrer\">M.I.A. middle finger\u003c/a> or a \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener noreferrer\">Janet Jackson nipple guard\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Right now, there are three guarantees when it comes to the Super Bowl halftime show. It \u003cem>will\u003c/em> be spectacular, it \u003cem>won’t\u003c/em> please everyone and, even at its worst, it’s still about a million times better than it was in its fledgling years. So this Sunday, if you happen to end up sitting next to someone complaining, feel free to send them a gentle reminder of how bad things used to be. The \u003cem>Peanuts\u003c/em>-related fever dream below ought to do it.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/X4zzu4Jrl4o'\n title='//www.youtube.com/embed/X4zzu4Jrl4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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