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"content": "\u003cp>Whatever you think of the Grammy Awards, they do provide an intriguing snapshot of how the music industry wishes to see itself — particularly in terms of its chosen standard-bearers. In one three-and-a-half-hour flurry of awards and performances, you’ll get a cross-genre infomercial and, if you curate your Twitter feed right, an evening-long feast of social-media jokes and commentary.\u003c/p>\n\u003cp>By the end of the night, you may well find yourself shouting your own strongly worded opinions from the virtual mountaintop. But for now, we can only take a few educated stabs at the joys and outrages that await. Here are five storylines to watch as Music’s Biggest Night™ approaches.\u003c/p>\n\u003cp>[contextly_sidebar id=”7eUtSw3O3ZIIvJQn4I0q51c5u0YGVq7R”]\u003c/p>\n\u003cp>\u003cstrong>1) So many nominees. \u003c/strong>The Grammys’ four biggest categories — album of the year, song of the year, record of the year and best new artist — have traditionally been a hash of oddly matched genres, with pop, rock, hip-hop, R&B, country and jazz artists vying for only five nomination slots. This year, the hash naturally remains, but the number of slots has increased from five to eight to accommodate more diversity among the nominees.\u003c/p>\n\u003cp>This year’s nominations bear that out; in album of the year, for example, Cardi B, Brandi Carlile, Drake, H.E.R., Post Malone, Janelle Monáe, Kacey Musgraves and the \u003cem>Black Panther\u003c/em> soundtrack are all in contention. Record of the year will go to a song by either Cardi B; Carlile; Childish Gambino; Drake; Lady Gaga and Bradley Cooper; Kendrick Lamar and SZA; or Zedd, Maren Morris and Grey. (Here’s \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">a fuller rundown\u003c/a> of this year’s nominees.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The clutter of names makes gaming out winners trickier than ever. Vote-splitting among similar artists and genres could be a major factor. For example, rootsy singers Brandi Carlile and Kacey Musgraves might siphon off each other’s album of the year votes, leaving an open lane for… it’s hard to tell, really. Monáe’s \u003cem>Dirty Computer\u003c/em> was adored by critics, \u003cem>Black Panther\u003c/em> was a commercial juggernaut spearheaded by Kendrick Lamar (who’s due after a few high-profile snubs in the category), Cardi B dominated both the 2018 pop charts and the cultural conversation. And so on.\u003c/p>\n\u003cp>Traditionally, the Grammys have skewed toward safe and/or legacy artists in the major categories, as evidenced by a quarter-century’s worth of album of the year wins for the likes of Tony Bennett, Celine Dion, Steely Dan, U2, Herbie Hancock, Mumford & Sons, Adele (over Beyoncé’s \u003cem>Lemonade\u003c/em>!), Beck (over Beyoncé’s \u003cem>Beyoncé\u003c/em>!), Taylor Swift (over Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em>!), Bruno Mars (over Kendrick Lamar’s \u003cem>DAMN.\u003c/em>!) and so on. Before this year, Beyoncé, Kendrick Lamar and Kanye West have been nominated in the album of the year category three times apiece, and each has come up empty. Generally speaking, hip-hop has fared poorly in the category over the years — Eminem is also 0-for-3 — so a win for Cardi B, Drake or \u003cem>Black Panther\u003c/em> would represent a notable shift. (A win for Monáe would qualify, as well.)\u003c/p>\n\u003cp>\u003cstrong>2) “Women need to step up.”\u003c/strong> A year ago, Grammys president Neil Portnow spoke those five profoundly stupid words, shoving both loafers straight into his gullet as he opined on what turned out to be a heavily male-dominated slate of Grammy winners. (To refresh your memory on that controversy, here’s some of Anastasia Tsioulcas’ indispensable reporting, from last \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">February\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">November\u003c/a>.)\u003c/p>\n\u003cp>The Recording Academy — the voting body that chooses each year’s Grammy winners — has attempted to broaden and diversify its membership since last year’s debacle, when best new artist winner Alessia Cara was the only woman to pick up her own Grammy during the night’s Bruno Mars-intensive telecast. Portnow announced last year that he will step down this summer, and the Grammys have a history of pivoting immediately after public-relations fiascoes. (See: Kendrick Lamar winning heavily in the hip-hop categories after getting swept by Macklemore in 2014, or Metallica dominating the heavy-metal category after losing to Jethro Tull in 1989.) How and whether those correctives translate to the actual awards this year is and will remain a major Grammy storyline this year.\u003c/p>\n\u003cp>\u003cstrong>3) Whither on-stage activism?\u003c/strong> In 2018, against a backdrop of sexual-misconduct allegations in the entertainment industry (and more wide-ranging objections to Donald Trump and his administration), the Grammys mostly stayed muted, politically speaking. With Alicia Keys replacing genial James Corden, the host’s commentary could certainly get bolder and more cutting this time around. (The name of former Keys collaborator R. Kelly might pop up, for example.) And several of the scheduled A-list performers — the increasingly outspoken Cardi B, for one, as well as Monáe, among others — are unlikely to keep their musical contributions entirely commentary-free.\u003c/p>\n\u003cp>\u003cstrong>4) Which moments will resonate?\u003c/strong> Last year’s Grammys were pretty limp overall, but they still served up a few tableaux that dominated “The Conversation” for a handful of minutes. Kesha’s powerful, choir-backed “Praying” stood out, as did Kendrick Lamar’s show-opening performance. (And remember how they kept trotting out Sting for some reason?)\u003c/p>\n\u003cp>This year, in addition to the aforementioned Cardi B and Monáe, announced performers include Camila Cabello, Brandi Carlile, Miley Cyrus, Dan + Shay, H.E.R., Little Big Town, Post Malone, Ricky Martin, Shawn Mendes, Maren Morris, Kacey Musgraves, Red Hot Chili Peppers, Diana Ross, Chloe x Halle, Lady Gaga, Mark Ronson, Travis Scott, Dua Lipa and St. Vincent, and Yolanda Adams, Fantasia and Andra Day. It’s hard to predict which performers will pop — some artists share the stage and wind up getting far less face time than others — but Cyrus and Gaga have a long history of using awards-show performances to get people talking.\u003c/p>\n\u003cp>\u003cstrong>5) Who, if anyone, will sweep?\u003c/strong> Last year’s telecast was a slog of repeat winners (hello again, Bruno Mars! back already, Chris Stapleton?), as well as prominent shutouts (Jay-Z famously went 0-for-8, SZA went 0-for-5, “Despacito” went 0-for-3, and so on). The Grammys often dole out their trophies in bunches — remember those photos of \u003ca href=\"https://www.gettyimages.com/detail/news-photo/norah-jones-holds-her-five-awards-backstage-at-the-45th-news-photo/97327714\">Norah Jones clutching a giant pile of statuettes\u003c/a> she’d just won? — so we might get a sense of a dominant night early on. Likeliest future pile-clutchers? Cardi B, Kacey Musgraves and Janelle Monáe are all beyond plausible, but don’t be surprised by a string of big wins for Brandi Carlile, a solid dark horse for a Recording Academy that loves sturdy veteran artists.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 2019 Grammy Awards will air Sunday, Feb. 10 at 8 p.m. ET on CBS.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whatever you think of the Grammy Awards, they do provide an intriguing snapshot of how the music industry wishes to see itself — particularly in terms of its chosen standard-bearers. In one three-and-a-half-hour flurry of awards and performances, you’ll get a cross-genre infomercial and, if you curate your Twitter feed right, an evening-long feast of social-media jokes and commentary.\u003c/p>\n\u003cp>By the end of the night, you may well find yourself shouting your own strongly worded opinions from the virtual mountaintop. But for now, we can only take a few educated stabs at the joys and outrages that await. Here are five storylines to watch as Music’s Biggest Night™ approaches.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1) So many nominees. \u003c/strong>The Grammys’ four biggest categories — album of the year, song of the year, record of the year and best new artist — have traditionally been a hash of oddly matched genres, with pop, rock, hip-hop, R&B, country and jazz artists vying for only five nomination slots. This year, the hash naturally remains, but the number of slots has increased from five to eight to accommodate more diversity among the nominees.\u003c/p>\n\u003cp>This year’s nominations bear that out; in album of the year, for example, Cardi B, Brandi Carlile, Drake, H.E.R., Post Malone, Janelle Monáe, Kacey Musgraves and the \u003cem>Black Panther\u003c/em> soundtrack are all in contention. Record of the year will go to a song by either Cardi B; Carlile; Childish Gambino; Drake; Lady Gaga and Bradley Cooper; Kendrick Lamar and SZA; or Zedd, Maren Morris and Grey. (Here’s \u003ca href=\"https://www.npr.org/2018/12/07/674493226/kendrick-lamar-female-nominees-lead-major-grammy-nominations\">a fuller rundown\u003c/a> of this year’s nominees.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The clutter of names makes gaming out winners trickier than ever. Vote-splitting among similar artists and genres could be a major factor. For example, rootsy singers Brandi Carlile and Kacey Musgraves might siphon off each other’s album of the year votes, leaving an open lane for… it’s hard to tell, really. Monáe’s \u003cem>Dirty Computer\u003c/em> was adored by critics, \u003cem>Black Panther\u003c/em> was a commercial juggernaut spearheaded by Kendrick Lamar (who’s due after a few high-profile snubs in the category), Cardi B dominated both the 2018 pop charts and the cultural conversation. And so on.\u003c/p>\n\u003cp>Traditionally, the Grammys have skewed toward safe and/or legacy artists in the major categories, as evidenced by a quarter-century’s worth of album of the year wins for the likes of Tony Bennett, Celine Dion, Steely Dan, U2, Herbie Hancock, Mumford & Sons, Adele (over Beyoncé’s \u003cem>Lemonade\u003c/em>!), Beck (over Beyoncé’s \u003cem>Beyoncé\u003c/em>!), Taylor Swift (over Kendrick Lamar’s \u003cem>To Pimp a Butterfly\u003c/em>!), Bruno Mars (over Kendrick Lamar’s \u003cem>DAMN.\u003c/em>!) and so on. Before this year, Beyoncé, Kendrick Lamar and Kanye West have been nominated in the album of the year category three times apiece, and each has come up empty. Generally speaking, hip-hop has fared poorly in the category over the years — Eminem is also 0-for-3 — so a win for Cardi B, Drake or \u003cem>Black Panther\u003c/em> would represent a notable shift. (A win for Monáe would qualify, as well.)\u003c/p>\n\u003cp>\u003cstrong>2) “Women need to step up.”\u003c/strong> A year ago, Grammys president Neil Portnow spoke those five profoundly stupid words, shoving both loafers straight into his gullet as he opined on what turned out to be a heavily male-dominated slate of Grammy winners. (To refresh your memory on that controversy, here’s some of Anastasia Tsioulcas’ indispensable reporting, from last \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">February\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/19/669324103/seeking-greater-diversity-grammy-organization-alters-its-rules-for-membership\">November\u003c/a>.)\u003c/p>\n\u003cp>The Recording Academy — the voting body that chooses each year’s Grammy winners — has attempted to broaden and diversify its membership since last year’s debacle, when best new artist winner Alessia Cara was the only woman to pick up her own Grammy during the night’s Bruno Mars-intensive telecast. Portnow announced last year that he will step down this summer, and the Grammys have a history of pivoting immediately after public-relations fiascoes. (See: Kendrick Lamar winning heavily in the hip-hop categories after getting swept by Macklemore in 2014, or Metallica dominating the heavy-metal category after losing to Jethro Tull in 1989.) How and whether those correctives translate to the actual awards this year is and will remain a major Grammy storyline this year.\u003c/p>\n\u003cp>\u003cstrong>3) Whither on-stage activism?\u003c/strong> In 2018, against a backdrop of sexual-misconduct allegations in the entertainment industry (and more wide-ranging objections to Donald Trump and his administration), the Grammys mostly stayed muted, politically speaking. With Alicia Keys replacing genial James Corden, the host’s commentary could certainly get bolder and more cutting this time around. (The name of former Keys collaborator R. Kelly might pop up, for example.) And several of the scheduled A-list performers — the increasingly outspoken Cardi B, for one, as well as Monáe, among others — are unlikely to keep their musical contributions entirely commentary-free.\u003c/p>\n\u003cp>\u003cstrong>4) Which moments will resonate?\u003c/strong> Last year’s Grammys were pretty limp overall, but they still served up a few tableaux that dominated “The Conversation” for a handful of minutes. Kesha’s powerful, choir-backed “Praying” stood out, as did Kendrick Lamar’s show-opening performance. (And remember how they kept trotting out Sting for some reason?)\u003c/p>\n\u003cp>This year, in addition to the aforementioned Cardi B and Monáe, announced performers include Camila Cabello, Brandi Carlile, Miley Cyrus, Dan + Shay, H.E.R., Little Big Town, Post Malone, Ricky Martin, Shawn Mendes, Maren Morris, Kacey Musgraves, Red Hot Chili Peppers, Diana Ross, Chloe x Halle, Lady Gaga, Mark Ronson, Travis Scott, Dua Lipa and St. Vincent, and Yolanda Adams, Fantasia and Andra Day. It’s hard to predict which performers will pop — some artists share the stage and wind up getting far less face time than others — but Cyrus and Gaga have a long history of using awards-show performances to get people talking.\u003c/p>\n\u003cp>\u003cstrong>5) Who, if anyone, will sweep?\u003c/strong> Last year’s telecast was a slog of repeat winners (hello again, Bruno Mars! back already, Chris Stapleton?), as well as prominent shutouts (Jay-Z famously went 0-for-8, SZA went 0-for-5, “Despacito” went 0-for-3, and so on). The Grammys often dole out their trophies in bunches — remember those photos of \u003ca href=\"https://www.gettyimages.com/detail/news-photo/norah-jones-holds-her-five-awards-backstage-at-the-45th-news-photo/97327714\">Norah Jones clutching a giant pile of statuettes\u003c/a> she’d just won? — so we might get a sense of a dominant night early on. Likeliest future pile-clutchers? Cardi B, Kacey Musgraves and Janelle Monáe are all beyond plausible, but don’t be surprised by a string of big wins for Brandi Carlile, a solid dark horse for a Recording Academy that loves sturdy veteran artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 2019 Grammy Awards will air Sunday, Feb. 10 at 8 p.m. ET on CBS.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a year of big headlines, \u003cem>Fresh Air\u003c/em> continued to dive deep, broadcasting in-depth interviews on topics that ranged from the \u003ca href=\"https://www.npr.org/2018/08/01/634456181/scientists-are-spying-on-whales-to-learn-how-they-eat-talk-and-walked\">magnificent\u003c/a> to the \u003ca href=\"https://www.npr.org/sections/health-shots/2018/11/12/666933600/counting-the-bugs-and-bacteria-youre-never-home-alone-and-thats-ok\">microscopic\u003c/a>. We spoke with \u003ca href=\"https://www.npr.org/sections/health-shots/2018/01/02/575055148/neuroscientist-predicts-much-better-treatment-for-alzheimers-is-10-years-away\">scientists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/03/06/591130207/journalist-charts-the-bizarre-twists-and-turns-of-the-trump-russia-dossier\">journalists\u003c/a>, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2018/09/04/644498267/after-her-cousins-honor-killing-khalida-brohi-became-a-womens-rights-activist\">activists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/10/656118568/first-man-director-armstrongs-moon-walk-is-a-story-of-coping-and-grief\">filmmakers\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/20/669573056/dawn-wall-climbers-gripped-razor-thin-edges-up-el-capitans-impossible-face\">two free climbers\u003c/a> who conquered a surface on Yosemite’s El Capitan that was once thought impenetrable. Our conversations with \u003ca href=\"https://www.npr.org/2018/04/17/602849276/james-comey-to-fresh-air-the-fbi-isnt-on-anybodys-side\">James Comey\u003c/a> and \u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">Bob Woodward\u003c/a> gave us a deeper understanding of the Trump presidency.\u003c/p>\n\u003cp>When we looked at the numbers, we found the most clicked-upon interview of the year was with former Secretary of State Madeleine Albright, who warned of a rise of authoritarianism worldwide.\u003c/p>\n\u003cp>You’ll find that conversation, and many more, in this list of the 10 most popular \u003cem>Fresh Air \u003c/em>interviews of 2018:\u003c/p>\n\u003cp>\u003cstrong>1. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/03/599120190/madeleine-albright-warns-dont-let-fascism-go-unnoticed-until-its-too-late\">\u003cstrong>Madeleine Albright Warns: Don’t Let Fascism Go ‘Unnoticed Until It’s Too Late’\u003c/strong>\u003c/a> The former secretary of state describes President Trump as “the most anti-democratic leader that I have studied in American history.” Albright’s new book is \u003cem>Fascism: A Warning.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>2. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/05/01/607262463/comic-michelle-wolf-responds-to-backlash-im-glad-i-stuck-to-my-guns\">\u003cstrong>Comic Michelle Wolf Responds To Backlash: ‘I’m Glad I Stuck To My Guns’\u003c/strong>\u003c/a> Though critics argued that the comedian’s barbed monologue at this year’s White House Correspondents’ Dinner was too pointed, in this exclusive interview, Wolf stood by her set: “I wouldn’t change a single word.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>3. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/07/11/628000131/once-militantly-anti-abortion-evangelical-minister-now-lives-with-regret\">\u003cstrong>Once Militantly Anti-Abortion, Evangelical Minister Now Lives ‘With Regret’\u003c/strong>\u003c/a> After decades working to block access to clinics, the Rev. Rob Schenck says he had a change of heart and sees abortion as an issue that should be resolved by “an individual and his or her conscience.”\u003c/p>\n\u003cp>\u003cstrong>4. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/12/601783346/first-ever-evictions-database-shows-were-in-the-middle-of-a-housing-crisis\">\u003cstrong>First-Ever Evictions Database Shows: ‘We’re In the Middle Of A Housing Crisis’\u003c/strong>\u003c/a> Matthew Desmond estimates that 2.3 million evictions were filed in the U.S. in 2016 — a rate of four every minute. “Eviction isn’t just a condition of poverty; it’s a cause of poverty,” he says.\u003c/p>\n\u003cp>\u003cstrong>5. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/05/15/611225541/reluctant-psychonaut-michael-pollan-embraces-the-new-science-of-psychedelics\">\u003cstrong>Reluctant Psychonaut’ Michael Pollan Embraces The ‘New Science’ Of Psychedelics\u003c/strong>\u003c/a> Author Michael Pollan, who experimented with mushrooms, LSD and other psychedelics while researching his latest book, says: “I had an experience that was by turns frightening and ecstatic and weird.”\u003c/p>\n\u003cp>\u003cstrong>6. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/03/07/591457135/john-oliver-finds-humor-in-the-news-no-one-wants-to-hear-about\">\u003cstrong>John Oliver Finds Humor In The News No One Wants To Hear About\u003c/strong>\u003c/a> On \u003cem>Last Week Tonight, \u003c/em>Oliver dives into often obscure stories, like NRATV and the laws that govern televangelism. He describes the show’s style as “the slowest improv you’ve ever seen.”\u003c/p>\n\u003cp>\u003cstrong>7. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/18/648737143/memoirist-evangelical-purity-movement-sees-womens-bodies-as-a-threat\">\u003cstrong>Memoirist: Evangelical Purity Movement Sees Women’s Bodies As A ‘Threat’\u003c/strong>\u003c/a> In \u003cem>Pure\u003c/em>, Linda Kay Klein reflects on the “deep, long-lasting shame” caused by churches that claim women and girls are responsible for the sexual desires of men.\u003c/p>\n\u003cp>\u003cstrong>8. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">\u003cstrong>Bob Woodward: ‘People Need To Wake Up’ To What’s Happening Under Trump\u003c/strong>\u003c/a> The veteran journalist was shocked by the tactics White House staff use to circumvent Trump: “I’ve never heard in any way of staff going around a president this way.” Woodward’s latest book is \u003cem>Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>9. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/02/20/587244230/memoirist-retraces-her-journey-from-survivalist-childhood-to-cambridge-ph-d\">\u003cstrong>Memoirist Retraces Her Journey From Survivalist Childhood To Cambridge Ph.D.\u003c/strong>\u003c/a> Growing up, Tara Westover had no birth certificate, never saw a doctor and didn’t go to school. She writes about her awkward transition into the mainstream in \u003cem>Educated: A Memoir\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>10. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/03/27/597159133/how-bad-medicine-dismisses-and-misdiagnoses-womens-symptoms\">\u003cstrong>How ‘Bad Medicine’ Dismisses And Misdiagnoses Women’s Symptoms\u003c/strong>\u003c/a> Journalist Maya Dusenbery argues that medicine has a “systemic and unconscious bias” against women that is rooted in “what doctors, regardless of their own gender, are learning in medical schools.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=In+Case+You+Missed+%27Em%3A+The+10+Most+Popular+%27Fresh+Air%27+Interviews+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a year of big headlines, \u003cem>Fresh Air\u003c/em> continued to dive deep, broadcasting in-depth interviews on topics that ranged from the \u003ca href=\"https://www.npr.org/2018/08/01/634456181/scientists-are-spying-on-whales-to-learn-how-they-eat-talk-and-walked\">magnificent\u003c/a> to the \u003ca href=\"https://www.npr.org/sections/health-shots/2018/11/12/666933600/counting-the-bugs-and-bacteria-youre-never-home-alone-and-thats-ok\">microscopic\u003c/a>. We spoke with \u003ca href=\"https://www.npr.org/sections/health-shots/2018/01/02/575055148/neuroscientist-predicts-much-better-treatment-for-alzheimers-is-10-years-away\">scientists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/03/06/591130207/journalist-charts-the-bizarre-twists-and-turns-of-the-trump-russia-dossier\">journalists\u003c/a>, \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2018/09/04/644498267/after-her-cousins-honor-killing-khalida-brohi-became-a-womens-rights-activist\">activists\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/10/656118568/first-man-director-armstrongs-moon-walk-is-a-story-of-coping-and-grief\">filmmakers\u003c/a> and \u003ca href=\"https://www.npr.org/2018/11/20/669573056/dawn-wall-climbers-gripped-razor-thin-edges-up-el-capitans-impossible-face\">two free climbers\u003c/a> who conquered a surface on Yosemite’s El Capitan that was once thought impenetrable. Our conversations with \u003ca href=\"https://www.npr.org/2018/04/17/602849276/james-comey-to-fresh-air-the-fbi-isnt-on-anybodys-side\">James Comey\u003c/a> and \u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">Bob Woodward\u003c/a> gave us a deeper understanding of the Trump presidency.\u003c/p>\n\u003cp>When we looked at the numbers, we found the most clicked-upon interview of the year was with former Secretary of State Madeleine Albright, who warned of a rise of authoritarianism worldwide.\u003c/p>\n\u003cp>You’ll find that conversation, and many more, in this list of the 10 most popular \u003cem>Fresh Air \u003c/em>interviews of 2018:\u003c/p>\n\u003cp>\u003cstrong>1. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/03/599120190/madeleine-albright-warns-dont-let-fascism-go-unnoticed-until-its-too-late\">\u003cstrong>Madeleine Albright Warns: Don’t Let Fascism Go ‘Unnoticed Until It’s Too Late’\u003c/strong>\u003c/a> The former secretary of state describes President Trump as “the most anti-democratic leader that I have studied in American history.” Albright’s new book is \u003cem>Fascism: A Warning.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>2. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/05/01/607262463/comic-michelle-wolf-responds-to-backlash-im-glad-i-stuck-to-my-guns\">\u003cstrong>Comic Michelle Wolf Responds To Backlash: ‘I’m Glad I Stuck To My Guns’\u003c/strong>\u003c/a> Though critics argued that the comedian’s barbed monologue at this year’s White House Correspondents’ Dinner was too pointed, in this exclusive interview, Wolf stood by her set: “I wouldn’t change a single word.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>3. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/07/11/628000131/once-militantly-anti-abortion-evangelical-minister-now-lives-with-regret\">\u003cstrong>Once Militantly Anti-Abortion, Evangelical Minister Now Lives ‘With Regret’\u003c/strong>\u003c/a> After decades working to block access to clinics, the Rev. Rob Schenck says he had a change of heart and sees abortion as an issue that should be resolved by “an individual and his or her conscience.”\u003c/p>\n\u003cp>\u003cstrong>4. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/04/12/601783346/first-ever-evictions-database-shows-were-in-the-middle-of-a-housing-crisis\">\u003cstrong>First-Ever Evictions Database Shows: ‘We’re In the Middle Of A Housing Crisis’\u003c/strong>\u003c/a> Matthew Desmond estimates that 2.3 million evictions were filed in the U.S. in 2016 — a rate of four every minute. “Eviction isn’t just a condition of poverty; it’s a cause of poverty,” he says.\u003c/p>\n\u003cp>\u003cstrong>5. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/05/15/611225541/reluctant-psychonaut-michael-pollan-embraces-the-new-science-of-psychedelics\">\u003cstrong>Reluctant Psychonaut’ Michael Pollan Embraces The ‘New Science’ Of Psychedelics\u003c/strong>\u003c/a> Author Michael Pollan, who experimented with mushrooms, LSD and other psychedelics while researching his latest book, says: “I had an experience that was by turns frightening and ecstatic and weird.”\u003c/p>\n\u003cp>\u003cstrong>6. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/03/07/591457135/john-oliver-finds-humor-in-the-news-no-one-wants-to-hear-about\">\u003cstrong>John Oliver Finds Humor In The News No One Wants To Hear About\u003c/strong>\u003c/a> On \u003cem>Last Week Tonight, \u003c/em>Oliver dives into often obscure stories, like NRATV and the laws that govern televangelism. He describes the show’s style as “the slowest improv you’ve ever seen.”\u003c/p>\n\u003cp>\u003cstrong>7. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/18/648737143/memoirist-evangelical-purity-movement-sees-womens-bodies-as-a-threat\">\u003cstrong>Memoirist: Evangelical Purity Movement Sees Women’s Bodies As A ‘Threat’\u003c/strong>\u003c/a> In \u003cem>Pure\u003c/em>, Linda Kay Klein reflects on the “deep, long-lasting shame” caused by churches that claim women and girls are responsible for the sexual desires of men.\u003c/p>\n\u003cp>\u003cstrong>8. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/09/11/646315485/bob-woodward-people-need-to-wake-up-to-whats-happening-under-trump\">\u003cstrong>Bob Woodward: ‘People Need To Wake Up’ To What’s Happening Under Trump\u003c/strong>\u003c/a> The veteran journalist was shocked by the tactics White House staff use to circumvent Trump: “I’ve never heard in any way of staff going around a president this way.” Woodward’s latest book is \u003cem>Fear\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>9. \u003c/strong>\u003ca href=\"https://www.npr.org/2018/02/20/587244230/memoirist-retraces-her-journey-from-survivalist-childhood-to-cambridge-ph-d\">\u003cstrong>Memoirist Retraces Her Journey From Survivalist Childhood To Cambridge Ph.D.\u003c/strong>\u003c/a> Growing up, Tara Westover had no birth certificate, never saw a doctor and didn’t go to school. She writes about her awkward transition into the mainstream in \u003cem>Educated: A Memoir\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>10. \u003c/strong>\u003ca href=\"https://www.npr.org/sections/health-shots/2018/03/27/597159133/how-bad-medicine-dismisses-and-misdiagnoses-womens-symptoms\">\u003cstrong>How ‘Bad Medicine’ Dismisses And Misdiagnoses Women’s Symptoms\u003c/strong>\u003c/a> Journalist Maya Dusenbery argues that medicine has a “systemic and unconscious bias” against women that is rooted in “what doctors, regardless of their own gender, are learning in medical schools.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 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=In+Case+You+Missed+%27Em%3A+The+10+Most+Popular+%27Fresh+Air%27+Interviews+Of+2018&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Fantastic Beasts: The Crimes Of Grindelwald': Beasts? Check. Crimes? Check. Fantastic? Not Quite.",
"headTitle": "‘Fantastic Beasts: The Crimes Of Grindelwald’: Beasts? Check. Crimes? Check. Fantastic? Not Quite. | KQED",
"content": "\u003cp>Hands up, everyone who liked the \u003cem>Harry Potter \u003c/em>series — books and/or movies — at least well enough.\u003c/p>\n\u003cp>OK, well, that’s a \u003cem>lot \u003c/em>of you.\u003c/p>\n\u003cp>Keep them up if you made it all the way through 2016’s \u003cem>Fantastic Beasts and Where to Find Them\u003c/em> — a prequel to the canonical Potter stories, in which Eddie Redmayne played magizoologist Newt Scamander, who came to New York City in 1926 with a magical valise and an annoying, squirrelly affect.\u003c/p>\n\u003cp>Hunh. Thought that would eliminate more of you than it did.\u003c/p>\n\u003cp>Okay, now \u003cem>only \u003c/em>keep them up if you came away from \u003cem>Fantastic Beasts \u003c/em>disappointed. If you liked the setting — the so-called Wizarding World, U.S. edition — but felt the story a meandering, muddled, overstuffed mess that leaned too hard into the cutesy-wutesy magical critters. If to you it captured some of the stylistic flourishes of \u003cem>Harry Potter\u003c/em>, but none of the distinctive particulars, none of the \u003cem>feel\u003c/em>, none — let’s just get this out of the way — of the magic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay. Now. If your hand isn’t up, you’re excused. This next bit isn’t for you — you either don’t care about J.K. Rowling’s world, or you’re so devoted to it that you managed to ignore the fact that \u003cem>Fantastic Beasts \u003c/em>was a cinematic Obscurus — an noisy ball of violent, nonsensical narrative chaos, albeit one that did boffo B.O.\u003c/p>\n\u003cp>So off with you. Everyone else? The ones still sticking around? Here’s the scoop.\u003c/p>\n\u003cp>\u003cem>The Crimes of Grindelwald\u003c/em> is better than the first \u003cem>Beasts \u003c/em>film, and not just because that turns out to be such a low bar to clear, but because it has a firmer grasp on what kind of movie it wants to be. It feels more familiarly Potter-y, in that it assumes the distinctive narrative shape of Harry Potter stories.\u003c/p>\n\u003cp>Once again: Structurally, it’s \u003cem>familiar\u003c/em>, not, you know: \u003cem>good\u003c/em>.\u003c/p>\n\u003cp>https://youtu.be/8bYBOVWLNIs\u003c/p>\n\u003cp>Can we all admit, here, that the plots of Harry Potter books and movies were always frustrating in the extreme? Rowling’s characters delighted in keeping vital information from Harry — and by extension, the reader — turning every tale into an ersatz, low-rent mystery where the goal was never to uncover whodunnit, but to eke out even the most basic understanding of whatthehellsgoingon? Inevitably, we’d discover the answers — well, “discover” is inaccurate. We’d be \u003cem>told\u003c/em>, when Rowling would finally sit Harry down to have him listen to an extended monologue, filled with secret history to which neither he nor we could have been expected to be privy.\u003c/p>\n\u003cp>That’s the kind of plotting \u003cem>The Crimes of Grindelwald\u003c/em> serves up, down to a hilariously out-of-nowhere pseudo-climactic scene in which characters who’ve spent the movie scheming to murder one another just stand around listening patiently to a series of monologues like they’re sleepy kindergartners at storytime.\u003c/p>\n\u003cp>No, it doesn’t work. No, it’s not, not even a little bit, \u003cem>good\u003c/em>. But it’s familiar.\u003c/p>\n\u003cp>It’s actually an improvement, in a very small, specific way. You’ll recall that all of that information was kept from Harry and his friends because no one tells kids anything, forcing them to glean any and all actionable intel via that most overused trope in all of kid-lit: eavesdropping. \u003cem>Magical \u003c/em>eavesdropping, to be sure, but even so: They’d learn something, jump to the wrong conclusion, and proceed to labor under that misinformation until the penultimate chapter, when someone (usually Dumbledore) would finally explain the situation in full. Rinse, repeat. \u003cem>Accio \u003c/em>annoyance.\u003c/p>\n\u003cp>There’s none of that here, at least.\u003c/p>\n\u003cp>Eddie Redmayne’s Newt Scamander is an adult, and he finds things out using magic. There’s a cool sequence when he reconstructs a crime scene using a glittery gold magical powder — pixiedusting for fingerprints, as it were. This time out, the sheer number of putatively hilarious beasts on hand is dialed mercifully back, but the ones who do turn up tend to be used strategically, to bring about some concrete result, instead of simply as a means to up the film’s Whimsy Quotient.\u003c/p>\n\u003cp>Redmayne’s performance, as Newt, remains just as mannered and tic-ridden as ever. But thanks to a brief flashback sequence featuring a teenage Newt played by Joshua Shea, who gamely matches Redmayne’s every furtive head-tilt and skittering glance, it seems less hammy and indulgent, and more a defined, characterizing choice.\u003c/p>\n\u003cp>Of course, one of the main reasons that \u003cem>Grindelwald \u003c/em>works better than the film that preceded it is a function of its status as the middle film of a trilogy. The business of world-building, which the first film made such a corned-beef hash of, is over, and now there is only the task of moving the various characters across the board like the Wizard’s Chess pieces they are. As such, it has a more singular sense of purpose, as all the meandering subplots of the film’s first hour eventually lock in place and fit together.\u003c/p>\n\u003cp>The plot, such as it is: Young Dumbledore (Jude Law) sends Newt to Paris, where a newly escaped Grindelwald (Johnny Depp) is gathering his faithful — pure-blood wizards — in an attempt to rule both the Wizarding world and the human world. Meanwhile, Ezra Miller’s (checks notes) Credence Barebone is … (checks notes again, frowns, shrugs) … \u003cem>Credence Barebone\u003c/em> is also in Paris, searching for his mother, alongside sort-of-girlfriend Nagini (Claudia Kim) a Maledictus cursed to one day turn into a snake. (Yes.)\u003c/p>\n\u003cp>Also there’s love-interest stuff: Newt and his Auror girlfriend Tina (Katherine Waterston) are on the outs over a misunderstanding that could be clarified with a ten-second conversation, but isn’t, because Rowling gonna Rowling. Newt’s pals Jacob (Dan Fogler) and Queenie (Alison Sudol, doing a lot with one of the film’s many underwritten roles for women) show up, as well, and the script puts them through some clearly defined changes that at least \u003cem>feel \u003c/em>like narrative progress.\u003c/p>\n\u003cp>The film’s chief problem is Grindelwald, a dull-as-dishwater villain we’re repeatedly told is charming and deceitful, although Depp’s performance fights hard against any such reading. The character of Grindelwald is \u003cem>supposed \u003c/em>to use guile and rhetoric to win wizards to his side by promising them the chance to “live openly, and love freely” — a not-particularly coy attempt by the screenplay to underline the gay subtext between Grindelwald and Law’s Hot Dumbledore — but Depp just hams it up like a Pantomime baddie.\u003c/p>\n\u003cp>Everything about the guy is second-rate. Voldemort had disquieting slits where his nose should be; Grindelwald a single, discolored iris. When Voldemort summoned \u003cem>his \u003c/em>followers, a leering skull with a snake slithering through its eye-sockets manifested in the sky:\u003cem> that \u003c/em>wizard had \u003cem>style\u003c/em>. When Grindelwald attempts the same move, the buildings of Paris simply get shadowy tarps thrown over them; it’s unclear if he’s calling an army or renovating masonry.\u003c/p>\n\u003cp>So, now. All of you who stuck around? Relax. \u003cem>Grindelwald \u003c/em>is a better, more purposeful and thus more propulsive film than the first, and it does possess its unique charms: Several characters only alluded to in the \u003cem>Harry Potter\u003c/em> tales pop up here, goosing appreciative gasps from the audience in the process. The sight of Hogwarts, accompanied by John Williams’ familiar fanfare, elicits applause.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And not for nothing? Law looks \u003cem>great \u003c/em>as a Dumbledore in bespoke tweed (\u003cem>Fantastic Vests and Where To Find Them\u003c/em>!), even if seeing him so put-together evokes a twinge of sadness at the shapeless robes and chunky jewelry that we know lie in his future, just \u003cem>waiting \u003c/em>to turn him into the Wizarding World’s equivalent of a Santa Fe gallery owner named Jade.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hands up, everyone who liked the \u003cem>Harry Potter \u003c/em>series — books and/or movies — at least well enough.\u003c/p>\n\u003cp>OK, well, that’s a \u003cem>lot \u003c/em>of you.\u003c/p>\n\u003cp>Keep them up if you made it all the way through 2016’s \u003cem>Fantastic Beasts and Where to Find Them\u003c/em> — a prequel to the canonical Potter stories, in which Eddie Redmayne played magizoologist Newt Scamander, who came to New York City in 1926 with a magical valise and an annoying, squirrelly affect.\u003c/p>\n\u003cp>Hunh. Thought that would eliminate more of you than it did.\u003c/p>\n\u003cp>Okay, now \u003cem>only \u003c/em>keep them up if you came away from \u003cem>Fantastic Beasts \u003c/em>disappointed. If you liked the setting — the so-called Wizarding World, U.S. edition — but felt the story a meandering, muddled, overstuffed mess that leaned too hard into the cutesy-wutesy magical critters. If to you it captured some of the stylistic flourishes of \u003cem>Harry Potter\u003c/em>, but none of the distinctive particulars, none of the \u003cem>feel\u003c/em>, none — let’s just get this out of the way — of the magic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Okay. Now. If your hand isn’t up, you’re excused. This next bit isn’t for you — you either don’t care about J.K. Rowling’s world, or you’re so devoted to it that you managed to ignore the fact that \u003cem>Fantastic Beasts \u003c/em>was a cinematic Obscurus — an noisy ball of violent, nonsensical narrative chaos, albeit one that did boffo B.O.\u003c/p>\n\u003cp>So off with you. Everyone else? The ones still sticking around? Here’s the scoop.\u003c/p>\n\u003cp>\u003cem>The Crimes of Grindelwald\u003c/em> is better than the first \u003cem>Beasts \u003c/em>film, and not just because that turns out to be such a low bar to clear, but because it has a firmer grasp on what kind of movie it wants to be. It feels more familiarly Potter-y, in that it assumes the distinctive narrative shape of Harry Potter stories.\u003c/p>\n\u003cp>Once again: Structurally, it’s \u003cem>familiar\u003c/em>, not, you know: \u003cem>good\u003c/em>.\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/8bYBOVWLNIs'\n title='//www.youtube.com/embed/8bYBOVWLNIs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Can we all admit, here, that the plots of Harry Potter books and movies were always frustrating in the extreme? Rowling’s characters delighted in keeping vital information from Harry — and by extension, the reader — turning every tale into an ersatz, low-rent mystery where the goal was never to uncover whodunnit, but to eke out even the most basic understanding of whatthehellsgoingon? Inevitably, we’d discover the answers — well, “discover” is inaccurate. We’d be \u003cem>told\u003c/em>, when Rowling would finally sit Harry down to have him listen to an extended monologue, filled with secret history to which neither he nor we could have been expected to be privy.\u003c/p>\n\u003cp>That’s the kind of plotting \u003cem>The Crimes of Grindelwald\u003c/em> serves up, down to a hilariously out-of-nowhere pseudo-climactic scene in which characters who’ve spent the movie scheming to murder one another just stand around listening patiently to a series of monologues like they’re sleepy kindergartners at storytime.\u003c/p>\n\u003cp>No, it doesn’t work. No, it’s not, not even a little bit, \u003cem>good\u003c/em>. But it’s familiar.\u003c/p>\n\u003cp>It’s actually an improvement, in a very small, specific way. You’ll recall that all of that information was kept from Harry and his friends because no one tells kids anything, forcing them to glean any and all actionable intel via that most overused trope in all of kid-lit: eavesdropping. \u003cem>Magical \u003c/em>eavesdropping, to be sure, but even so: They’d learn something, jump to the wrong conclusion, and proceed to labor under that misinformation until the penultimate chapter, when someone (usually Dumbledore) would finally explain the situation in full. Rinse, repeat. \u003cem>Accio \u003c/em>annoyance.\u003c/p>\n\u003cp>There’s none of that here, at least.\u003c/p>\n\u003cp>Eddie Redmayne’s Newt Scamander is an adult, and he finds things out using magic. There’s a cool sequence when he reconstructs a crime scene using a glittery gold magical powder — pixiedusting for fingerprints, as it were. This time out, the sheer number of putatively hilarious beasts on hand is dialed mercifully back, but the ones who do turn up tend to be used strategically, to bring about some concrete result, instead of simply as a means to up the film’s Whimsy Quotient.\u003c/p>\n\u003cp>Redmayne’s performance, as Newt, remains just as mannered and tic-ridden as ever. But thanks to a brief flashback sequence featuring a teenage Newt played by Joshua Shea, who gamely matches Redmayne’s every furtive head-tilt and skittering glance, it seems less hammy and indulgent, and more a defined, characterizing choice.\u003c/p>\n\u003cp>Of course, one of the main reasons that \u003cem>Grindelwald \u003c/em>works better than the film that preceded it is a function of its status as the middle film of a trilogy. The business of world-building, which the first film made such a corned-beef hash of, is over, and now there is only the task of moving the various characters across the board like the Wizard’s Chess pieces they are. As such, it has a more singular sense of purpose, as all the meandering subplots of the film’s first hour eventually lock in place and fit together.\u003c/p>\n\u003cp>The plot, such as it is: Young Dumbledore (Jude Law) sends Newt to Paris, where a newly escaped Grindelwald (Johnny Depp) is gathering his faithful — pure-blood wizards — in an attempt to rule both the Wizarding world and the human world. Meanwhile, Ezra Miller’s (checks notes) Credence Barebone is … (checks notes again, frowns, shrugs) … \u003cem>Credence Barebone\u003c/em> is also in Paris, searching for his mother, alongside sort-of-girlfriend Nagini (Claudia Kim) a Maledictus cursed to one day turn into a snake. (Yes.)\u003c/p>\n\u003cp>Also there’s love-interest stuff: Newt and his Auror girlfriend Tina (Katherine Waterston) are on the outs over a misunderstanding that could be clarified with a ten-second conversation, but isn’t, because Rowling gonna Rowling. Newt’s pals Jacob (Dan Fogler) and Queenie (Alison Sudol, doing a lot with one of the film’s many underwritten roles for women) show up, as well, and the script puts them through some clearly defined changes that at least \u003cem>feel \u003c/em>like narrative progress.\u003c/p>\n\u003cp>The film’s chief problem is Grindelwald, a dull-as-dishwater villain we’re repeatedly told is charming and deceitful, although Depp’s performance fights hard against any such reading. The character of Grindelwald is \u003cem>supposed \u003c/em>to use guile and rhetoric to win wizards to his side by promising them the chance to “live openly, and love freely” — a not-particularly coy attempt by the screenplay to underline the gay subtext between Grindelwald and Law’s Hot Dumbledore — but Depp just hams it up like a Pantomime baddie.\u003c/p>\n\u003cp>Everything about the guy is second-rate. Voldemort had disquieting slits where his nose should be; Grindelwald a single, discolored iris. When Voldemort summoned \u003cem>his \u003c/em>followers, a leering skull with a snake slithering through its eye-sockets manifested in the sky:\u003cem> that \u003c/em>wizard had \u003cem>style\u003c/em>. When Grindelwald attempts the same move, the buildings of Paris simply get shadowy tarps thrown over them; it’s unclear if he’s calling an army or renovating masonry.\u003c/p>\n\u003cp>So, now. All of you who stuck around? Relax. \u003cem>Grindelwald \u003c/em>is a better, more purposeful and thus more propulsive film than the first, and it does possess its unique charms: Several characters only alluded to in the \u003cem>Harry Potter\u003c/em> tales pop up here, goosing appreciative gasps from the audience in the process. The sight of Hogwarts, accompanied by John Williams’ familiar fanfare, elicits applause.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And not for nothing? Law looks \u003cem>great \u003c/em>as a Dumbledore in bespoke tweed (\u003cem>Fantastic Vests and Where To Find Them\u003c/em>!), even if seeing him so put-together evokes a twinge of sadness at the shapeless robes and chunky jewelry that we know lie in his future, just \u003cem>waiting \u003c/em>to turn him into the Wizarding World’s equivalent of a Santa Fe gallery owner named Jade.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp style=\"font-weight: 400\">I prefer to read books without knowing anything about them. In the case of \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i>, I didn’t need to know anything besides the fact that Edward Carey wrote it; I’ve loved and reviewed every volume in his \u003ci>\u003cem style=\"font-weight: inherit\">Iremonger\u003c/em>\u003c/i> trilogy, a series in which people are in constant danger of turning into things, used and traded and thrown away, but sometimes prone to revolution.\u003c/p>\n\u003cp style=\"font-weight: 400\">In \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i>—a project fifteen years in the making, that began before the first \u003cem>Iremonger\u003c/em> volume was published and ended after the trilogy concluded—Carey again approaches themes of personhood and power, objects and their subjects, but rooted this time in real history: the years leading up to the French Revolution and its aftermath.[contextly_sidebar id=”uT7y32GtnSN6pQZHFheJdWjI6j6hmCle”]\u003c/p>\n\u003cp style=\"font-weight: 400\">Anne Marie Grosholtz—known as Little for her small stature—is born to a mother with a strong nose and a father with a strong chin, inheriting both their distinguishing features before losing her father to war, her mother to suicide. Orphaned at the age of six, she’s apprenticed to a solitary man named Curtius, a maker of anatomical models who’s accustomed to being shunned for his gruesome skill. Marie, however, is not put off, and Curtius introduces her to the craft by casting Marie’s face in wax—a departure from his usual modelling of internal organs. Once people begin to see themselves in Curtius’ work, they clamor for it, forcing Curtius and Marie flee to Paris, where they meet a cruel widow and her shy son, and together begin a tense and profitable household business of modeling notable people and dressing them in the widow’s handiwork. But as the revolution approaches, fashions change, and so do the relationships between people and the representations of nobility and notability: People steal wax heads to deface in the absence of their originals—until, eventually, they can lay hands on those originals.[contextly_sidebar id=”C0e8DnuI9UqSKhB3R4TMs4chG1wKIurC”]\u003c/p>\n\u003cp style=\"font-weight: 400\">It took me until the end of the book to realize this wasn’t a fantasy novel, but a work of historical fiction telling the origin story of Madame Tussaud. It took me that long because the book’s affect, its style, its concerns, its sadness and loneliness and empathy, were so thoroughly those of Carey’s fantasy series that I was left thinking helplessly about how inadequate are our conversations about genre. \u003ci>\u003cem style=\"font-weight: inherit\">Little \u003c/em>\u003c/i>is written as a memoir, told in phases of Marie’s life from childhood through adulthood, illustrated throughout by Carey in ways that allow the fantastical to both ease and trouble reality; when her mother hangs herself, Marie draws a broken-necked bird in her place. The slipperiness between people and things that I so admired in \u003ci>\u003cem style=\"font-weight: inherit\">Heap House\u003c/em>\u003c/i> is everywhere here, but inviting us to observe how thoroughly history teems with it—what is a subject, and what an object? In language and in life, these words shift and tumble against and polish each other. A king has subjects, whom he subjects to oppression, until they object so fiercely that they make an object of him. And where does wax come in? What is pressed into it along with a body’s lines?[contextly_sidebar id=”Ze6F8TQpKbfrAU85Wd682tnFXU8X7lRf”]\u003c/p>\n\u003cp style=\"font-weight: 400\">I marvel at the achievement of this book, even as I regret it. I didn’t want this to be about Madame Tussaud; I didn’t want the character of Marie, whom I loved as a fantasy, to resolve into a woman who really existed, who has written her own memoirs in her own voice that isn’t Little’s. I loved this book best when it showed me, with its stylized dialogue, its garroting commas, its punctuating illustrations, history as an art form, history as an argument. I loved it less when the Revolution began in earnest, and Marie’s narrative began to be swallowed into the gravity well of history as facts, history as a litany of horrors somehow less moving than the Widow Picot’s obsessive cruelty, Curtius’ oblivious neglect, the monstrosity and tenderness of Versailles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003ca href=\"https://www.theguardian.com/books/2018/oct/04/madame-tussaud-edward-carey-little\" target=\"_blank\" rel=\"noopener\">Writing for the \u003ci>\u003cem style=\"font-weight: inherit\">Guardian\u003c/em>\u003c/i>\u003c/a>, and speaking of having worked at Madame Tussaud’s once upon a time, Carey observes that “At its heart, Tussaud’s isn’t about history: it’s a museum of the human body.” \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i> isn’t about history either; it’s about humans, and bodies, and art, and loneliness, and it’s deeply, painfully sad. I could talk about it forever. I’ll stop here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003ca href=\"http://amalelmohtar.com/\" target=\"_blank\" rel=\"noopener\">Amal El-Mohtar\u003c/a> \u003ci>\u003cem style=\"font-weight: inherit\">is the Hugo Award-winning author of\u003c/em>\u003c/i> The Honey Month \u003ci>\u003cem style=\"font-weight: inherit\">and the editor of \u003c/em>\u003c/i>\u003ca href=\"http://www.goblinfruit.net/\" target=\"_blank\" rel=\"noopener\">Goblin Fruit\u003c/a>\u003ci>\u003cem style=\"font-weight: inherit\">, an online poetry magazine.\u003c/em>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2018 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp style=\"font-weight: 400\">I prefer to read books without knowing anything about them. In the case of \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i>, I didn’t need to know anything besides the fact that Edward Carey wrote it; I’ve loved and reviewed every volume in his \u003ci>\u003cem style=\"font-weight: inherit\">Iremonger\u003c/em>\u003c/i> trilogy, a series in which people are in constant danger of turning into things, used and traded and thrown away, but sometimes prone to revolution.\u003c/p>\n\u003cp style=\"font-weight: 400\">In \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i>—a project fifteen years in the making, that began before the first \u003cem>Iremonger\u003c/em> volume was published and ended after the trilogy concluded—Carey again approaches themes of personhood and power, objects and their subjects, but rooted this time in real history: the years leading up to the French Revolution and its aftermath.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">Anne Marie Grosholtz—known as Little for her small stature—is born to a mother with a strong nose and a father with a strong chin, inheriting both their distinguishing features before losing her father to war, her mother to suicide. Orphaned at the age of six, she’s apprenticed to a solitary man named Curtius, a maker of anatomical models who’s accustomed to being shunned for his gruesome skill. Marie, however, is not put off, and Curtius introduces her to the craft by casting Marie’s face in wax—a departure from his usual modelling of internal organs. Once people begin to see themselves in Curtius’ work, they clamor for it, forcing Curtius and Marie flee to Paris, where they meet a cruel widow and her shy son, and together begin a tense and profitable household business of modeling notable people and dressing them in the widow’s handiwork. But as the revolution approaches, fashions change, and so do the relationships between people and the representations of nobility and notability: People steal wax heads to deface in the absence of their originals—until, eventually, they can lay hands on those originals.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">It took me until the end of the book to realize this wasn’t a fantasy novel, but a work of historical fiction telling the origin story of Madame Tussaud. It took me that long because the book’s affect, its style, its concerns, its sadness and loneliness and empathy, were so thoroughly those of Carey’s fantasy series that I was left thinking helplessly about how inadequate are our conversations about genre. \u003ci>\u003cem style=\"font-weight: inherit\">Little \u003c/em>\u003c/i>is written as a memoir, told in phases of Marie’s life from childhood through adulthood, illustrated throughout by Carey in ways that allow the fantastical to both ease and trouble reality; when her mother hangs herself, Marie draws a broken-necked bird in her place. The slipperiness between people and things that I so admired in \u003ci>\u003cem style=\"font-weight: inherit\">Heap House\u003c/em>\u003c/i> is everywhere here, but inviting us to observe how thoroughly history teems with it—what is a subject, and what an object? In language and in life, these words shift and tumble against and polish each other. A king has subjects, whom he subjects to oppression, until they object so fiercely that they make an object of him. And where does wax come in? What is pressed into it along with a body’s lines?\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">I marvel at the achievement of this book, even as I regret it. I didn’t want this to be about Madame Tussaud; I didn’t want the character of Marie, whom I loved as a fantasy, to resolve into a woman who really existed, who has written her own memoirs in her own voice that isn’t Little’s. I loved this book best when it showed me, with its stylized dialogue, its garroting commas, its punctuating illustrations, history as an art form, history as an argument. I loved it less when the Revolution began in earnest, and Marie’s narrative began to be swallowed into the gravity well of history as facts, history as a litany of horrors somehow less moving than the Widow Picot’s obsessive cruelty, Curtius’ oblivious neglect, the monstrosity and tenderness of Versailles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003ca href=\"https://www.theguardian.com/books/2018/oct/04/madame-tussaud-edward-carey-little\" target=\"_blank\" rel=\"noopener\">Writing for the \u003ci>\u003cem style=\"font-weight: inherit\">Guardian\u003c/em>\u003c/i>\u003c/a>, and speaking of having worked at Madame Tussaud’s once upon a time, Carey observes that “At its heart, Tussaud’s isn’t about history: it’s a museum of the human body.” \u003ci>\u003cem style=\"font-weight: inherit\">Little\u003c/em>\u003c/i> isn’t about history either; it’s about humans, and bodies, and art, and loneliness, and it’s deeply, painfully sad. I could talk about it forever. I’ll stop here.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003ca href=\"http://amalelmohtar.com/\" target=\"_blank\" rel=\"noopener\">Amal El-Mohtar\u003c/a> \u003ci>\u003cem style=\"font-weight: inherit\">is the Hugo Award-winning author of\u003c/em>\u003c/i> The Honey Month \u003ci>\u003cem style=\"font-weight: inherit\">and the editor of \u003c/em>\u003c/i>\u003ca href=\"http://www.goblinfruit.net/\" target=\"_blank\" rel=\"noopener\">Goblin Fruit\u003c/a>\u003ci>\u003cem style=\"font-weight: inherit\">, an online poetry magazine.\u003c/em>\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2018 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As midterm elections approach, politicians and activists are urging people to get out and vote, especially in places where races are close. One of the demographics they’re most worried about getting to the polls are young voters, who are often seen as uninvolved and/or apathetic.\u003c/p>\n\u003cp>That’s why the “Knock the Vote” project was created earlier this year by ACRONYM, a DC-based organization that uses social media and targeted digital media programs to push for progressive candidates.\u003c/p>\n\u003cp>“We try to reach people where they are,” says ACRONYM’S co-founder and CEO Tara McGowan. Where they are, increasingly, are on their cellphones or tablets, so ACRONYM’S videos are designed to be brief online bites that make you think.\u003c/p>\n\u003cp>\u003cstrong>Flipping the (racial) script\u003c/strong>\u003c/p>\n\u003cp>The company’s current campaign runs through election day and features quick (30 seconds or so) videos that aim to grab the millennial imagination. And maybe get skinny jeans-wearing behinds out of their bean bag chairs and off to the polls. It’s called Call the Cops, and it has an interesting twist: in these videos, it’s \u003cem>black \u003c/em>people calling the cops on \u003cem>white\u003c/em> ones who are behaving in a socially irresponsible manner: They’re not voting.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/j-e6bdv9ATI\">The first video dropped last week\u003c/a> and shows a hipster with a laptop on the patio of a café. He’s staring balefully into his (recyclable) cup:\u003c/p>\n\u003cp>“The coffee here sucks,” he mutters.\u003c/p>\n\u003cp>Enter a beautiful black woman who seats herself opposite him.\u003c/p>\n\u003cp>“You know what else sucks, Todd?” she asks crisply. “Voter suppression!”\u003c/p>\n\u003cp>She goes on to ask Todd if he’s going to vote. Todd says no. The parties don’t represent him, he tells her. “The system’s broken, am I right?”\u003c/p>\n\u003cp>Quickly she whips out her cell and calls 911 and informs the police Todd doesn’t plan to vote.\u003c/p>\n\u003cp>(Todd responds by asking her to be in his movie.)\u003c/p>\n\u003cp>ACRONYM’S Tara McGowan agrees the racial profiling we’ve seen in a lot of real-life videos posted online is nothing to laugh about. “But I do think that tying that to specific engagement, and using your vote to really make a stand about what kind of country you want to live with, and the direction you want this country to go in? I think that can be really powerful.”\u003c/p>\n\u003cp>The company approached director Malcolm D. Lee (\u003cem>Night School\u003c/em>, \u003cem>Girls Trip,\u003c/em> \u003cem>The Best Man\u003c/em> movies), and it turned out the timing was right. Lee says he’d been thinking about how to become more involved politically. He’d called his elected officials and vented on social media, but wanted to do more. The idea of a clever plea to young people to vote appealed to him.\u003c/p>\n\u003cp>Although ACRONYM does have a distinctly leftward lean, McGowan says they are not advocating for specific candidates. “We are not telling you to vote for somebody in particular. … But you gotta vote, you gotta get involved in the process.”\u003c/p>\n\u003cp>Lee sat down with ACRONYM’S creative director, Vince Murphy, who is black and originally suggested the call-the-cops idea. There’s the coffee-swilling hipster, \u003ca href=\"https://youtu.be/SsNDAqPuRXE\">a suburban mom\u003c/a> and \u003ca href=\"https://youtu.be/Lg6UHPpXXYk\">a worried black man, played by The Daily Show’s Roy Wood Jr.\u003c/a>, who calls the cops on a group of self-portraitists.\u003c/p>\n\u003cp>“Excuse me, have y’all made plans to vote in November?” Wood asks.\u003c/p>\n\u003cp>“Nope,” the young women tell him. They also loftily inform the shocked Wood that not voting isn’t illegal.\u003c/p>\n\u003cp>So he calls 911 to report an emergency. “Three white women taking selfies —triple-selfie in progress! Using filters, emojis, same picture over and over again.”\u003c/p>\n\u003cp>\u003cstrong>Seduce people with laughter — then slip in the truth \u003c/strong>\u003c/p>\n\u003cp>Tara McGowan says most of the responses they’ve received are positive. But even if she gets some negative feedback, she says getting people’s attention is half the battle: “If we elicit an emotional response, we think we’re doing a pretty good job.”\u003c/p>\n\u003cp>Director Malcolm Lee is convinced humor is the portal for getting people to think seriously about going to the polls. “Once you get people laughing, their mouths are open — you can slip the truth in.”\u003c/p>\n\u003cp>And the truth, Lee says, is that midterm elections count.\u003c/p>\n\u003cp>“There’s not enough people who vote in the midterms,” he said. “And those that do get their person in.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which maybe explains the success of an earlier Knock the Vote campaign, where \u003ca href=\"https://youtu.be/POiqY4FIfMY\">older voters shrugged off the potential political power of millennials\u003c/a>: \u003cem>young people don’t vote\u003c/em>, they smile. \u003cem>But we do: Every. Single. Election\u003c/em>. The message is clear: you want change? Then go to the polls and vote for it.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Getting+Out+The+Youth+Vote+With+A+Dash+Of+Snark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As midterm elections approach, politicians and activists are urging people to get out and vote, especially in places where races are close. One of the demographics they’re most worried about getting to the polls are young voters, who are often seen as uninvolved and/or apathetic.\u003c/p>\n\u003cp>That’s why the “Knock the Vote” project was created earlier this year by ACRONYM, a DC-based organization that uses social media and targeted digital media programs to push for progressive candidates.\u003c/p>\n\u003cp>“We try to reach people where they are,” says ACRONYM’S co-founder and CEO Tara McGowan. Where they are, increasingly, are on their cellphones or tablets, so ACRONYM’S videos are designed to be brief online bites that make you think.\u003c/p>\n\u003cp>\u003cstrong>Flipping the (racial) script\u003c/strong>\u003c/p>\n\u003cp>The company’s current campaign runs through election day and features quick (30 seconds or so) videos that aim to grab the millennial imagination. And maybe get skinny jeans-wearing behinds out of their bean bag chairs and off to the polls. It’s called Call the Cops, and it has an interesting twist: in these videos, it’s \u003cem>black \u003c/em>people calling the cops on \u003cem>white\u003c/em> ones who are behaving in a socially irresponsible manner: They’re not voting.\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://youtu.be/j-e6bdv9ATI\">The first video dropped last week\u003c/a> and shows a hipster with a laptop on the patio of a café. He’s staring balefully into his (recyclable) cup:\u003c/p>\n\u003cp>“The coffee here sucks,” he mutters.\u003c/p>\n\u003cp>Enter a beautiful black woman who seats herself opposite him.\u003c/p>\n\u003cp>“You know what else sucks, Todd?” she asks crisply. “Voter suppression!”\u003c/p>\n\u003cp>She goes on to ask Todd if he’s going to vote. Todd says no. The parties don’t represent him, he tells her. “The system’s broken, am I right?”\u003c/p>\n\u003cp>Quickly she whips out her cell and calls 911 and informs the police Todd doesn’t plan to vote.\u003c/p>\n\u003cp>(Todd responds by asking her to be in his movie.)\u003c/p>\n\u003cp>ACRONYM’S Tara McGowan agrees the racial profiling we’ve seen in a lot of real-life videos posted online is nothing to laugh about. “But I do think that tying that to specific engagement, and using your vote to really make a stand about what kind of country you want to live with, and the direction you want this country to go in? I think that can be really powerful.”\u003c/p>\n\u003cp>The company approached director Malcolm D. Lee (\u003cem>Night School\u003c/em>, \u003cem>Girls Trip,\u003c/em> \u003cem>The Best Man\u003c/em> movies), and it turned out the timing was right. Lee says he’d been thinking about how to become more involved politically. He’d called his elected officials and vented on social media, but wanted to do more. The idea of a clever plea to young people to vote appealed to him.\u003c/p>\n\u003cp>Although ACRONYM does have a distinctly leftward lean, McGowan says they are not advocating for specific candidates. “We are not telling you to vote for somebody in particular. … But you gotta vote, you gotta get involved in the process.”\u003c/p>\n\u003cp>Lee sat down with ACRONYM’S creative director, Vince Murphy, who is black and originally suggested the call-the-cops idea. There’s the coffee-swilling hipster, \u003ca href=\"https://youtu.be/SsNDAqPuRXE\">a suburban mom\u003c/a> and \u003ca href=\"https://youtu.be/Lg6UHPpXXYk\">a worried black man, played by The Daily Show’s Roy Wood Jr.\u003c/a>, who calls the cops on a group of self-portraitists.\u003c/p>\n\u003cp>“Excuse me, have y’all made plans to vote in November?” Wood asks.\u003c/p>\n\u003cp>“Nope,” the young women tell him. They also loftily inform the shocked Wood that not voting isn’t illegal.\u003c/p>\n\u003cp>So he calls 911 to report an emergency. “Three white women taking selfies —triple-selfie in progress! Using filters, emojis, same picture over and over again.”\u003c/p>\n\u003cp>\u003cstrong>Seduce people with laughter — then slip in the truth \u003c/strong>\u003c/p>\n\u003cp>Tara McGowan says most of the responses they’ve received are positive. But even if she gets some negative feedback, she says getting people’s attention is half the battle: “If we elicit an emotional response, we think we’re doing a pretty good job.”\u003c/p>\n\u003cp>Director Malcolm Lee is convinced humor is the portal for getting people to think seriously about going to the polls. “Once you get people laughing, their mouths are open — you can slip the truth in.”\u003c/p>\n\u003cp>And the truth, Lee says, is that midterm elections count.\u003c/p>\n\u003cp>“There’s not enough people who vote in the midterms,” he said. “And those that do get their person in.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which maybe explains the success of an earlier Knock the Vote campaign, where \u003ca href=\"https://youtu.be/POiqY4FIfMY\">older voters shrugged off the potential political power of millennials\u003c/a>: \u003cem>young people don’t vote\u003c/em>, they smile. \u003cem>But we do: Every. Single. Election\u003c/em>. The message is clear: you want change? Then go to the polls and vote for it.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Getting+Out+The+Youth+Vote+With+A+Dash+Of+Snark&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "nigerian-rapper-goes-viral-with-his-take-on-this-is-america",
"title": "Nigerian Rapper Goes Viral With His Take On 'This Is America'",
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"content": "\u003cp>https://youtu.be/UW_xEqCWrm0\u003c/p>\n\u003cp>Last week, a Nigerian rapper released his own version of Childish Gambino’s hit song and music video “This Is America.”\u003c/p>\n\u003cp>It’s called “This Is Nigeria” and was written and performed by lawyer-turned-musician Falz The Bahd Guy. Like the hugely popular Donald Glover song and video (Gambino is his stage name), the Nigerian version looks at harsh everyday realities.\u003c/p>\n\u003cp>In “This Is America,” the issues include gun violence, racism and the distraction of viral entertainment and social media. Falz’s lyrics and visuals touch on some of Nigeria’s major problems: poor electricity supply, drug addiction and government corruption. The video even features veiled Muslim girls to allude to Boko Haram’s abductions of schoolgirls in the northeast.\u003c/p>\n\u003cp>Falz performs in pidgin English, a blend of English and local languages that is widely spoken in West Africa. The chorus says:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is Nigeria.\u003cbr>\nNever-ending recession-o\u003cbr>\nWhere looters are killers and stealers are still contesting election-o.\u003cbr>\nPolitician wey steal some billion and billion e no dey go prison-o.”\u003c/p>\n\u003cp>Released on May 25, just four days before the 19th anniversary of democracy in the West African nation, the three-minute video has been viewed on YouTube 2.9 million times. The hashtag \u003ca href=\"https://twitter.com/hashtag/thisisnigeria\">#ThisIsNigeria\u003c/a> has generated tens of thousands of tweets. And the song has captured the attention of the American rapper Diddy, who reposted “This Is Nigeria” \u003ca href=\"https://www.instagram.com/p/BjSNt8hFLkO/?hl=en&taken-by=diddy\">on his Instagram account\u003c/a>, where it currently has an additional 2.2 million views.\u003c/p>\n\u003cp>Falz, whose real name is Folarin Falana, is not new to social commentary. His music often reflects the views of his father, \u003ca href=\"https://en.wikipedia.org/wiki/Femi_Falana\">Femi Falana\u003c/a>, a popular Nigerian lawyer and human rights activist. Falz’s previous songs “Child of the World,” “Confirm” and “Wehdone Sir” tackle sexual harassment, Internet fraud and the rise of \u003ca href=\"http://www.pulse.ng/bi/lifestyle/these-african-millionaires-pastors-are-living-like-superstars-id7861633.html\">wealthy megachurch pastors\u003c/a>.\u003c/p>\n\u003cp>For a non-Nigerian, the scenes in the video may be a bit hard to figure out at times. Here’s a guide to some of the references and meanings:\u003c/p>\n\u003ch3>Colonialism [0:10]\u003c/h3>\n\u003cfigure id=\"attachment_13834183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-800x338.png\" alt=\"\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-160x68.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-768x324.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-240x101.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-375x158.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-520x220.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>The video begins with Falz clutching a boombox to his ear. The radio plays a clip from a speech delivered by his father, Falana, who is criticizing the Nigerian government: “… The medical facilities are poor. We operate a predatory neo-colonial capitalist system.” Falana speaks often on these issues on the radio.\u003c/p>\n\u003ch3>Herders vs. farmers [00:30]\u003c/h3>\n\u003cp>A machete-wielding man, dressed as a herdsman, simulates an attack on a blindfolded man. “Fulani herdsmen still dey slaughter, carry people dey massacre,” Falz says.\u003c/p>\n\u003cp>The scene refers to the country’s simmering conflict between herders, many from the Fulani ethnic group, and farming communities. Since 2011, both sides have been embroiled in clashes \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2017/12/12/569913821/why-its-now-a-crime-to-let-cattle-graze-freely-in-2-nigerian-states\">that have claimed more than 2,000 lives, \u003c/a>according to Brussels-based think tank the International Crisis Group.\u003c/p>\n\u003ch3>Money-eating snake [1:09]\u003c/h3>\n\u003cfigure id=\"attachment_13834182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-800x334.png\" alt=\"\" width=\"800\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-240x100.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-375x157.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-520x217.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>A woman picks up wads of colorful notes on the ground as a snake emerges from a half calabash melon to eat up the money. It’s a reference to \u003ca href=\"https://www.cnn.com/2018/02/13/africa/nigerias-snake-swallows-100000/index.html\">a story from February\u003c/a>: Philomena Chieshe, a sales clerk of Nigeria’s exam board, the Joint Admission and Matriculation Board, claimed that a snake ate 36 million naira ($100,000) from her office. Falz makes a joke about this story: “Where that Madam Philomena?” he asks, “money vanish for your office, 36 mily, you say na animal.”\u003c/p>\n\u003ch3>Drug addiction [1:10]\u003c/h3>\n\u003cp>In the video, Falz shows a young Nigerian disembarking from a bus with a bottle of cough syrup in one hand. Last month, Nigeria’s health ministry banned cough syrup with codeine after a BBC \u003ca href=\"http://www.bbc.com/news/world-africa-43982302\">investigation \u003c/a>revealed the role of the syrup in Nigeria’s addiction epidemic.\u003c/p>\n\u003ch3>Corruption [1:17]\u003c/h3>\n\u003cp>Falz makes several references to corruption, calling out politicians who have been accused of stealing from the government. By many accounts, corruption is one of Nigeria’s biggest problems. According to a U.N. report, roughly \u003ca href=\"https://www.unodc.org/documents/data-and-analysis/Crime-statistics/Nigeria/Corruption_Nigeria_2017_07_31_web.pdf\">$4.6 billion is spent on bribes\u003c/a> in Nigeria each year. This part of the video struck a chord with Kingsley Moghalu, former deputy governor of Nigeria’s central bank and presidential aspirant, who, after quoting the lyrics, called for a “new kind of leadership.”\u003c/p>\n\u003cp>https://twitter.com/MoghaluKingsley/status/1000430557124317190\u003c/p>\n\u003ch3>Boko Haram [1:22]\u003c/h3>\n\u003cfigure id=\"attachment_13834179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-800x339.png\" alt=\"\" width=\"800\" height=\"339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-160x68.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-768x325.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-240x102.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-375x159.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-520x220.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falz with Boko Haram\u003cbr>(FalzVEVO via YouTube/Screen grab by NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>Falz is joined by four veiled Muslim schoolgirls, who depict the young women in Nigeria’s northeastern region where the radical group Boko Haram operates. Boko Haram militants came into the limelight in April 2014 when they kidnapped more than 270 schoolgirls from the town of Chibok.\u003c/p>\n\u003cp>In February, a splinter group of Boko Haram abducted 110 girls from an all-girls boarding school in the town of Dapchi in northeastern Nigeria’s Yobe state.\u003c/p>\n\u003cp>The girls are performing the \u003ca href=\"http://www.pulse.ng/gist/pop-culture/shaku-shaku-the-new-street-dance-style-we-should-all-learn-in-2018-id7799976.html\">shaku shaku dance\u003c/a>, a street dance that became popular in Nigeria this year. A similar scene is represented in Glover’s “This Is America”: amid violence and chaos, students perform dances that have gone viral on the Internet. In Glover’s video, critics say the scene illustrates people’s tendency to get distracted by viral entertainment instead of focusing on social issues.\u003c/p>\n\u003ch3>Unethical preachers [1:47]\u003c/h3>\n\u003cfigure id=\"attachment_13834181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834181\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-800x301.png\" alt=\"\" width=\"800\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-160x60.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-768x289.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-240x90.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-375x141.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-520x196.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>A young woman in a white garment is surrounded by a small group of people praying for her. In previous songs, Falz has criticized religious figures for money-making schemes. In “This is Nigeria,” Falz gets angrier: “Pastor put his hand in the breast of his member, he is pulling the demon out,” he raps. In April 2017, a Nigerian televangelist named Tim Omotoso was arrested and \u003ca href=\"https://citizen.co.za/news/south-africa/1927417/1case-against-nigerian-sex-pastor-transferred-to-port-elizabeth-high-court/\">charged with trafficking\u003c/a> more than 30 girls and women from various branches of his church, and allegedly sexually exploiting them.\u003c/p>\n\u003ch3>Erratic electricity [1:51]\u003c/h3>\n\u003cp>Falz worries that there is “no electricity daily o.” Nigerians often complain about this problem.\u003c/p>\n\u003ch3>Lazy youth [1:54]\u003c/h3>\n\u003cp>When President Muhammadu Buhari got a chance to speak at a Commonwealth Business Forum in Westminster on April, he said “a lot of” young Nigerians “sit and do nothing” and expect everything for free, including housing, health care and education. This attracted a backlash on social media, with young Nigerians using the hashtag #LazyNigerianYouth to fire back at the president. Falz’s rap defies the president’s assessment: “people working multiple jobs and dem talk sey we lazy o.”\u003c/p>\n\u003ch3>Internet fraud [2:14]\u003c/h3>\n\u003cp>Falz throws a jab at Nigerian fraudsters who try to con people into sending them money via the Internet. Known as Yahoo Boys, some pretend to be beautiful women online and get into romantic relationships in order to con people into sending money; others use malware to control systems and compromise emails. The stereotypical Yahoo Boy drives a fast car and flaunts his wealth.\u003c/p>\n\u003cp>The Nigerian pop star has been vocal about his dislike for society’s acceptance of ill-gotten wealth. In the song, he criticizes society for acting like these fraudulent schemes are “so cool.”\u003c/p>\n\u003ch3>Police brutality [2:30]\u003c/h3>\n\u003cfigure id=\"attachment_13834184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834184\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-800x303.png\" alt=\"\" width=\"800\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-768x291.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-240x91.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-375x142.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-520x197.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>In this scene, officers from the Special Anti-Robbery Squad (SARS), a unit of the Nigerian police, arrest three university students only to free one of them upon receiving a bribe from his wealthy father. Two SARS officers hit and kick one of the students.\u003c/p>\n\u003cp>According \u003ca href=\"https://www.amnesty.org/en/documents/afr44/4868/2016/en/\">a report from Amnesty International\u003c/a> in 2016, SARS has been cited for accepting bribes as well as engaging in extortion, torture and degrading treatment of detainees in their custody. In December 2017, using the hashtag #EndSARS on social media, Nigerians \u003ca href=\"https://www.vanguardngr.com/2017/12/anti-sars-campaign-ig-orders-investigation-anti-robbery-squad/\">strongly called for an end to the brutality\u003c/a> meted out by SARS. In response, the Inspector General of Police Ibrahim Idris ordered an investigation of the anti-robbery squad.\u003c/p>\n\u003ch3>“I mean transmission” [3:00]\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13834196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-800x304.png\" alt=\"\" width=\"800\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-768x292.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-240x91.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-375x143.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-520x198.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This scene is a parody of a \u003ca href=\"https://www.thecable.ng/trending-video-mean-transmission-transmissionigp-struggles-read-speech\">popular video\u003c/a> from mid-May in which police chief Idris delivered a speech but ended up saying the word “transmission” over and over, rendering his talk nonsensical.\u003c/p>\n\u003ch3>The reaction …\u003c/h3>\n\u003cp>Some Nigerians are critical of the video.\u003c/p>\n\u003cp>https://twitter.com/AbiolaAwosika1/status/1000594961316876290\u003c/p>\n\u003cp>But many are praising the song.\u003c/p>\n\u003cp>https://twitter.com/obyezeks/status/1000414042433998849\u003c/p>\n\u003cp>https://twitter.com/Thereal_TommyB/status/1000131143247826944\u003c/p>\n\u003cp>“I love the song,” Ezichi Ogbu, a senior at the University of Nigeria, says with a smile. “Everything about Falz’s ‘This is Nigeria’ depicts the ills affecting our society. He is serving as a voice of the people on the street, and he did this so well by creating certain situations on the background that tell the story better and in clear terms.”\u003c/p>\n\u003cp>“It’s a State of the Union address delivered just a few days to Democracy Day,” says \u003ca href=\"https://www.theguardian.com/profile/eromo-egbejule\">Eromo Egbejule \u003c/a>a Nigerian writer, journalist and West African editor of \u003cem>The Africa Report\u003c/em>. “This is instructive socio-political commentary in a time where only a few bother with socially conscious music. The message has been delivered and right on time.”\u003c/p>\n\u003cp>Cultural critics like Joey Akan, a music journalist based in Lagos, \u003ca href=\"https://www.cnn.com/2018/05/28/africa/falz-this-is-nigeria-video-analysis/index.html\">are drawing parallels\u003c/a> between Falz and Afrobeat pioneer Fela Kuti.\u003c/p>\n\u003cp>Until his death in 1997, Kuti also used music to criticize military dictators, corruption and other social problems. But his frankness and acerbic criticism came with consequences: He was arrested on several occasions, jailed and beaten by soldiers.\u003c/p>\n\u003cp>If anything like that were to happen to Falz, some of his fans say they’ll have his back.\u003c/p>\n\u003cp>https://twitter.com/segalink/status/1000518855159177222\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Linus Unah is a freelance journalist covering global health, conflict, agriculture and technology in Nigeria. Find him \u003c/em>\u003ca href=\"https://twitter.com/linusunah?lang=en\">\u003cem>@linusunah\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nigerian+Rapper+Goes+Viral+With+His+Take+On+%27This+Is+America%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Called \"This Is Nigeria,\" the music video by rapper Falz sheds light on the country's most pressing issues, from unemployed youth to unreliable electricity. Here's a handy guide to his references.",
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"title": "Nigerian Rapper Goes Viral With His Take On 'This Is America' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/UW_xEqCWrm0'\n title='//www.youtube.com/embed/UW_xEqCWrm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Last week, a Nigerian rapper released his own version of Childish Gambino’s hit song and music video “This Is America.”\u003c/p>\n\u003cp>It’s called “This Is Nigeria” and was written and performed by lawyer-turned-musician Falz The Bahd Guy. Like the hugely popular Donald Glover song and video (Gambino is his stage name), the Nigerian version looks at harsh everyday realities.\u003c/p>\n\u003cp>In “This Is America,” the issues include gun violence, racism and the distraction of viral entertainment and social media. Falz’s lyrics and visuals touch on some of Nigeria’s major problems: poor electricity supply, drug addiction and government corruption. The video even features veiled Muslim girls to allude to Boko Haram’s abductions of schoolgirls in the northeast.\u003c/p>\n\u003cp>Falz performs in pidgin English, a blend of English and local languages that is widely spoken in West Africa. The chorus says:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is Nigeria.\u003cbr>\nNever-ending recession-o\u003cbr>\nWhere looters are killers and stealers are still contesting election-o.\u003cbr>\nPolitician wey steal some billion and billion e no dey go prison-o.”\u003c/p>\n\u003cp>Released on May 25, just four days before the 19th anniversary of democracy in the West African nation, the three-minute video has been viewed on YouTube 2.9 million times. The hashtag \u003ca href=\"https://twitter.com/hashtag/thisisnigeria\">#ThisIsNigeria\u003c/a> has generated tens of thousands of tweets. And the song has captured the attention of the American rapper Diddy, who reposted “This Is Nigeria” \u003ca href=\"https://www.instagram.com/p/BjSNt8hFLkO/?hl=en&taken-by=diddy\">on his Instagram account\u003c/a>, where it currently has an additional 2.2 million views.\u003c/p>\n\u003cp>Falz, whose real name is Folarin Falana, is not new to social commentary. His music often reflects the views of his father, \u003ca href=\"https://en.wikipedia.org/wiki/Femi_Falana\">Femi Falana\u003c/a>, a popular Nigerian lawyer and human rights activist. Falz’s previous songs “Child of the World,” “Confirm” and “Wehdone Sir” tackle sexual harassment, Internet fraud and the rise of \u003ca href=\"http://www.pulse.ng/bi/lifestyle/these-african-millionaires-pastors-are-living-like-superstars-id7861633.html\">wealthy megachurch pastors\u003c/a>.\u003c/p>\n\u003cp>For a non-Nigerian, the scenes in the video may be a bit hard to figure out at times. Here’s a guide to some of the references and meanings:\u003c/p>\n\u003ch3>Colonialism [0:10]\u003c/h3>\n\u003cfigure id=\"attachment_13834183\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834183\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-800x338.png\" alt=\"\" width=\"800\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-160x68.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-768x324.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-240x101.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-375x158.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-poverty-10s_custom-3756e2a13ca60a4cc4b70bdcb99343bf8d637a38-s800-c85-520x220.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>The video begins with Falz clutching a boombox to his ear. The radio plays a clip from a speech delivered by his father, Falana, who is criticizing the Nigerian government: “… The medical facilities are poor. We operate a predatory neo-colonial capitalist system.” Falana speaks often on these issues on the radio.\u003c/p>\n\u003ch3>Herders vs. farmers [00:30]\u003c/h3>\n\u003cp>A machete-wielding man, dressed as a herdsman, simulates an attack on a blindfolded man. “Fulani herdsmen still dey slaughter, carry people dey massacre,” Falz says.\u003c/p>\n\u003cp>The scene refers to the country’s simmering conflict between herders, many from the Fulani ethnic group, and farming communities. Since 2011, both sides have been embroiled in clashes \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2017/12/12/569913821/why-its-now-a-crime-to-let-cattle-graze-freely-in-2-nigerian-states\">that have claimed more than 2,000 lives, \u003c/a>according to Brussels-based think tank the International Crisis Group.\u003c/p>\n\u003ch3>Money-eating snake [1:09]\u003c/h3>\n\u003cfigure id=\"attachment_13834182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834182\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-800x334.png\" alt=\"\" width=\"800\" height=\"334\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-160x67.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-768x321.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-240x100.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-375x157.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-money-eating-snake-1m7s_custom-059fde4ebaa8ef0571ebd2a89f65059a3df9970f-s800-c85-520x217.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>A woman picks up wads of colorful notes on the ground as a snake emerges from a half calabash melon to eat up the money. It’s a reference to \u003ca href=\"https://www.cnn.com/2018/02/13/africa/nigerias-snake-swallows-100000/index.html\">a story from February\u003c/a>: Philomena Chieshe, a sales clerk of Nigeria’s exam board, the Joint Admission and Matriculation Board, claimed that a snake ate 36 million naira ($100,000) from her office. Falz makes a joke about this story: “Where that Madam Philomena?” he asks, “money vanish for your office, 36 mily, you say na animal.”\u003c/p>\n\u003ch3>Drug addiction [1:10]\u003c/h3>\n\u003cp>In the video, Falz shows a young Nigerian disembarking from a bus with a bottle of cough syrup in one hand. Last month, Nigeria’s health ministry banned cough syrup with codeine after a BBC \u003ca href=\"http://www.bbc.com/news/world-africa-43982302\">investigation \u003c/a>revealed the role of the syrup in Nigeria’s addiction epidemic.\u003c/p>\n\u003ch3>Corruption [1:17]\u003c/h3>\n\u003cp>Falz makes several references to corruption, calling out politicians who have been accused of stealing from the government. By many accounts, corruption is one of Nigeria’s biggest problems. According to a U.N. report, roughly \u003ca href=\"https://www.unodc.org/documents/data-and-analysis/Crime-statistics/Nigeria/Corruption_Nigeria_2017_07_31_web.pdf\">$4.6 billion is spent on bribes\u003c/a> in Nigeria each year. This part of the video struck a chord with Kingsley Moghalu, former deputy governor of Nigeria’s central bank and presidential aspirant, who, after quoting the lyrics, called for a “new kind of leadership.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003ch3>Boko Haram [1:22]\u003c/h3>\n\u003cfigure id=\"attachment_13834179\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834179\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-800x339.png\" alt=\"\" width=\"800\" height=\"339\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-160x68.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-768x325.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-240x102.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-375x159.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-boko-harm-dance-2m_custom-1675c425e804ee20daacd94f820d860ce49188bf-s800-c85-520x220.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Falz with Boko Haram\u003cbr>(FalzVEVO via YouTube/Screen grab by NPR)\u003c/figcaption>\u003c/figure>\n\u003cp>Falz is joined by four veiled Muslim schoolgirls, who depict the young women in Nigeria’s northeastern region where the radical group Boko Haram operates. Boko Haram militants came into the limelight in April 2014 when they kidnapped more than 270 schoolgirls from the town of Chibok.\u003c/p>\n\u003cp>In February, a splinter group of Boko Haram abducted 110 girls from an all-girls boarding school in the town of Dapchi in northeastern Nigeria’s Yobe state.\u003c/p>\n\u003cp>The girls are performing the \u003ca href=\"http://www.pulse.ng/gist/pop-culture/shaku-shaku-the-new-street-dance-style-we-should-all-learn-in-2018-id7799976.html\">shaku shaku dance\u003c/a>, a street dance that became popular in Nigeria this year. A similar scene is represented in Glover’s “This Is America”: amid violence and chaos, students perform dances that have gone viral on the Internet. In Glover’s video, critics say the scene illustrates people’s tendency to get distracted by viral entertainment instead of focusing on social issues.\u003c/p>\n\u003ch3>Unethical preachers [1:47]\u003c/h3>\n\u003cfigure id=\"attachment_13834181\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834181\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-800x301.png\" alt=\"\" width=\"800\" height=\"301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-160x60.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-768x289.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-240x90.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-375x141.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-dishonest-preachers-1m49s_custom-daea7038106e5f8f0118555123911e5985d97e46-s800-c85-520x196.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp>A young woman in a white garment is surrounded by a small group of people praying for her. In previous songs, Falz has criticized religious figures for money-making schemes. In “This is Nigeria,” Falz gets angrier: “Pastor put his hand in the breast of his member, he is pulling the demon out,” he raps. In April 2017, a Nigerian televangelist named Tim Omotoso was arrested and \u003ca href=\"https://citizen.co.za/news/south-africa/1927417/1case-against-nigerian-sex-pastor-transferred-to-port-elizabeth-high-court/\">charged with trafficking\u003c/a> more than 30 girls and women from various branches of his church, and allegedly sexually exploiting them.\u003c/p>\n\u003ch3>Erratic electricity [1:51]\u003c/h3>\n\u003cp>Falz worries that there is “no electricity daily o.” Nigerians often complain about this problem.\u003c/p>\n\u003ch3>Lazy youth [1:54]\u003c/h3>\n\u003cp>When President Muhammadu Buhari got a chance to speak at a Commonwealth Business Forum in Westminster on April, he said “a lot of” young Nigerians “sit and do nothing” and expect everything for free, including housing, health care and education. This attracted a backlash on social media, with young Nigerians using the hashtag #LazyNigerianYouth to fire back at the president. Falz’s rap defies the president’s assessment: “people working multiple jobs and dem talk sey we lazy o.”\u003c/p>\n\u003ch3>Internet fraud [2:14]\u003c/h3>\n\u003cp>Falz throws a jab at Nigerian fraudsters who try to con people into sending them money via the Internet. Known as Yahoo Boys, some pretend to be beautiful women online and get into romantic relationships in order to con people into sending money; others use malware to control systems and compromise emails. The stereotypical Yahoo Boy drives a fast car and flaunts his wealth.\u003c/p>\n\u003cp>The Nigerian pop star has been vocal about his dislike for society’s acceptance of ill-gotten wealth. In the song, he criticizes society for acting like these fraudulent schemes are “so cool.”\u003c/p>\n\u003ch3>Police brutality [2:30]\u003c/h3>\n\u003cfigure id=\"attachment_13834184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834184\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-800x303.png\" alt=\"\" width=\"800\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-768x291.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-240x91.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-375x142.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-sars-2m37s_custom-b2a66ea4bcd07597624b92de4257df8aaae5a590-s800-c85-520x197.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">FalzVEVO via YouTube/Screen grab by NPR\u003c/figcaption>\u003c/figure>\n\u003cp> \u003c/p>\n\u003cp>In this scene, officers from the Special Anti-Robbery Squad (SARS), a unit of the Nigerian police, arrest three university students only to free one of them upon receiving a bribe from his wealthy father. Two SARS officers hit and kick one of the students.\u003c/p>\n\u003cp>According \u003ca href=\"https://www.amnesty.org/en/documents/afr44/4868/2016/en/\">a report from Amnesty International\u003c/a> in 2016, SARS has been cited for accepting bribes as well as engaging in extortion, torture and degrading treatment of detainees in their custody. In December 2017, using the hashtag #EndSARS on social media, Nigerians \u003ca href=\"https://www.vanguardngr.com/2017/12/anti-sars-campaign-ig-orders-investigation-anti-robbery-squad/\">strongly called for an end to the brutality\u003c/a> meted out by SARS. In response, the Inspector General of Police Ibrahim Idris ordered an investigation of the anti-robbery squad.\u003c/p>\n\u003ch3>“I mean transmission” [3:00]\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13834196\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-800x304.png\" alt=\"\" width=\"800\" height=\"304\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-160x61.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-768x292.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-240x91.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-375x143.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/tin-transmission-3m_custom-7668288260174f54fd81ba2a0735a8f06fb4fe27-s800-c85-520x198.png 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>This scene is a parody of a \u003ca href=\"https://www.thecable.ng/trending-video-mean-transmission-transmissionigp-struggles-read-speech\">popular video\u003c/a> from mid-May in which police chief Idris delivered a speech but ended up saying the word “transmission” over and over, rendering his talk nonsensical.\u003c/p>\n\u003ch3>The reaction …\u003c/h3>\n\u003cp>Some Nigerians are critical of the video.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>But many are praising the song.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“I love the song,” Ezichi Ogbu, a senior at the University of Nigeria, says with a smile. “Everything about Falz’s ‘This is Nigeria’ depicts the ills affecting our society. He is serving as a voice of the people on the street, and he did this so well by creating certain situations on the background that tell the story better and in clear terms.”\u003c/p>\n\u003cp>“It’s a State of the Union address delivered just a few days to Democracy Day,” says \u003ca href=\"https://www.theguardian.com/profile/eromo-egbejule\">Eromo Egbejule \u003c/a>a Nigerian writer, journalist and West African editor of \u003cem>The Africa Report\u003c/em>. “This is instructive socio-political commentary in a time where only a few bother with socially conscious music. The message has been delivered and right on time.”\u003c/p>\n\u003cp>Cultural critics like Joey Akan, a music journalist based in Lagos, \u003ca href=\"https://www.cnn.com/2018/05/28/africa/falz-this-is-nigeria-video-analysis/index.html\">are drawing parallels\u003c/a> between Falz and Afrobeat pioneer Fela Kuti.\u003c/p>\n\u003cp>Until his death in 1997, Kuti also used music to criticize military dictators, corruption and other social problems. But his frankness and acerbic criticism came with consequences: He was arrested on several occasions, jailed and beaten by soldiers.\u003c/p>\n\u003cp>If anything like that were to happen to Falz, some of his fans say they’ll have his back.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Linus Unah is a freelance journalist covering global health, conflict, agriculture and technology in Nigeria. Find him \u003c/em>\u003ca href=\"https://twitter.com/linusunah?lang=en\">\u003cem>@linusunah\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nigerian+Rapper+Goes+Viral+With+His+Take+On+%27This+Is+America%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=615752582&mediaId=615791546\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Black Thought rarely unmasks.\u003c/p>\n\u003cp>Not even in our in-depth interview, which lasted more than an hour, did he remove the shades that enable him to observe the world — and reflect a bit of its pain – while concealing his own. Yet the story he shared of personal trauma and transcendence reveals so much more.\u003c/p>\n\u003cp>His moniker, Black Thought, has always been a double-entendre that felt like it belonged to all of us for the way it communicates a collective angst and rage, darkness and genius. For the South Philly-bred co-founder of The Roots, born Tariq Trotter, that nuance is equally reflected in his life and rhymes. It’s lent him a depth and duality rare in this age. To find his equal, one almost must look beyond the confines of rap.\u003c/p>\n\u003cp>Onstage at Washington D.C.’s Kennedy Center in April at a dramatic stage reading of Ta-Nehisi Coates’ book \u003cem>Between the World and Me\u003c/em>, Black Thought delivered a gripping remix of his \u003ca href=\"https://www.youtube.com/watch?v=M8DxO-66jrA\">Harvard University freestyle\u003c/a> at the climactic high point of the performance:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Black as oblivion\u003c/em>\u003cbr>\n\u003cem>Black as obsidian\u003c/em>\u003cbr>\n\u003cem>Black as the sky at midnight ante meridian\u003c/em>\u003cbr>\n\u003cem>I am black as a portrait with Diddy, 2Pac and Biggie in\u003c/em>\u003cbr>\n\u003cem>Black as the influence on the culture we living in\u003c/em>\u003c/p>\n\u003cp>When Coates took the stage near the program’s conclusion, the celebrated chronicler of contemporary black American life paused first to pay respect to his literary peer. Looking over at the bearded and brimmed Black Thought, Coates nodded and told the crowd, “I wish I wrote them Thought verses. I’d trade this whole book for that, man.”\u003c/p>\n\u003cp>It was a huge accolade from one clear-eyed realist to another.\u003c/p>\n\u003cp>Black Thought’s been basking in overdue props lately. The viral \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/15/571088054/heres-why-black-thoughts-10-minute-freestyle-is-so-remarkable\">Hot 97 freestyle\u003c/a> that sent the Internet into a tizzy six months ago made him something of an anomaly — a hip-hop vet, 30 years into his career, finally recognized for being at the top of his game.\u003c/p>\n\u003cp>Now, with the release of his first side project, \u003cem>Streams of Thought Vol. 1\u003c/em> (produced by 9th Wonder and The Soul Council), he’s further emerging from the shadows. It’s a new reckoning for an artful dodger who’s always excelled at drawing complex illustrations while disappearing into his own canvas, but he stops short of calling \u003cem>Streams of Thought\u003c/em> a solo project. For Black Thought, the appeal of a collaborative series featuring a rotating cast of producers is less about hogging the spotlight than delivering stream-of-consciousness flows without the meticulous plotting associated with The Roots’ high-concept approach.\u003c/p>\n\u003cp>But there’s a bigger reveal behind Black Thought’s album release, and it drove our conversation, which took place in Manhattan in April. By 16, he’d lost both parents and found his life’s calling. It became his saving grace. At 46, he’s beginning to unmask in music and life. And it feels like the self-professed introvert is honing in on another growth spurt, 30 years later.\u003c/p>\n\u003cp>There’s a line from \u003cem>Between the World and Me\u003c/em> in which Coates writes to his son, “Part of me thinks that your very vulnerability brings you closer to the meaning of life.” After a career spent processing all our angst and pain, Black Thought is finding comfort with baring open to the world his whole soul.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Black Thought on Ta-Nehisi Coates saying he’d trade \u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> for Black Thought’s verses\u003c/strong>\u003c/p>\n\u003cp>For me it lent a certain sort of validity to what I’m doing, what I’ve been doing. We communicate via social media and had been doing so for the past couple of years. But we met in person earlier in the week at the same sort of event at the Apollo, and it was there that he kind of revealed to me that during that time in his life when he was still trying to become a writer and trying to be a writer, that my style of writing on a particular record — I think it was the \u003cem>Things Fall Apart\u003c/em> album — was what he was kind of modeling his style of writing after. He was trying to capture a similar voice. So I was super-impressed by that and I just felt like it was a moment in which things had sort of come full circle. Because I’ve definitely been inspired by the book and by his writing. So, to come to the realization that my work inspired the work that, in turn, re-inspired — it was just a dope sort of revelation.\u003c/p>\n\u003cp>\u003cstrong>On learning later in life of his father’s connections to the Philly Black Mafia\u003c/strong>\u003c/p>\n\u003cp>I was, I want to say, 6 or 7 or so when I really began to realize my father was murdered. But as far back as I can remember I’d always known that he had passed away. Even now, I continue to just acquire little tidbits of information. I might run into somebody on the street who’s like, “I’m a big fan. By the way, I was a good friend of your father’s.” And they’ll give me some information, something that I may not have ever known about my father in the way he was. Just because it was the ’70s at the time that I lost my father — there wasn’t as much documentation. There were a couple stories, like newspaper clippings, that were around the time that his body was found. But this is the era of microfiche as opposed to just being able to Google what had taken place. There have been some books that have come out over the years about the Philly Black Mafia, or an organization called Black Brothers, Inc. And just information that has come out in more recent years about a particular mosque in Philly, Mosque No. 12 in the Philadelphia Islamic community at that time, that has shed a little bit more light on my father and what his sort of dealings were — one side of what his dealings were. But there’s still very much that remains a mystery to me, even to this day.\u003c/p>\n\u003cp>\u003cstrong>On the harsh reality of losing his mother as a teenager\u003c/strong>\u003c/p>\n\u003cp>Knowing that she was a fighter, I know that she put up as much of a fight as she could. But we lost her. No one had heard from her for about three or four days, which seemed strange. She would go on binges; she would disappear sometimes for 24 hours, maybe 48 hours at a time. But when you start hitting three days, four days, it’s like, what’s up. And the sad part about growing up where I did and when I did is, when you haven’t heard from someone for a couple of days, the first thing we do instinctively is start the search. We start with the hospitals and then we start with the jails and then we start, you know, beyond that it’s the morgue, you know what I mean. So as we expanded our search, my mother was found to have been in the morgue. And it was it was crazy. Our gut told us that we had found her, but she wasn’t identifiable. We had to identify her by some old dental records. So it was crazy, it was messy, and we couldn’t have an open-casket funeral. The worst that you could expect is the end that she met.”\u003c/p>\n\u003cp>\u003cstrong>On using art to heal personal tragedy\u003c/strong>\u003c/p>\n\u003cp>For me, the arts has always been sort of my saving grace. The moments in life that I cherish most were those brief moments when I would get to escape: either like mentally I would get to escape, because I would be deep in the creative process, or physically — I would leave the neighborhood for a little bit to go to art class on Saturday mornings, or in the summertime my mom would sign me up for art camp, and that took place out in the middle of Fairmount Park in Philly. So just those little small pockets of getting away from the neighborhood gave me just a different perspective when I returned. Yeah, it’s always been, for me, about the arts.\u003c/p>\n\u003cp>\u003cstrong>On overcoming his early doubts about The Roots\u003c/strong>\u003c/p>\n\u003cp>We had reached a point during that time where it was like, ahh, maybe this isn’t the best idea. Maybe live instrumentation with me rapping over it wasn’t the best plan. There weren’t very many other artists who were doing that at the time and, I don’t know, sometimes you second-guess yourself. You, know you think, “Well, I think I should just get a DJ, because that would be a better format within which to showcase my skills.” I felt like the band at the time, like just how cumbersome the instruments were — a huge upright bass and then Questlove, you know, a big dude on the drums — I felt like that was all taking away, sort of, from the focus on me. That being said, we took it to the streets sort of as a last resort — like, “Well, let’s just go and see if this works out.”\u003c/p>\n\u003cp>\u003cstrong>On the overwhelming response to his Hot 97 freestyle\u003c/strong>\u003c/p>\n\u003cp>The art of lyricism is now in its greatest decline. That’s why it’s like, somebody comes out and you drop some bars of substance, it’s like it’s amazing. It’s like a unicorn. But, you know, I come from a school. People who have known me for years, they were less than impressed. Like, “I’ve seen you do better.” You know what I mean? They pick out little mistakes: “Oh, you faltered here. This syllable came out weird.” And that’s cool, you know what I’m saying — because that’s how they know me. But I feel like the standard, like the bar right now, is particularly low. So I’m continually trying to raise the bar.”\u003c/p>\n\u003cp>\u003cstrong>On putting off solo pursuits for years out of obligation to The Roots as a collective\u003c/strong>\u003c/p>\n\u003cp>It’s always been about the greater good of our organization for me. All those solo efforts that I’ve announced, it breathes new life into the awareness of me as an artist. The Roots brand always has to be maintained, and we’re just at a place now where prime-time TV affords us a different sort of visibility and I’m able to kind of take a step back and focus on some of the other creative energy that I still need to get out. None of this is my solo album. It’s just a chance to see me in a different light doing a different thing.\u003c/p>\n\u003cp>\u003cstrong>On whether his rap moniker, Black Thought, is too black for TV\u003c/strong>\u003c/p>\n\u003cp>It has presented \u003cem>some\u003c/em> internal conflict, and the way I address it is just maintaining that separatism. The fact that Jimmy refers to me only as Tariq on prime-time television is right on par with me making a conscious effort to be more vulnerable and show more vulnerability and to be more human and to be more accessible to my audience. In the beginning, I stopped wearing sunglasses and everything. When we started the show, that was short-lived. But yeah, I was trying to just be more transparent in that way. I feel like Black Thought is a name that has so much meaning and depth, not only to me but to my fans, that it’s something that I wanted to hold onto a little bit tighter. At the onset of late night with Jimmy Fallon when it was like, “What are we going to refer to you guys as?” I don’t know, I chose to [be] Tariq.\u003c/p>\n\u003cp>\u003cstrong>On frequently being mistaken for Rick Ross\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Something that is funny, that I use sometimes if I’m doing comedy, is the fact that I’m now often mistaken for the rapper Rick Ross. And I don’t know that I’ve ever corrected anyone — like I’ve never said, “No no, I’m not Rick Ross, I’m Black Thought from The Roots.” Sometimes little kids come up to me shaking: “You mind if I take a picture?” And I’ll take a picture and I’ll hear one whisper to the other: ‘I \u003cem>love \u003c/em>Rick Ross.” Or someone will come up to me on the street, you know, and say “bawse.” Just a couple weeks ago I went to Puerto Rico to do a benefit concert down there. I arrived at the hotel, the doorman came and opened the car door and I stepped out, and dude was talking and I just heard him — in broken English because he had, like, a Spanish accent — I heard him, just, “\u003cem>Welcome, Mr. Ross\u003c/em>.” I’d rather not correct them. I let people have that moment, because for them it’s just as special. I don’t say, “No, no. It’s me, the dude from The Roots.” But sometimes I’ve had people come in [and] talk to me for you know five, seven, 10 minutes about how I’ve impacted their lives and, you know, how important my music has been. And I might start to assume that they recognize me. And then they’ll get to the end and it’s like, you know, ‘Thank you, Rick.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Between+The+World+And+Black+Thought&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=615752582&mediaId=615791546\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Black Thought rarely unmasks.\u003c/p>\n\u003cp>Not even in our in-depth interview, which lasted more than an hour, did he remove the shades that enable him to observe the world — and reflect a bit of its pain – while concealing his own. Yet the story he shared of personal trauma and transcendence reveals so much more.\u003c/p>\n\u003cp>His moniker, Black Thought, has always been a double-entendre that felt like it belonged to all of us for the way it communicates a collective angst and rage, darkness and genius. For the South Philly-bred co-founder of The Roots, born Tariq Trotter, that nuance is equally reflected in his life and rhymes. It’s lent him a depth and duality rare in this age. To find his equal, one almost must look beyond the confines of rap.\u003c/p>\n\u003cp>Onstage at Washington D.C.’s Kennedy Center in April at a dramatic stage reading of Ta-Nehisi Coates’ book \u003cem>Between the World and Me\u003c/em>, Black Thought delivered a gripping remix of his \u003ca href=\"https://www.youtube.com/watch?v=M8DxO-66jrA\">Harvard University freestyle\u003c/a> at the climactic high point of the performance:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Black as oblivion\u003c/em>\u003cbr>\n\u003cem>Black as obsidian\u003c/em>\u003cbr>\n\u003cem>Black as the sky at midnight ante meridian\u003c/em>\u003cbr>\n\u003cem>I am black as a portrait with Diddy, 2Pac and Biggie in\u003c/em>\u003cbr>\n\u003cem>Black as the influence on the culture we living in\u003c/em>\u003c/p>\n\u003cp>When Coates took the stage near the program’s conclusion, the celebrated chronicler of contemporary black American life paused first to pay respect to his literary peer. Looking over at the bearded and brimmed Black Thought, Coates nodded and told the crowd, “I wish I wrote them Thought verses. I’d trade this whole book for that, man.”\u003c/p>\n\u003cp>It was a huge accolade from one clear-eyed realist to another.\u003c/p>\n\u003cp>Black Thought’s been basking in overdue props lately. The viral \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/15/571088054/heres-why-black-thoughts-10-minute-freestyle-is-so-remarkable\">Hot 97 freestyle\u003c/a> that sent the Internet into a tizzy six months ago made him something of an anomaly — a hip-hop vet, 30 years into his career, finally recognized for being at the top of his game.\u003c/p>\n\u003cp>Now, with the release of his first side project, \u003cem>Streams of Thought Vol. 1\u003c/em> (produced by 9th Wonder and The Soul Council), he’s further emerging from the shadows. It’s a new reckoning for an artful dodger who’s always excelled at drawing complex illustrations while disappearing into his own canvas, but he stops short of calling \u003cem>Streams of Thought\u003c/em> a solo project. For Black Thought, the appeal of a collaborative series featuring a rotating cast of producers is less about hogging the spotlight than delivering stream-of-consciousness flows without the meticulous plotting associated with The Roots’ high-concept approach.\u003c/p>\n\u003cp>But there’s a bigger reveal behind Black Thought’s album release, and it drove our conversation, which took place in Manhattan in April. By 16, he’d lost both parents and found his life’s calling. It became his saving grace. At 46, he’s beginning to unmask in music and life. And it feels like the self-professed introvert is honing in on another growth spurt, 30 years later.\u003c/p>\n\u003cp>There’s a line from \u003cem>Between the World and Me\u003c/em> in which Coates writes to his son, “Part of me thinks that your very vulnerability brings you closer to the meaning of life.” After a career spent processing all our angst and pain, Black Thought is finding comfort with baring open to the world his whole soul.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Black Thought on Ta-Nehisi Coates saying he’d trade \u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> for Black Thought’s verses\u003c/strong>\u003c/p>\n\u003cp>For me it lent a certain sort of validity to what I’m doing, what I’ve been doing. We communicate via social media and had been doing so for the past couple of years. But we met in person earlier in the week at the same sort of event at the Apollo, and it was there that he kind of revealed to me that during that time in his life when he was still trying to become a writer and trying to be a writer, that my style of writing on a particular record — I think it was the \u003cem>Things Fall Apart\u003c/em> album — was what he was kind of modeling his style of writing after. He was trying to capture a similar voice. So I was super-impressed by that and I just felt like it was a moment in which things had sort of come full circle. Because I’ve definitely been inspired by the book and by his writing. So, to come to the realization that my work inspired the work that, in turn, re-inspired — it was just a dope sort of revelation.\u003c/p>\n\u003cp>\u003cstrong>On learning later in life of his father’s connections to the Philly Black Mafia\u003c/strong>\u003c/p>\n\u003cp>I was, I want to say, 6 or 7 or so when I really began to realize my father was murdered. But as far back as I can remember I’d always known that he had passed away. Even now, I continue to just acquire little tidbits of information. I might run into somebody on the street who’s like, “I’m a big fan. By the way, I was a good friend of your father’s.” And they’ll give me some information, something that I may not have ever known about my father in the way he was. Just because it was the ’70s at the time that I lost my father — there wasn’t as much documentation. There were a couple stories, like newspaper clippings, that were around the time that his body was found. But this is the era of microfiche as opposed to just being able to Google what had taken place. There have been some books that have come out over the years about the Philly Black Mafia, or an organization called Black Brothers, Inc. And just information that has come out in more recent years about a particular mosque in Philly, Mosque No. 12 in the Philadelphia Islamic community at that time, that has shed a little bit more light on my father and what his sort of dealings were — one side of what his dealings were. But there’s still very much that remains a mystery to me, even to this day.\u003c/p>\n\u003cp>\u003cstrong>On the harsh reality of losing his mother as a teenager\u003c/strong>\u003c/p>\n\u003cp>Knowing that she was a fighter, I know that she put up as much of a fight as she could. But we lost her. No one had heard from her for about three or four days, which seemed strange. She would go on binges; she would disappear sometimes for 24 hours, maybe 48 hours at a time. But when you start hitting three days, four days, it’s like, what’s up. And the sad part about growing up where I did and when I did is, when you haven’t heard from someone for a couple of days, the first thing we do instinctively is start the search. We start with the hospitals and then we start with the jails and then we start, you know, beyond that it’s the morgue, you know what I mean. So as we expanded our search, my mother was found to have been in the morgue. And it was it was crazy. Our gut told us that we had found her, but she wasn’t identifiable. We had to identify her by some old dental records. So it was crazy, it was messy, and we couldn’t have an open-casket funeral. The worst that you could expect is the end that she met.”\u003c/p>\n\u003cp>\u003cstrong>On using art to heal personal tragedy\u003c/strong>\u003c/p>\n\u003cp>For me, the arts has always been sort of my saving grace. The moments in life that I cherish most were those brief moments when I would get to escape: either like mentally I would get to escape, because I would be deep in the creative process, or physically — I would leave the neighborhood for a little bit to go to art class on Saturday mornings, or in the summertime my mom would sign me up for art camp, and that took place out in the middle of Fairmount Park in Philly. So just those little small pockets of getting away from the neighborhood gave me just a different perspective when I returned. Yeah, it’s always been, for me, about the arts.\u003c/p>\n\u003cp>\u003cstrong>On overcoming his early doubts about The Roots\u003c/strong>\u003c/p>\n\u003cp>We had reached a point during that time where it was like, ahh, maybe this isn’t the best idea. Maybe live instrumentation with me rapping over it wasn’t the best plan. There weren’t very many other artists who were doing that at the time and, I don’t know, sometimes you second-guess yourself. You, know you think, “Well, I think I should just get a DJ, because that would be a better format within which to showcase my skills.” I felt like the band at the time, like just how cumbersome the instruments were — a huge upright bass and then Questlove, you know, a big dude on the drums — I felt like that was all taking away, sort of, from the focus on me. That being said, we took it to the streets sort of as a last resort — like, “Well, let’s just go and see if this works out.”\u003c/p>\n\u003cp>\u003cstrong>On the overwhelming response to his Hot 97 freestyle\u003c/strong>\u003c/p>\n\u003cp>The art of lyricism is now in its greatest decline. That’s why it’s like, somebody comes out and you drop some bars of substance, it’s like it’s amazing. It’s like a unicorn. But, you know, I come from a school. People who have known me for years, they were less than impressed. Like, “I’ve seen you do better.” You know what I mean? They pick out little mistakes: “Oh, you faltered here. This syllable came out weird.” And that’s cool, you know what I’m saying — because that’s how they know me. But I feel like the standard, like the bar right now, is particularly low. So I’m continually trying to raise the bar.”\u003c/p>\n\u003cp>\u003cstrong>On putting off solo pursuits for years out of obligation to The Roots as a collective\u003c/strong>\u003c/p>\n\u003cp>It’s always been about the greater good of our organization for me. All those solo efforts that I’ve announced, it breathes new life into the awareness of me as an artist. The Roots brand always has to be maintained, and we’re just at a place now where prime-time TV affords us a different sort of visibility and I’m able to kind of take a step back and focus on some of the other creative energy that I still need to get out. None of this is my solo album. It’s just a chance to see me in a different light doing a different thing.\u003c/p>\n\u003cp>\u003cstrong>On whether his rap moniker, Black Thought, is too black for TV\u003c/strong>\u003c/p>\n\u003cp>It has presented \u003cem>some\u003c/em> internal conflict, and the way I address it is just maintaining that separatism. The fact that Jimmy refers to me only as Tariq on prime-time television is right on par with me making a conscious effort to be more vulnerable and show more vulnerability and to be more human and to be more accessible to my audience. In the beginning, I stopped wearing sunglasses and everything. When we started the show, that was short-lived. But yeah, I was trying to just be more transparent in that way. I feel like Black Thought is a name that has so much meaning and depth, not only to me but to my fans, that it’s something that I wanted to hold onto a little bit tighter. At the onset of late night with Jimmy Fallon when it was like, “What are we going to refer to you guys as?” I don’t know, I chose to [be] Tariq.\u003c/p>\n\u003cp>\u003cstrong>On frequently being mistaken for Rick Ross\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Something that is funny, that I use sometimes if I’m doing comedy, is the fact that I’m now often mistaken for the rapper Rick Ross. And I don’t know that I’ve ever corrected anyone — like I’ve never said, “No no, I’m not Rick Ross, I’m Black Thought from The Roots.” Sometimes little kids come up to me shaking: “You mind if I take a picture?” And I’ll take a picture and I’ll hear one whisper to the other: ‘I \u003cem>love \u003c/em>Rick Ross.” Or someone will come up to me on the street, you know, and say “bawse.” Just a couple weeks ago I went to Puerto Rico to do a benefit concert down there. I arrived at the hotel, the doorman came and opened the car door and I stepped out, and dude was talking and I just heard him — in broken English because he had, like, a Spanish accent — I heard him, just, “\u003cem>Welcome, Mr. Ross\u003c/em>.” I’d rather not correct them. I let people have that moment, because for them it’s just as special. I don’t say, “No, no. It’s me, the dude from The Roots.” But sometimes I’ve had people come in [and] talk to me for you know five, seven, 10 minutes about how I’ve impacted their lives and, you know, how important my music has been. And I might start to assume that they recognize me. And then they’ll get to the end and it’s like, you know, ‘Thank you, Rick.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Between+The+World+And+Black+Thought&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An exhaustive \u003ca href=\"https://noisey.vice.com/en_us/article/a34qxb/the-desk-from-npr-tiny-desk-concerts-is-actually-not-tiny-an-investigation\" target=\"_blank\" rel=\"noopener\">investigation\u003c/a> recently exposed one of the biggest secrets in public media: that NPR’s Tiny Desk is not so tiny, after all. In fact, the L-shaped table is large enough to pack in a 23-member band and a 900-pound grand piano.\u003c/p>\n\u003cp>Such revelations don’t change the fact that Tiny Desk concerts are a fascinating way to experience favorite artists, short of seeing them live. The minimalist setup and emphasis on live instrumentation forces bands to adapt, showing viewers what they can do without software and other trickery. The constraints have yielded magical results, like when twin sisters \u003ca href=\"https://www.npr.org/event/music/583477709/ibeyi-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Ibeyi\u003c/a> sang enchanting harmonies in Yoruba, or when \u003ca href=\"https://www.npr.org/event/music/585836082/big-daddy-kane-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Big Daddy Kane\u003c/a> transformed the NPR office into a time warp to hip-hop’s early days.\u003c/p>\n\u003cp>https://youtu.be/K2Pf41N5Rqo\u003c/p>\n\u003cp>As it has every year since 2015, NPR is taking submissions for its annual Tiny Desk Contest, with entries open through Mar. 25. One lucky undiscovered band will get the chance to play a Tiny Desk show at NPR’s headquarters in Washington, D.C. and drive around the country on a U.S. tour. To enter, artists must submit a video of themselves playing an original song at a desk of their choosing — “tiny” or not.\u003c/p>\n\u003cp>Previous winners have included Oakland’s Fantastic Negrito, who won a Grammy in 2017 for Best Contemporary Blues Album after winning the Tiny Desk Concert in 2015. To learn more about the contest and how to submit, click \u003ca href=\"http://tinydeskcontest.npr.org/open/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\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\n",
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"content": "\u003cp>A new lawsuit is boldly going where no man has gone before.\u003c/p>\n\u003cp>Paramount Pictures and CBS are suing the producers of a Star Trek fan film for copyright infringement. The studios own the copyright to the Star Trek franchise, including six television shows and 12 movies.\u003c/p>\n\u003cp>They’re suing Axanar Productions along with executive producer Alec Peters over their 2014 short film \u003cem>Prelude to Axanar\u003c/em>, and the planned full-length \u003cem>Axanar\u003c/em>. Peters raised more than $101,000 on Kickstarter to make the first film, and Axanar Productions says they’ve raised more than $1 million in total.\u003c/p>\n\u003cp>The movies are set in the Star Trek universe and serve as a prequel to the original series from the 1960s. \u003cem>Axanar\u003c/em> takes place 21 years before Captain Kirk came on the scene and tells the story of Garth of Izar, “the legendary Starfleet captain who is Captain Kirk’s hero.” For the true Trekkies, here are more \u003ca href=\"http://www.axanarproductions.com/about/the-story/\" target=\"_blank\" rel=\"noopener\">details from the filmmakers\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Axanar tells the story of Garth and his crew during the Four Years War, the war with the Klingon Empire that almost tore the Federation apart. Garth’s victory at Axanar solidified the Federation and allowed it to become the entity we know in Kirk’s time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Fan films exist in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103673352\" target=\"_blank\" rel=\"noopener\">legal gray area\u003c/a>. There have been several \u003ca href=\"https://en.wikipedia.org/wiki/Star_Trek_fan_productions\" target=\"_blank\" rel=\"noopener\">fan productions\u003c/a> of Star Trek shows over the years. \u003ca href=\"http://www.wired.com/2014/07/star-trek-axanar-fan-film/\" target=\"_blank\" rel=\"noopener\">According to Wired\u003c/a>, Paramount “has traditionally allowed these fan-made projects to move forward, as long as they agree not to sell anything — including tickets, merchandise, or copies of the finished film or series.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in December 2015, the studios filed a complaint against Axanar. In a follow-up brief, they identify “infringing elements,” including original Star Trek characters, races and species (like Klingons and Vulcans), uniforms, planets, the Starship Enterprise (which is of course the \u003ca href=\"https://en.wikipedia.org/wiki/Starship_Enterprise\" target=\"_blank\" rel=\"noopener\">NCC-1701\u003c/a>), logos — and the Klingon language.\u003c/p>\n\u003cp>The way the court decides on the last item on that list has big legal implications. The Language Creation Society \u003ca href=\"https://www.scribd.com/doc/310744493/035-1-Brief-of-Amicus-Curiae-1?secret_password=I5JAsrdYbwE8oTIe5zPx\" target=\"_blank\" rel=\"noopener\">filed an amicus\u003c/a> brief in support of the filmmakers. It argues that since Klingon was invented in the 1980s, the language has expanded beyond its origins — there’s even a \u003ca href=\"http://www.kli.org/\" target=\"_blank\" rel=\"noopener\">Klingon Language Institute\u003c/a>. They say there’s enough vocabulary in the language to translate Shakespeare’s \u003cem>Hamlet\u003c/em>. Klingon “took on a life of its own — a life that the Copyright Act has no power to control,” they say.\u003c/p>\n\u003cp>The studios say they own the “fictional language.”\u003c/p>\n\u003cp>The reason this matters — whether you can copyright a language — is related to programming. Is computer code a language, and can you copyright it? It goes to a long-running case between Oracle and Google. The \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/paramount-claims-crowdfunded-star-trek-874985\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter summarizes\u003c/a>: “In a nutshell, Oracle looks to protect its Java API code from Google’s attempt to use some of it for its Android software. A federal appeals court ruled in May 2014 that one could indeed copyright an API, leading to a collective freak-out by many in the tech industry.” \u003ca href=\"http://www.slate.com/articles/technology/future_tense/2015/06/oracle_v_google_klingon_and_copyrighting_language.single.html\" target=\"_blank\" rel=\"noopener\">Charles Duan at Slate\u003c/a> explains that “computer networking technology depends on languages, like the Wi-Fi protocol, so that multiple computers can communicate and understand one another.” If languages can be copyrighted, it would stifle innovation and create monopolies, he argues.\u003c/p>\n\u003cp>The Supreme Court didn’t take up the case.\u003c/p>\n\u003cp>Meanwhile, a court date in the case involving Paramount, CBS and Axanar is set for May 2017. The filmmakers picked up some big endorsements, though. Justin Lin, director of the upcoming — authorized — \u003cem>Star Trek: Beyond\u003c/em>, tweeted his support:\u003c/p>\n\u003cp>https://twitter.com/trailingjohnson/status/709285689095917568\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Mark Okrand, who created Klingon in 1984, and published the \u003ca href=\"http://www.amazon.com/Klingon-Dictionary-Star-Trek/dp/067174559X\" target=\"_blank\" rel=\"noopener\">first Klingon dictionary\u003c/a> in 1985, agrees. “Languages are something that you should use and you should feel free to use them and be encouraged to use them,” he tells NPR’s Michel Martin. “And not worry about someone standing over your shoulder saying: yes, you can say that; no, you can’t; yes, you can use that language; no, you can’t. Of course you can, and you should.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Klingon+A+Living+Language%3F+That%27s+For+%28Human%29+Courts+To+Decide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new lawsuit is boldly going where no man has gone before.\u003c/p>\n\u003cp>Paramount Pictures and CBS are suing the producers of a Star Trek fan film for copyright infringement. The studios own the copyright to the Star Trek franchise, including six television shows and 12 movies.\u003c/p>\n\u003cp>They’re suing Axanar Productions along with executive producer Alec Peters over their 2014 short film \u003cem>Prelude to Axanar\u003c/em>, and the planned full-length \u003cem>Axanar\u003c/em>. Peters raised more than $101,000 on Kickstarter to make the first film, and Axanar Productions says they’ve raised more than $1 million in total.\u003c/p>\n\u003cp>The movies are set in the Star Trek universe and serve as a prequel to the original series from the 1960s. \u003cem>Axanar\u003c/em> takes place 21 years before Captain Kirk came on the scene and tells the story of Garth of Izar, “the legendary Starfleet captain who is Captain Kirk’s hero.” For the true Trekkies, here are more \u003ca href=\"http://www.axanarproductions.com/about/the-story/\" target=\"_blank\" rel=\"noopener\">details from the filmmakers\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Axanar tells the story of Garth and his crew during the Four Years War, the war with the Klingon Empire that almost tore the Federation apart. Garth’s victory at Axanar solidified the Federation and allowed it to become the entity we know in Kirk’s time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Fan films exist in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103673352\" target=\"_blank\" rel=\"noopener\">legal gray area\u003c/a>. There have been several \u003ca href=\"https://en.wikipedia.org/wiki/Star_Trek_fan_productions\" target=\"_blank\" rel=\"noopener\">fan productions\u003c/a> of Star Trek shows over the years. \u003ca href=\"http://www.wired.com/2014/07/star-trek-axanar-fan-film/\" target=\"_blank\" rel=\"noopener\">According to Wired\u003c/a>, Paramount “has traditionally allowed these fan-made projects to move forward, as long as they agree not to sell anything — including tickets, merchandise, or copies of the finished film or series.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in December 2015, the studios filed a complaint against Axanar. In a follow-up brief, they identify “infringing elements,” including original Star Trek characters, races and species (like Klingons and Vulcans), uniforms, planets, the Starship Enterprise (which is of course the \u003ca href=\"https://en.wikipedia.org/wiki/Starship_Enterprise\" target=\"_blank\" rel=\"noopener\">NCC-1701\u003c/a>), logos — and the Klingon language.\u003c/p>\n\u003cp>The way the court decides on the last item on that list has big legal implications. The Language Creation Society \u003ca href=\"https://www.scribd.com/doc/310744493/035-1-Brief-of-Amicus-Curiae-1?secret_password=I5JAsrdYbwE8oTIe5zPx\" target=\"_blank\" rel=\"noopener\">filed an amicus\u003c/a> brief in support of the filmmakers. It argues that since Klingon was invented in the 1980s, the language has expanded beyond its origins — there’s even a \u003ca href=\"http://www.kli.org/\" target=\"_blank\" rel=\"noopener\">Klingon Language Institute\u003c/a>. They say there’s enough vocabulary in the language to translate Shakespeare’s \u003cem>Hamlet\u003c/em>. Klingon “took on a life of its own — a life that the Copyright Act has no power to control,” they say.\u003c/p>\n\u003cp>The studios say they own the “fictional language.”\u003c/p>\n\u003cp>The reason this matters — whether you can copyright a language — is related to programming. Is computer code a language, and can you copyright it? It goes to a long-running case between Oracle and Google. The \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/paramount-claims-crowdfunded-star-trek-874985\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter summarizes\u003c/a>: “In a nutshell, Oracle looks to protect its Java API code from Google’s attempt to use some of it for its Android software. A federal appeals court ruled in May 2014 that one could indeed copyright an API, leading to a collective freak-out by many in the tech industry.” \u003ca href=\"http://www.slate.com/articles/technology/future_tense/2015/06/oracle_v_google_klingon_and_copyrighting_language.single.html\" target=\"_blank\" rel=\"noopener\">Charles Duan at Slate\u003c/a> explains that “computer networking technology depends on languages, like the Wi-Fi protocol, so that multiple computers can communicate and understand one another.” If languages can be copyrighted, it would stifle innovation and create monopolies, he argues.\u003c/p>\n\u003cp>The Supreme Court didn’t take up the case.\u003c/p>\n\u003cp>Meanwhile, a court date in the case involving Paramount, CBS and Axanar is set for May 2017. The filmmakers picked up some big endorsements, though. Justin Lin, director of the upcoming — authorized — \u003cem>Star Trek: Beyond\u003c/em>, tweeted his support:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>And Mark Okrand, who created Klingon in 1984, and published the \u003ca href=\"http://www.amazon.com/Klingon-Dictionary-Star-Trek/dp/067174559X\" target=\"_blank\" rel=\"noopener\">first Klingon dictionary\u003c/a> in 1985, agrees. “Languages are something that you should use and you should feel free to use them and be encouraged to use them,” he tells NPR’s Michel Martin. “And not worry about someone standing over your shoulder saying: yes, you can say that; no, you can’t; yes, you can use that language; no, you can’t. Of course you can, and you should.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Klingon+A+Living+Language%3F+That%27s+For+%28Human%29+Courts+To+Decide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New TV Drama Recounts Heroic Escapes on the Underground Railroad",
"headTitle": "New TV Drama Recounts Heroic Escapes on the Underground Railroad | KQED",
"content": "\u003cp>Visiting the set of a historical drama can be a surreal experience, and \u003cem>Underground\u003c/em> was no exception.\u003c/p>\n\u003cp>As the Louisiana sun beat down on an actual historical plantation near Baton Rouge last July, director Kate Woods oversaw a scene where an adorable small boy — actor Maceo Smedley — is picking cotton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/469670174/469757766\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>“Could someone go and put more blood on his hands?” she shouted.\u003c/p>\n\u003cp>The second the filming stopped, someone dashed over with an umbrella to protect the 8-year-old from the stultifying heat, while the extras playing female field workers pulled bottles of Gatorade and cellphones from their 18th-century skirts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Underground\u003c/em> premieres on the basic cable channel WGN America tonight. It’s the first major scripted drama taking the Underground Railroad as a setting. Enslaved people in the American South journeyed hundreds of miles to freedom, assisted by abolitionists, black and white. Given the drama of the actual history, it’s almost hard to believe the Underground Railroad hasn’t been a setting for a TV show before. (As it happens, NBC also planned a miniseries, called \u003cem>Freedom Run,\u003c/em> last year, but it didn’t pan out.)\u003c/p>\n\u003cfigure id=\"attachment_11392002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-800x533.jpg\" alt=\"'Underground' was filmed in part at a historic sugarcane plantation in Louisiana.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11392002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Underground’ was filmed in part at a historic sugarcane plantation in Louisiana. \u003ccite>(Photo: Skip Bolen/Sony Pictures Television)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-creators Misha Green and Joe Pokaski met while working as writers for the series \u003cem>Heroes\u003c/em>, which ran for four seasons on NBC. It was Green’s idea to draw on their shared love of comic books and action movies for a show that in some ways would be more \u003cem>24\u003c/em> than \u003cem>Roots.\u003c/em> They wanted to make it exciting and high-stakes, real and relevant.\u003c/p>\n\u003cp>\u003cem>Underground\u003c/em> is, in the manner of \u003cem>Game of Thrones,\u003c/em> a multilayered drama following different groups. Here: slave catchers, abolitionists, a plantation family in Georgia, the enslaved people forced to work there, and those who try to escape. Among them, a housemaid played by actress Jurnee Smollett-Bell. She compares \u003cem>Underground\u003c/em> to spy thrillers where characters must rely on cryptic clues to make their way to freedom.\u003c/p>\n\u003cp>“They could use a star or they could use a song, or they could use code words or glances or markings on a tree,” she says. The song “Follow the Drinking Gourd,” for example, is said to contain coded messages about navigating north by using the Big Dipper.\u003c/p>\n\u003cp>Other TV shows have dramatized American slavery — but not many. And such shows tend to be miniseries, not regularly scheduled dramas that could air for years. The great \u003cem>Roots,\u003c/em> from 1977, was a miniseries. So was BET’s critically acclaimed \u003cem>The Book of Negroes,\u003c/em> from 2015. (\u003cem>Roots\u003c/em> is scheduled for a remake this year.) The PBS series \u003cem>Mercy Street,\u003c/em> which debuted this year, is set during the Civil War.\u003c/p>\n\u003cp>“But slavery is folded within it and not at all its center,” writes Lisa Woolfork, a professor at the University of Virginia who studies representations of American slavery.\u003c/p>\n\u003cp>Woolfork says she’s heard complaints about “slavery fatigue” since the success of high-profile movies such as \u003cem>12 Years a Slave\u003c/em> and \u003cem>Django Unchained\u003c/em>. Writers Kara Brown \u003ca href=\"http://jezebel.com/im-so-damn-tired-of-slave-movies-1755250873\" target=\"_blank\" rel=\"noopener\">in \u003cem>Jezebel\u003c/em>\u003c/a> and Demetria Lucas D’Oyley \u003ca href=\"http://www.theroot.com/articles/culture/2016/01/why_we_need_more_films_about_slavery.html\" target=\"_blank\" rel=\"noopener\">in \u003cem>The Root\u003c/em>\u003c/a> both recently wrote about it. Woolfork says she wholeheartedly understands wanting to put a shameful past behind us.\u003c/p>\n\u003cp>“We want to have it safely away so it doesn’t impede on our everyday life,” Woolfork says. “But one way to understand why our present is the way it is, is rooted in the past. As Faulkner said, ‘The past is never dead. It isn’t even past.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11392003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-800x534.jpg\" alt=\"Aldis Hodge, pictured above with Jurnee Smollett-Bell, plays Noah, the leader of the underground resistance. He says the show's impact stays with him even after the cameras are off: "There's no way that you can come from set without taking a little piece of that with you," he says\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11392003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aldis Hodge, pictured above with Jurnee Smollett-Bell, plays Noah, the leader of the underground resistance. He says the show’s impact stays with him even after the cameras are off: “There’s no way that you can come from set without taking a little piece of that with you,” he says \u003ccite>(Photo: Skip Bolen/Sony Pictures Television)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I hadn’t yet talked to Woolfork when lead actor Aldis Hodge and production designer Meghan Rogers took me to \u003cem>Undeground\u003c/em>‘s reconstructed slave quarters outside the Rural Life Museum at Louisiana State University — another exterior set. Seven wooden shacks were arranged around a vegetable garden, all authentic slave cabins from the 1830s that had been moved from another location.\u003c/p>\n\u003cp>“This was creepy sometimes,” Rogers admitted.\u003c/p>\n\u003cp>“Very creepy,” Hodge agreed. “The first time on set, all of us, we didn’t know where to step, we didn’t know how to act, we didn’t want to touch anything. You could feel the presence.”\u003c/p>\n\u003cp>Hodge says that sense of authenticity helped when he had to play very difficult scenes as the leader of the resistance. On one of the first days of shooting, he said, his character had to beg for his life on his knees after being caught.\u003c/p>\n\u003cp>“Those are the hard days,” he said. “It hurts, and there’s no way you can come from set without taking a little piece of that with you.”\u003c/p>\n\u003cp>Filming \u003cem>Underground\u003c/em> wasn’t just emotionally draining for the actors. It was physically challenging. When Rogers created the set for the abolitionists’ house, she built a secret passageways and a bunker where actors playing runaways had to crouch for hours.\u003c/p>\n\u003cp>“We play a lot of action of people standing on top of people hiding,” she said. “You could see a slave catcher standing right on top of someone.”\u003c/p>\n\u003cp>The production designer was incredibly attentive to tiny details and nuances. For example, she designed the dresses of the plantation housemaids to nearly fade into the wallpaper of the big house, so the women are almost like furniture. And she made the color yellow a motif — the color of freedom. It’s the color of a ribbon carried by a runaway, and the color of the lanterns set in the window of the abolitionists’ house as a signal.\u003c/p>\n\u003cp>“Throughout the entire show. I had somebody putting yellow flowers all over the place when they’re on their journey,” Rogers said. “It’s echoing the color of the lantern, the light of the lantern.”\u003c/p>\n\u003cp>It’s fair to say that \u003cem>nothing\u003c/em> in \u003cem>Underground\u003c/em> is sepia-toned. The music is contemporary, and so is much of the language. Co-creator Misha Green said she aimed to pull American history off the wall of the proverbial museum.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“The Underground Railroad was the first integrated civil rights movement,” she said. “And it’s a great example of when we work together, what we can go against. Which is 600 miles of crazy terrain being chased by slave catchers to get people to be what they should be in the first case — which is free.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+TV+Drama+Recounts+Heroic+Escapes+On+The+Underground+Railroad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The multilayered thriller follows a group of enslaved people as they escape a Georgia plantation. Co-creator Joe Pokaski says the Underground Railroad may be America's \"most heroic story never told.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visiting the set of a historical drama can be a surreal experience, and \u003cem>Underground\u003c/em> was no exception.\u003c/p>\n\u003cp>As the Louisiana sun beat down on an actual historical plantation near Baton Rouge last July, director Kate Woods oversaw a scene where an adorable small boy — actor Maceo Smedley — is picking cotton.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/469670174/469757766\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>“Could someone go and put more blood on his hands?” she shouted.\u003c/p>\n\u003cp>The second the filming stopped, someone dashed over with an umbrella to protect the 8-year-old from the stultifying heat, while the extras playing female field workers pulled bottles of Gatorade and cellphones from their 18th-century skirts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Underground\u003c/em> premieres on the basic cable channel WGN America tonight. It’s the first major scripted drama taking the Underground Railroad as a setting. Enslaved people in the American South journeyed hundreds of miles to freedom, assisted by abolitionists, black and white. Given the drama of the actual history, it’s almost hard to believe the Underground Railroad hasn’t been a setting for a TV show before. (As it happens, NBC also planned a miniseries, called \u003cem>Freedom Run,\u003c/em> last year, but it didn’t pan out.)\u003c/p>\n\u003cfigure id=\"attachment_11392002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-800x533.jpg\" alt=\"'Underground' was filmed in part at a historic sugarcane plantation in Louisiana.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-11392002\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/undg_101-20150512-sb_0120-1_enl-d7a2a171a081b3d50560cc69ad98f3a5160acd48.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Underground’ was filmed in part at a historic sugarcane plantation in Louisiana. \u003ccite>(Photo: Skip Bolen/Sony Pictures Television)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Co-creators Misha Green and Joe Pokaski met while working as writers for the series \u003cem>Heroes\u003c/em>, which ran for four seasons on NBC. It was Green’s idea to draw on their shared love of comic books and action movies for a show that in some ways would be more \u003cem>24\u003c/em> than \u003cem>Roots.\u003c/em> They wanted to make it exciting and high-stakes, real and relevant.\u003c/p>\n\u003cp>\u003cem>Underground\u003c/em> is, in the manner of \u003cem>Game of Thrones,\u003c/em> a multilayered drama following different groups. Here: slave catchers, abolitionists, a plantation family in Georgia, the enslaved people forced to work there, and those who try to escape. Among them, a housemaid played by actress Jurnee Smollett-Bell. She compares \u003cem>Underground\u003c/em> to spy thrillers where characters must rely on cryptic clues to make their way to freedom.\u003c/p>\n\u003cp>“They could use a star or they could use a song, or they could use code words or glances or markings on a tree,” she says. The song “Follow the Drinking Gourd,” for example, is said to contain coded messages about navigating north by using the Big Dipper.\u003c/p>\n\u003cp>Other TV shows have dramatized American slavery — but not many. And such shows tend to be miniseries, not regularly scheduled dramas that could air for years. The great \u003cem>Roots,\u003c/em> from 1977, was a miniseries. So was BET’s critically acclaimed \u003cem>The Book of Negroes,\u003c/em> from 2015. (\u003cem>Roots\u003c/em> is scheduled for a remake this year.) The PBS series \u003cem>Mercy Street,\u003c/em> which debuted this year, is set during the Civil War.\u003c/p>\n\u003cp>“But slavery is folded within it and not at all its center,” writes Lisa Woolfork, a professor at the University of Virginia who studies representations of American slavery.\u003c/p>\n\u003cp>Woolfork says she’s heard complaints about “slavery fatigue” since the success of high-profile movies such as \u003cem>12 Years a Slave\u003c/em> and \u003cem>Django Unchained\u003c/em>. Writers Kara Brown \u003ca href=\"http://jezebel.com/im-so-damn-tired-of-slave-movies-1755250873\" target=\"_blank\" rel=\"noopener\">in \u003cem>Jezebel\u003c/em>\u003c/a> and Demetria Lucas D’Oyley \u003ca href=\"http://www.theroot.com/articles/culture/2016/01/why_we_need_more_films_about_slavery.html\" target=\"_blank\" rel=\"noopener\">in \u003cem>The Root\u003c/em>\u003c/a> both recently wrote about it. Woolfork says she wholeheartedly understands wanting to put a shameful past behind us.\u003c/p>\n\u003cp>“We want to have it safely away so it doesn’t impede on our everyday life,” Woolfork says. “But one way to understand why our present is the way it is, is rooted in the past. As Faulkner said, ‘The past is never dead. It isn’t even past.’ ”\u003c/p>\n\u003cfigure id=\"attachment_11392003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-800x534.jpg\" alt=\"Aldis Hodge, pictured above with Jurnee Smollett-Bell, plays Noah, the leader of the underground resistance. He says the show's impact stays with him even after the cameras are off: "There's no way that you can come from set without taking a little piece of that with you," he says\" width=\"800\" height=\"534\" class=\"size-medium wp-image-11392003\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/aldis-hodge-as-noah-and-jurnee-smollett-bell-as-rosalee-in-wgn-americas-underground_custom-4e0f0a34a883940d3505727f20203bc818f0dec9.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Aldis Hodge, pictured above with Jurnee Smollett-Bell, plays Noah, the leader of the underground resistance. He says the show’s impact stays with him even after the cameras are off: “There’s no way that you can come from set without taking a little piece of that with you,” he says \u003ccite>(Photo: Skip Bolen/Sony Pictures Television)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I hadn’t yet talked to Woolfork when lead actor Aldis Hodge and production designer Meghan Rogers took me to \u003cem>Undeground\u003c/em>‘s reconstructed slave quarters outside the Rural Life Museum at Louisiana State University — another exterior set. Seven wooden shacks were arranged around a vegetable garden, all authentic slave cabins from the 1830s that had been moved from another location.\u003c/p>\n\u003cp>“This was creepy sometimes,” Rogers admitted.\u003c/p>\n\u003cp>“Very creepy,” Hodge agreed. “The first time on set, all of us, we didn’t know where to step, we didn’t know how to act, we didn’t want to touch anything. You could feel the presence.”\u003c/p>\n\u003cp>Hodge says that sense of authenticity helped when he had to play very difficult scenes as the leader of the resistance. On one of the first days of shooting, he said, his character had to beg for his life on his knees after being caught.\u003c/p>\n\u003cp>“Those are the hard days,” he said. “It hurts, and there’s no way you can come from set without taking a little piece of that with you.”\u003c/p>\n\u003cp>Filming \u003cem>Underground\u003c/em> wasn’t just emotionally draining for the actors. It was physically challenging. When Rogers created the set for the abolitionists’ house, she built a secret passageways and a bunker where actors playing runaways had to crouch for hours.\u003c/p>\n\u003cp>“We play a lot of action of people standing on top of people hiding,” she said. “You could see a slave catcher standing right on top of someone.”\u003c/p>\n\u003cp>The production designer was incredibly attentive to tiny details and nuances. For example, she designed the dresses of the plantation housemaids to nearly fade into the wallpaper of the big house, so the women are almost like furniture. And she made the color yellow a motif — the color of freedom. It’s the color of a ribbon carried by a runaway, and the color of the lanterns set in the window of the abolitionists’ house as a signal.\u003c/p>\n\u003cp>“Throughout the entire show. I had somebody putting yellow flowers all over the place when they’re on their journey,” Rogers said. “It’s echoing the color of the lantern, the light of the lantern.”\u003c/p>\n\u003cp>It’s fair to say that \u003cem>nothing\u003c/em> in \u003cem>Underground\u003c/em> is sepia-toned. The music is contemporary, and so is much of the language. Co-creator Misha Green said she aimed to pull American history off the wall of the proverbial museum.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The Underground Railroad was the first integrated civil rights movement,” she said. “And it’s a great example of when we work together, what we can go against. Which is 600 miles of crazy terrain being chased by slave catchers to get people to be what they should be in the first case — which is free.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+TV+Drama+Recounts+Heroic+Escapes+On+The+Underground+Railroad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"soldout": {
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