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"title": "The 2023 Oscars’ Best Original Song Nominees, Cruelly Ranked",
"headTitle": "The 2023 Oscars’ Best Original Song Nominees, Cruelly Ranked | KQED",
"content": "\u003cp>This year’s crop of Oscar nominees for best original song may not have a James Bond theme or a ubiquitous Disney banger, but it’s got range: a viral dance number, a pair of ballads by major pop stars, a welcome surprise and… yes, the obligatory \u003ca href=\"https://www.npr.org/artists/127988436/diane-warren\">Diane Warren\u003c/a> track.\u003c/p>\n\u003cp>NPR has been publishing these lists for a few years now — here’s \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and it’s been a while since a best-original-song field has been this easy to rank. The best are great, as they either feature prominently in the films or reflect directly on the themes therein. The worst either roll vacantly over the closing credits, are by Diane Warren, or both. The middle… eh, we’ll get there.\u003c/p>\n\u003cp>\u003cstrong>5. “Applause,” \u003c/strong>\u003cstrong>\u003cem>Tell It Like a Woman\u003c/em>\u003c/strong>\u003cstrong>, performed by Sofia Carson (Diane Warren, songwriter)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VAHorHpPqb4&t=1s\u003c/p>\n\u003cp>Now might be a good time to note a few of the original songs that could have received Oscar nominations in 2023. Remember \u003cem>Turning Red’\u003c/em>s amazing boy-band pastiches? “\u003ca href=\"https://www.youtube.com/watch?v=DQQRjFzB8gY\">Nobody Like U\u003c/a>,” by last year’s best original song winners \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\">Billie Eilish\u003c/a> and \u003ca href=\"https://www.npr.org/artists/1045249930/finneas\">Finneas\u003c/a>, didn’t even make \u003ca href=\"https://variety.com/feature/2023-oscars-best-original-song-predictions-1235396256/\">the shortlist for the category\u003c/a> this year. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=bduECEfvCng\">On My Way\u003c/a>,” a Jennifer Lopez pop ballad from \u003cem>Marry Me\u003c/em> that was strong enough to make viewers think, “It is plausible that this fictional chart-topper could be a huge hit in real life.” \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\">Jazmine Sullivan\u003c/a>’s “\u003ca href=\"https://www.youtube.com/watch?v=YSYtUDDW1WU\">Stand Up\u003c/a>” (from \u003cem>Till\u003c/em>) was shortlisted, but not nominated, while the Will Ferrell/Ryan Reynolds musical number “\u003ca href=\"https://www.youtube.com/watch?v=OMkJIR9pX1w\">Good Afternoon\u003c/a>” (from \u003cem>Spirited\u003c/em>, also shortlisted-but-not-nominated) would have given the Oscars telecast a welcome bit of bonkers energy, but… here we are. Diane Warren. Again. Some more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Somewhere along the way, the Academy of Motion Picture Arts and Sciences went from having a Diane Warren fixation to a Diane Warren \u003cem>problem\u003c/em>. It’s one thing to nominate, say, 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=MUFasKZcH_c\">How Do I Live\u003c/a>,” which has more or less become a pop standard. But Warren’s boilerplate movie songs have been nominated for eight of the past nine years, and the past six — all from consecutive years! — could have been written by ChatGPT if it had been fed enough Diane Warren songs beforehand. All six of those songs are basically the same: lightly rousing but deliberately paced vehicles dispensing affirmation, with titles like “Stand Up for Something,” “I’ll Fight” and “I’m Standing With You,” heard by virtually no one in the world beyond the people who didn’t feel like getting up to make themselves a snack on Oscar night.\u003c/p>\n\u003cp>[aside postid='arts_13896127']The Academy’s members gave Warren an honorary award last fall, which makes a fair bit of sense, given that she’s never been far from their minds. She received her first Oscar nomination all the way back in 1988, yet she’s never won in 13 (soon to be 14) tries. That honorary award would be much more welcome if it meant that Oscar voters would \u003cem>stop feeling obligated to nominate her\u003c/em>, particularly when the songs she’s written are 1) generic to the point of self-parody; and 2) extremely obscure. This year’s nominee is derived from a movie (\u003cem>Tell It Like a Woman\u003c/em>) that not only isn’t available for screening or streaming by the viewing public, but could also theoretically be entirely made up. Couldn’t you imagine, say, \u003cem>30 Rock\u003c/em>‘s Jenna Maroney appearing in a movie called \u003cem>Tell It Like a Woman\u003c/em>?\u003c/p>\n\u003cp>Anyway, “Applause.” Look, it’s possible that Academy voters were deeply moved by the song’s instructions to, you know, stand up and give yourself some respect and whatnot. But… come on. This song is nominated because Diane Warren’s name is on it, and because Diane Warren is a veteran Hollywood songwriter — she lives there and works specifically in the movie industry — and not some pop star tossing out crumbs in the hope of getting an EGOT someday. The song genuinely \u003cem>does not matter\u003c/em>, and that’s true in more ways than one.\u003c/p>\n\u003cp>So, there you go. Be sure to watch this space next year, when “\u003ca href=\"https://www.youtube.com/watch?v=C3twMeHY5Ws\">Gonna Be You\u003c/a>” makes\u003cem> 80 for Brady\u003c/em> the Oscar nominee it was destined to be.\u003c/p>\n\u003cp>\u003cstrong>4. “Lift Me Up,” \u003c/strong>\u003cstrong>\u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/strong>\u003cstrong>, performed by Rihanna (Tems, Ludwig Göransson, Rihanna, Ryan Coogler, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mx_OexsUI2M\u003c/p>\n\u003cp>Remember that line a few sentences ago about “some pop star tossing out crumbs in the hope of getting an EGOT someday”? Meet \u003ca href=\"https://www.npr.org/artists/15757248/rihanna\">Rihanna’\u003c/a>s “Lift Me Up,” a ballad that barely merited a shrug when it came out last fall, even though it was 1) from the dizzily anticipated blockbuster \u003cem>Black Panther: Wakanda Forever\u003c/em>; and 2) the singer’s first piece of new music in more than six years. Revisiting the song months later, that shrug persists: Rihanna lends it a clear, emotive, luminous vocal, and it’s a more-or-less effective sonic bridge between \u003cem>Black Panther: Wakanda Forever\u003c/em> and its bonus scene, but the song could have been dropped onto the closing credits of just about any movie without the words needing to change.\u003c/p>\n\u003cp>Think about the emotional weight of the first \u003cem>Black Panther\u003c/em> movie to appear following the death of Chadwick Boseman. Now take a peek at this song’s lyric sheet: “Lift me up / Hold me down / Keep me close / Safe and sound.” There’s virtually nothing here beyond boilerplate requests for support, all the way down. Swap Rihanna’s name for that of, say, Sofia Carson, and ask yourself: Would “Lift Me Up” have even made the shortlist in this category?\u003c/p>\n\u003cp>\u003cstrong>3. “Hold My Hand,” \u003c/strong>\u003cstrong>\u003cem>Top Gun: Maverick\u003c/em>\u003c/strong>\u003cstrong>, performed by Lady Gaga (Lady Gaga and BloodPop, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O2CIAKVTOrc\u003c/p>\n\u003cp>\u003cem>Top Gun: Maverick\u003c/em> doesn’t squander many opportunities to recapture the high-flying grandeur of its 1986 predecessor. But it falls a little short in the songs department, even with the passing nod to \u003ca href=\"https://www.npr.org/artists/1140355932/kenny-loggins\">Kenny Loggins\u003c/a>’ “\u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\">Danger Zone\u003c/a>” that pops up in the film’s opening moments. The original \u003cem>Top Gun\u003c/em> was packed with hits — including “Danger Zone,” Berlin’s Oscar-winning “\u003ca href=\"https://www.youtube.com/watch?v=Bx51eegLTY8\">Take My Breath Away\u003c/a>” and Loverboy’s “\u003ca href=\"https://www.youtube.com/watch?v=3_nvASTXl-Y\">Heaven in Your Eyes\u003c/a>” — but \u003cem>Top Gun: Maverick\u003c/em> largely skimps on the original songs, with just OneRepublic’s forgettable “\u003ca href=\"https://www.youtube.com/watch?v=mNEUkkoUoIA\">I Ain’t Worried\u003c/a>” and Lady Gaga’s power ballad “Hold My Hand” to show for 36 years of buildup.\u003c/p>\n\u003cp>Where the latter song doesn’t skimp is in the sheer exertion of it all: Lady Gaga gives “Hold My Hand” every ounce of the fists-plunged-heavenward, writhing-atop-a-piano-on-a-lonely-airstrip grandeur it requires, and then some. Lyrically, it doesn’t add up to a whole lot — “I know you’re scared and your pain is imperfect / But don’t you give up on yourself” — but damned if it doesn’t pair effectively with images of planes whooshing ominously and rulebooks getting tossed into trash cans. This is Lady Gaga’s third Oscar nomination in this category alone (she won for “Shallow” in 2019), so she knows her way around a movie moment.\u003c/p>\n\u003cp>\u003cstrong>2. “This Is a Life,” \u003c/strong>\u003cstrong>\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/strong>\u003cstrong>, performed by Ryan Lott, David Byrne and Mitski (Ryan Lott, David Byrne and Mitski, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EzxsTXNmVm0\u003c/p>\n\u003cp>Just based on degree-of-difficulty alone, this one deserves a lofty ranking: \u003ca href=\"https://www.npr.org/artists/92313933/son-lux\">Son Lux\u003c/a>’s Ryan Lott (also rightly nominated for best original score) helped synthesize the themes of \u003cem>Everything Everywhere All at Once\u003c/em> — of which there are many — into a singular, graceful song that mirrors the film’s grand, humanistic sweep. “This Is a Life” simply operates on another level from the other closing-credits fare on this list, in part because it fits alongside no movie but this one. It’s a song about “many lives that could have been,” about “the weight of eternity at the speed of light,” and about the impossible knot of outcomes the film has spent two-plus hours endeavoring to untangle.\u003c/p>\n\u003cp>It’s also exquisitely performed. Lott uses the orchestra at his disposal sparingly, as it slides in at key moments alongside the ideal pairing of singers \u003ca href=\"https://www.npr.org/artists/468710961/mitski\">Mitski\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15320822/david-byrne\">David Byrne\u003c/a> — two voices that know their way around the search for meaning and wonder. Each contributes mightily to the song’s (and the film’s) warm, openhearted embrace of a world defined by endless possibility.\u003c/p>\n\u003cp>\u003cstrong>1. “Naatu Naatu” \u003c/strong>\u003cstrong>\u003cem>RRR\u003c/em>\u003c/strong>\u003cstrong>, performed by Kaala Bhairava and Rahul Sipligunj (M.M. Keeravaani and Chandrabose, songwriters)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4_eEgJhsBMo\u003c/p>\n\u003cp>\u003cem>RRR\u003c/em> is an absolute meal of a movie: Three hours of grand, epic spectacle, punctuated by brutal violence and none-too-subtle messaging that combines anti-colonialism with ultranationalism. You might love it, you might not, but let’s see if we can’t gather together in celebration of its greatest moment: A viral dance number called “Naatu Naatu,” in which the film’s impossibly telegenic stars (Ram Charan and N.T. Rama Rao Jr.) dance their hearts out while lip-syncing for their lives.\u003c/p>\n\u003cp>[aside postid='arts_13925431']Placing “Naatu Naatu” and “Applause” in the same field of nominees is like declaring that \u003ca href=\"https://www.smithsonianmag.com/smart-news/in-defense-of-the-blobfish-why-the-worlds-ugliest-animal-isnt-as-ugly-as-you-think-it-is-6676336/\">the humble, misunderstood blobfish\u003c/a> is visually akin to Ram Charan because they’re both living organisms. Every second of this thing is \u003cem>electric\u003c/em>: a song-and-dance number for which watching qualifies as aerobic exercise, in part because dancing along is essentially involuntary.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It’s honestly a shame that the credits at the top of this ranking can only note performers and songwriters, because a healthy share of the credit also belongs to \u003cem>RRR’\u003c/em>s leads. Their commitment to the bit, and to Prem Rakshith’s impeccably synchronized choreography, makes “Naatu Naatu” one of the season’s biggest Oscar slam dunks. It should win, it almost certainly \u003cem>will\u003c/em> win, and the fact that it’s being performed on the telecast means we \u003cem>all\u003c/em> win.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2023+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s crop of Oscar nominees for best original song may not have a James Bond theme or a ubiquitous Disney banger, but it’s got range: a viral dance number, a pair of ballads by major pop stars, a welcome surprise and… yes, the obligatory \u003ca href=\"https://www.npr.org/artists/127988436/diane-warren\">Diane Warren\u003c/a> track.\u003c/p>\n\u003cp>NPR has been publishing these lists for a few years now — here’s \u003ca href=\"https://www.npr.org/2023/02/07/1083945317/the-2022-oscars-best-original-song-nominees-cruelly-ranked\">2022\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13896127/the-2021-oscars-best-original-song-nominees-cruelly-ranked\">2021\u003c/a>, \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">2020\u003c/a> and \u003ca href=\"https://www.npr.org/2019/02/23/697103948/the-2019-oscars-best-original-song-nominees-cruelly-ranked\">2019\u003c/a> — and it’s been a while since a best-original-song field has been this easy to rank. The best are great, as they either feature prominently in the films or reflect directly on the themes therein. The worst either roll vacantly over the closing credits, are by Diane Warren, or both. The middle… eh, we’ll get there.\u003c/p>\n\u003cp>\u003cstrong>5. “Applause,” \u003c/strong>\u003cstrong>\u003cem>Tell It Like a Woman\u003c/em>\u003c/strong>\u003cstrong>, performed by Sofia Carson (Diane Warren, songwriter)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VAHorHpPqb4'\n title='//www.youtube.com/embed/VAHorHpPqb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Now might be a good time to note a few of the original songs that could have received Oscar nominations in 2023. Remember \u003cem>Turning Red’\u003c/em>s amazing boy-band pastiches? “\u003ca href=\"https://www.youtube.com/watch?v=DQQRjFzB8gY\">Nobody Like U\u003c/a>,” by last year’s best original song winners \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\">Billie Eilish\u003c/a> and \u003ca href=\"https://www.npr.org/artists/1045249930/finneas\">Finneas\u003c/a>, didn’t even make \u003ca href=\"https://variety.com/feature/2023-oscars-best-original-song-predictions-1235396256/\">the shortlist for the category\u003c/a> this year. Same goes for “\u003ca href=\"https://www.youtube.com/watch?v=bduECEfvCng\">On My Way\u003c/a>,” a Jennifer Lopez pop ballad from \u003cem>Marry Me\u003c/em> that was strong enough to make viewers think, “It is plausible that this fictional chart-topper could be a huge hit in real life.” \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\">Jazmine Sullivan\u003c/a>’s “\u003ca href=\"https://www.youtube.com/watch?v=YSYtUDDW1WU\">Stand Up\u003c/a>” (from \u003cem>Till\u003c/em>) was shortlisted, but not nominated, while the Will Ferrell/Ryan Reynolds musical number “\u003ca href=\"https://www.youtube.com/watch?v=OMkJIR9pX1w\">Good Afternoon\u003c/a>” (from \u003cem>Spirited\u003c/em>, also shortlisted-but-not-nominated) would have given the Oscars telecast a welcome bit of bonkers energy, but… here we are. Diane Warren. Again. Some more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Somewhere along the way, the Academy of Motion Picture Arts and Sciences went from having a Diane Warren fixation to a Diane Warren \u003cem>problem\u003c/em>. It’s one thing to nominate, say, 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=MUFasKZcH_c\">How Do I Live\u003c/a>,” which has more or less become a pop standard. But Warren’s boilerplate movie songs have been nominated for eight of the past nine years, and the past six — all from consecutive years! — could have been written by ChatGPT if it had been fed enough Diane Warren songs beforehand. All six of those songs are basically the same: lightly rousing but deliberately paced vehicles dispensing affirmation, with titles like “Stand Up for Something,” “I’ll Fight” and “I’m Standing With You,” heard by virtually no one in the world beyond the people who didn’t feel like getting up to make themselves a snack on Oscar night.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Academy’s members gave Warren an honorary award last fall, which makes a fair bit of sense, given that she’s never been far from their minds. She received her first Oscar nomination all the way back in 1988, yet she’s never won in 13 (soon to be 14) tries. That honorary award would be much more welcome if it meant that Oscar voters would \u003cem>stop feeling obligated to nominate her\u003c/em>, particularly when the songs she’s written are 1) generic to the point of self-parody; and 2) extremely obscure. This year’s nominee is derived from a movie (\u003cem>Tell It Like a Woman\u003c/em>) that not only isn’t available for screening or streaming by the viewing public, but could also theoretically be entirely made up. Couldn’t you imagine, say, \u003cem>30 Rock\u003c/em>‘s Jenna Maroney appearing in a movie called \u003cem>Tell It Like a Woman\u003c/em>?\u003c/p>\n\u003cp>Anyway, “Applause.” Look, it’s possible that Academy voters were deeply moved by the song’s instructions to, you know, stand up and give yourself some respect and whatnot. But… come on. This song is nominated because Diane Warren’s name is on it, and because Diane Warren is a veteran Hollywood songwriter — she lives there and works specifically in the movie industry — and not some pop star tossing out crumbs in the hope of getting an EGOT someday. The song genuinely \u003cem>does not matter\u003c/em>, and that’s true in more ways than one.\u003c/p>\n\u003cp>So, there you go. Be sure to watch this space next year, when “\u003ca href=\"https://www.youtube.com/watch?v=C3twMeHY5Ws\">Gonna Be You\u003c/a>” makes\u003cem> 80 for Brady\u003c/em> the Oscar nominee it was destined to be.\u003c/p>\n\u003cp>\u003cstrong>4. “Lift Me Up,” \u003c/strong>\u003cstrong>\u003cem>Black Panther: Wakanda Forever\u003c/em>\u003c/strong>\u003cstrong>, performed by Rihanna (Tems, Ludwig Göransson, Rihanna, Ryan Coogler, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Mx_OexsUI2M'\n title='//www.youtube.com/embed/Mx_OexsUI2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remember that line a few sentences ago about “some pop star tossing out crumbs in the hope of getting an EGOT someday”? Meet \u003ca href=\"https://www.npr.org/artists/15757248/rihanna\">Rihanna’\u003c/a>s “Lift Me Up,” a ballad that barely merited a shrug when it came out last fall, even though it was 1) from the dizzily anticipated blockbuster \u003cem>Black Panther: Wakanda Forever\u003c/em>; and 2) the singer’s first piece of new music in more than six years. Revisiting the song months later, that shrug persists: Rihanna lends it a clear, emotive, luminous vocal, and it’s a more-or-less effective sonic bridge between \u003cem>Black Panther: Wakanda Forever\u003c/em> and its bonus scene, but the song could have been dropped onto the closing credits of just about any movie without the words needing to change.\u003c/p>\n\u003cp>Think about the emotional weight of the first \u003cem>Black Panther\u003c/em> movie to appear following the death of Chadwick Boseman. Now take a peek at this song’s lyric sheet: “Lift me up / Hold me down / Keep me close / Safe and sound.” There’s virtually nothing here beyond boilerplate requests for support, all the way down. Swap Rihanna’s name for that of, say, Sofia Carson, and ask yourself: Would “Lift Me Up” have even made the shortlist in this category?\u003c/p>\n\u003cp>\u003cstrong>3. “Hold My Hand,” \u003c/strong>\u003cstrong>\u003cem>Top Gun: Maverick\u003c/em>\u003c/strong>\u003cstrong>, performed by Lady Gaga (Lady Gaga and BloodPop, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/O2CIAKVTOrc'\n title='//www.youtube.com/embed/O2CIAKVTOrc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Top Gun: Maverick\u003c/em> doesn’t squander many opportunities to recapture the high-flying grandeur of its 1986 predecessor. But it falls a little short in the songs department, even with the passing nod to \u003ca href=\"https://www.npr.org/artists/1140355932/kenny-loggins\">Kenny Loggins\u003c/a>’ “\u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\">Danger Zone\u003c/a>” that pops up in the film’s opening moments. The original \u003cem>Top Gun\u003c/em> was packed with hits — including “Danger Zone,” Berlin’s Oscar-winning “\u003ca href=\"https://www.youtube.com/watch?v=Bx51eegLTY8\">Take My Breath Away\u003c/a>” and Loverboy’s “\u003ca href=\"https://www.youtube.com/watch?v=3_nvASTXl-Y\">Heaven in Your Eyes\u003c/a>” — but \u003cem>Top Gun: Maverick\u003c/em> largely skimps on the original songs, with just OneRepublic’s forgettable “\u003ca href=\"https://www.youtube.com/watch?v=mNEUkkoUoIA\">I Ain’t Worried\u003c/a>” and Lady Gaga’s power ballad “Hold My Hand” to show for 36 years of buildup.\u003c/p>\n\u003cp>Where the latter song doesn’t skimp is in the sheer exertion of it all: Lady Gaga gives “Hold My Hand” every ounce of the fists-plunged-heavenward, writhing-atop-a-piano-on-a-lonely-airstrip grandeur it requires, and then some. Lyrically, it doesn’t add up to a whole lot — “I know you’re scared and your pain is imperfect / But don’t you give up on yourself” — but damned if it doesn’t pair effectively with images of planes whooshing ominously and rulebooks getting tossed into trash cans. This is Lady Gaga’s third Oscar nomination in this category alone (she won for “Shallow” in 2019), so she knows her way around a movie moment.\u003c/p>\n\u003cp>\u003cstrong>2. “This Is a Life,” \u003c/strong>\u003cstrong>\u003cem>Everything Everywhere All at Once\u003c/em>\u003c/strong>\u003cstrong>, performed by Ryan Lott, David Byrne and Mitski (Ryan Lott, David Byrne and Mitski, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EzxsTXNmVm0'\n title='//www.youtube.com/embed/EzxsTXNmVm0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just based on degree-of-difficulty alone, this one deserves a lofty ranking: \u003ca href=\"https://www.npr.org/artists/92313933/son-lux\">Son Lux\u003c/a>’s Ryan Lott (also rightly nominated for best original score) helped synthesize the themes of \u003cem>Everything Everywhere All at Once\u003c/em> — of which there are many — into a singular, graceful song that mirrors the film’s grand, humanistic sweep. “This Is a Life” simply operates on another level from the other closing-credits fare on this list, in part because it fits alongside no movie but this one. It’s a song about “many lives that could have been,” about “the weight of eternity at the speed of light,” and about the impossible knot of outcomes the film has spent two-plus hours endeavoring to untangle.\u003c/p>\n\u003cp>It’s also exquisitely performed. Lott uses the orchestra at his disposal sparingly, as it slides in at key moments alongside the ideal pairing of singers \u003ca href=\"https://www.npr.org/artists/468710961/mitski\">Mitski\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15320822/david-byrne\">David Byrne\u003c/a> — two voices that know their way around the search for meaning and wonder. Each contributes mightily to the song’s (and the film’s) warm, openhearted embrace of a world defined by endless possibility.\u003c/p>\n\u003cp>\u003cstrong>1. “Naatu Naatu” \u003c/strong>\u003cstrong>\u003cem>RRR\u003c/em>\u003c/strong>\u003cstrong>, performed by Kaala Bhairava and Rahul Sipligunj (M.M. Keeravaani and Chandrabose, songwriters)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/4_eEgJhsBMo'\n title='//www.youtube.com/embed/4_eEgJhsBMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>RRR\u003c/em> is an absolute meal of a movie: Three hours of grand, epic spectacle, punctuated by brutal violence and none-too-subtle messaging that combines anti-colonialism with ultranationalism. You might love it, you might not, but let’s see if we can’t gather together in celebration of its greatest moment: A viral dance number called “Naatu Naatu,” in which the film’s impossibly telegenic stars (Ram Charan and N.T. Rama Rao Jr.) dance their hearts out while lip-syncing for their lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Placing “Naatu Naatu” and “Applause” in the same field of nominees is like declaring that \u003ca href=\"https://www.smithsonianmag.com/smart-news/in-defense-of-the-blobfish-why-the-worlds-ugliest-animal-isnt-as-ugly-as-you-think-it-is-6676336/\">the humble, misunderstood blobfish\u003c/a> is visually akin to Ram Charan because they’re both living organisms. Every second of this thing is \u003cem>electric\u003c/em>: a song-and-dance number for which watching qualifies as aerobic exercise, in part because dancing along is essentially involuntary.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s honestly a shame that the credits at the top of this ranking can only note performers and songwriters, because a healthy share of the credit also belongs to \u003cem>RRR’\u003c/em>s leads. Their commitment to the bit, and to Prem Rakshith’s impeccably synchronized choreography, makes “Naatu Naatu” one of the season’s biggest Oscar slam dunks. It should win, it almost certainly \u003cem>will\u003c/em> win, and the fact that it’s being performed on the telecast means we \u003cem>all\u003c/em> win.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+2023+Oscars%27+best+original+song+nominees%2C+cruelly+ranked&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Everything You Need to Know About the 2023 Academy Awards",
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"content": "\u003cp>Hollywood is gearing up for the 95th Academy Awards, where \u003cem>Everything Everywhere All at Once\u003c/em> comes in as the lead nominee and the film industry hopes to move past “the slap” of last year’s ceremony. Here’s everything you need to know about the 2023 Oscars, including when they are, where to watch the live show and this year’s controversies.\u003c/p>\n\u003ch2>When are the Oscars?\u003c/h2>\n\u003cp>The Oscars will be held Sunday, March 12, at the Dolby Theatre in Los Angeles. The ceremony is set to begin at 8 p.m. EST and will be broadcast live on ABC.\u003c/p>\n\u003ch2>Can you stream the Oscars?\u003c/h2>\n\u003cp>[aside postid='arts_13911228']The broadcast can be streamed with a subscription to Hulu Live TV, YouTubeTV, AT&T TV and Fubo TV. Some of these services offer brief free trials. You can also stream the show on ABC.com and on the ABC app by authenticating your provider.\u003c/p>\n\u003ch2>Who’s hosting?\u003c/h2>\n\u003cp>Jimmy Kimmel will host for the third time and his first time since 2018. That was also the last Oscars to feature a solo host. The show went hostless for several years after Kimmel’s last outing. Last year, Regina Hall, Amy Schumer and Wanda Sykes hosted as a trio. In an ad for this year’s show styled after \u003cem>Top Gun: Maverick\u003c/em>, Kimmel made his humble case for being the right person for the job while noting that he can’t get slapped because “I cry a lot.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aGsXh_loS7k\u003c/p>\n\u003ch2>What’s nominated for Best Picture at the 2023 Oscars?\u003c/h2>\n\u003cp>The 10 movies competing for best picture are: \u003cem>All Quiet on the Western Front\u003c/em>, \u003cem>Avatar: The Way of Water\u003c/em>, \u003cem>The Banshees of Inisherin\u003c/em>, \u003cem>Elvis\u003c/em>, \u003cem>Everything Everywhere All at Once\u003c/em>, \u003cem>The Fabelmans\u003c/em>, \u003cem>Tár\u003c/em>, \u003cem>Top Gun: Maverick\u003c/em>, \u003cem>Triangle of Sadness\u003c/em>, \u003cem>Women Talking\u003c/em>. \u003ca href=\"https://apnews.com/article/how-to-watch-2023-oscar-nominations-movies-364aca2fdaa51eae34307c3b02446ae8\" target=\"_blank\" rel=\"noopener\">Here’s a guide to how you can watch them.\u003c/a>\u003c/p>\n\u003ch2>What’s in store for the show?\u003c/h2>\n\u003cp>The Academy of Motion Pictures Arts and Sciences is yet to announce presenters. But it has said that winners to all categories will be announced live on the show. (Last year, some categories were taped in a pre-show, something that caused an uproar among academy members.) Nominees for best song are often performed, and the academy confirms that Rihanna will perform “Lift Me Up” from \u003cem>Black Panther: Wakanda Forever\u003c/em> on the show. There’s no word yet on whether the show will feature Lady Gaga’s “Hold My Hand,” from \u003cem>Top Gun: Maverick\u003c/em> or Kala Bhairava’s “Naatu Naatu,” from \u003cem>RRR\u003c/em> — two other buzzy original song nominees.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mx_OexsUI2M\u003c/p>\n\u003ch2>Who are the favorites?\u003c/h2>\n\u003cp>Daniel Kwan and Daniel Scheinert’s indie sci-fi hit \u003cem>Everything Everywhere All at Once\u003c/em> comes in with a leading 11 nominations. Close on its heels, though, is the Irish friends-falling-out dark comedy \u003cem>The Banshees of Inisherin\u003c/em>, with nine nods, a total matched by Netflix’s WWI film \u003cem>All Quiet on the Western Front\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13911018']Michelle Yeoh (\u003cem>Everything Everywhere All at Once\u003c/em>) may have a slight edge on Cate Blanchett (\u003cem>Tár\u003c/em>) for best actress. Best actor is harder to call, with Brendan Fraser (\u003cem>The Whale\u003c/em>), Colin Farrell (\u003cem>Banshees\u003c/em>) and Austin Butler (\u003cem>Elvis\u003c/em>) in the mix.\u003c/p>\n\u003cp>In the supporting categories, Angela Bassett (\u003cem>Black Panther: Wakanda Forever\u003c/em>) and Ke Huy Quan (\u003cem>Everything Everywhere All at Once\u003c/em>) are the frontrunners. Steven Spielberg (\u003cem>The Fabelmans\u003c/em>) may win his third best director Oscar, though the Daniels could also pull off the upset.\u003c/p>\n\u003ch2>What’s been controversial this year?\u003c/h2>\n\u003cp>Aside from the usual snubs and surprises, this year’s biggest to-do has been the debate surrounding Andrea Riseborough’s unexpected nomination for best actress. Riseborough was nominated for the little-seen Texas-set drama \u003cem>To Leslie\u003c/em> after many A-list stars rallied around her performance. When two other best-actress contenders — Danielle Deadwyler (\u003cem>Till\u003c/em>) and Viola Davis (\u003cem>Woman King\u003c/em>) — were snubbed, some saw that as a reflection of racial bias in the film industry. The academy launched an inquiry into the star-studded, grassroots campaign for Riseborough but found no reason to rescind her nomination.\u003c/p>\n\u003ch2>What else should you look for?\u003c/h2>\n\u003cp>Just the reading of the title to one of \u003ca href=\"https://apnews.com/article/my-year-of-dicks-oscars-b8a6cb7089a580da4dbae0b16571bb25\" target=\"_blank\" rel=\"noopener\">this year’s short film nominees\u003c/a> should prompt a wave of giggles. John Williams (\u003cem>The Fabelmans\u003c/em>), up for best score, is the oldest nominee ever, at 90 years old. After historic back-to-back best-director wins by Chloé Zhao (\u003cem>Nomadland\u003c/em>) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>), no women were nominated this year for best director. Also don’t expect to see Will Smith at the Oscars anytime soon. After striking Chris Rock at last year’s ceremony, Smith was banned by the film academy from attending for 10 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The broadcast can be streamed with a subscription to Hulu Live TV, YouTubeTV, AT&T TV and Fubo TV. Some of these services offer brief free trials. You can also stream the show on ABC.com and on the ABC app by authenticating your provider.\u003c/p>\n\u003ch2>Who’s hosting?\u003c/h2>\n\u003cp>Jimmy Kimmel will host for the third time and his first time since 2018. That was also the last Oscars to feature a solo host. The show went hostless for several years after Kimmel’s last outing. Last year, Regina Hall, Amy Schumer and Wanda Sykes hosted as a trio. In an ad for this year’s show styled after \u003cem>Top Gun: Maverick\u003c/em>, Kimmel made his humble case for being the right person for the job while noting that he can’t get slapped because “I cry a lot.”\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/aGsXh_loS7k'\n title='//www.youtube.com/embed/aGsXh_loS7k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>What’s nominated for Best Picture at the 2023 Oscars?\u003c/h2>\n\u003cp>The 10 movies competing for best picture are: \u003cem>All Quiet on the Western Front\u003c/em>, \u003cem>Avatar: The Way of Water\u003c/em>, \u003cem>The Banshees of Inisherin\u003c/em>, \u003cem>Elvis\u003c/em>, \u003cem>Everything Everywhere All at Once\u003c/em>, \u003cem>The Fabelmans\u003c/em>, \u003cem>Tár\u003c/em>, \u003cem>Top Gun: Maverick\u003c/em>, \u003cem>Triangle of Sadness\u003c/em>, \u003cem>Women Talking\u003c/em>. \u003ca href=\"https://apnews.com/article/how-to-watch-2023-oscar-nominations-movies-364aca2fdaa51eae34307c3b02446ae8\" target=\"_blank\" rel=\"noopener\">Here’s a guide to how you can watch them.\u003c/a>\u003c/p>\n\u003ch2>What’s in store for the show?\u003c/h2>\n\u003cp>The Academy of Motion Pictures Arts and Sciences is yet to announce presenters. But it has said that winners to all categories will be announced live on the show. (Last year, some categories were taped in a pre-show, something that caused an uproar among academy members.) Nominees for best song are often performed, and the academy confirms that Rihanna will perform “Lift Me Up” from \u003cem>Black Panther: Wakanda Forever\u003c/em> on the show. There’s no word yet on whether the show will feature Lady Gaga’s “Hold My Hand,” from \u003cem>Top Gun: Maverick\u003c/em> or Kala Bhairava’s “Naatu Naatu,” from \u003cem>RRR\u003c/em> — two other buzzy original song nominees.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Mx_OexsUI2M'\n title='//www.youtube.com/embed/Mx_OexsUI2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Who are the favorites?\u003c/h2>\n\u003cp>Daniel Kwan and Daniel Scheinert’s indie sci-fi hit \u003cem>Everything Everywhere All at Once\u003c/em> comes in with a leading 11 nominations. Close on its heels, though, is the Irish friends-falling-out dark comedy \u003cem>The Banshees of Inisherin\u003c/em>, with nine nods, a total matched by Netflix’s WWI film \u003cem>All Quiet on the Western Front\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Michelle Yeoh (\u003cem>Everything Everywhere All at Once\u003c/em>) may have a slight edge on Cate Blanchett (\u003cem>Tár\u003c/em>) for best actress. Best actor is harder to call, with Brendan Fraser (\u003cem>The Whale\u003c/em>), Colin Farrell (\u003cem>Banshees\u003c/em>) and Austin Butler (\u003cem>Elvis\u003c/em>) in the mix.\u003c/p>\n\u003cp>In the supporting categories, Angela Bassett (\u003cem>Black Panther: Wakanda Forever\u003c/em>) and Ke Huy Quan (\u003cem>Everything Everywhere All at Once\u003c/em>) are the frontrunners. Steven Spielberg (\u003cem>The Fabelmans\u003c/em>) may win his third best director Oscar, though the Daniels could also pull off the upset.\u003c/p>\n\u003ch2>What’s been controversial this year?\u003c/h2>\n\u003cp>Aside from the usual snubs and surprises, this year’s biggest to-do has been the debate surrounding Andrea Riseborough’s unexpected nomination for best actress. Riseborough was nominated for the little-seen Texas-set drama \u003cem>To Leslie\u003c/em> after many A-list stars rallied around her performance. When two other best-actress contenders — Danielle Deadwyler (\u003cem>Till\u003c/em>) and Viola Davis (\u003cem>Woman King\u003c/em>) — were snubbed, some saw that as a reflection of racial bias in the film industry. The academy launched an inquiry into the star-studded, grassroots campaign for Riseborough but found no reason to rescind her nomination.\u003c/p>\n\u003ch2>What else should you look for?\u003c/h2>\n\u003cp>Just the reading of the title to one of \u003ca href=\"https://apnews.com/article/my-year-of-dicks-oscars-b8a6cb7089a580da4dbae0b16571bb25\" target=\"_blank\" rel=\"noopener\">this year’s short film nominees\u003c/a> should prompt a wave of giggles. John Williams (\u003cem>The Fabelmans\u003c/em>), up for best score, is the oldest nominee ever, at 90 years old. After historic back-to-back best-director wins by Chloé Zhao (\u003cem>Nomadland\u003c/em>) and Jane Campion (\u003cem>The Power of the Dog\u003c/em>), no women were nominated this year for best director. Also don’t expect to see Will Smith at the Oscars anytime soon. After striking Chris Rock at last year’s ceremony, Smith was banned by the film academy from attending for 10 years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2023 Associated Press. To see more, \u003ca href=\"https://apnews.com/\" rel=\"noopener\">visit AP\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rihanna’s Maternity Style Isn’t Just Fashionable. It’s Revolutionary, Experts Say",
"headTitle": "Rihanna’s Maternity Style Isn’t Just Fashionable. It’s Revolutionary, Experts Say | KQED",
"content": "\u003cp>Rihanna has already been praised for redefining maternity fashion, having rocked crop tops, low-rise pants and \u003ca href=\"https://www.glamour.com/story/rihanna-pregnancy-style-lingerie-dior\">lingerie\u003c/a> during her first pregnancy last year.\u003c/p>\n\u003cp>So after the singer-slash-business-mogul-slash-fashion-icon revealed her baby bump at Sunday’s Super Bowl halftime show, fans were quick to share their excitement — not just for her growing family, but about her future outfits.\u003c/p>\n\u003cp>https://twitter.com/allurequinn/status/1624960758911213568\u003c/p>\n\u003cp>Rihanna has described her maternity style as “rebellious,” \u003ca href=\"https://www.bustle.com/style/rihanna-pregnancy-style\">telling \u003cem>Bustle \u003c/em>\u003c/a>last year that she had challenged herself to be creative and didn’t want to buy maternity clothes or do “whatever society told me to do before.”\u003c/p>\n\u003cp>“I’m hoping that we were able to redefine what’s considered ‘decent’ for pregnant women,” \u003ca href=\"https://www.vogue.com/article/rihanna-cover-may-2022\">Rihanna told \u003cem>Vogue\u003c/em>\u003c/a> in April. “My body is doing incredible things right now, and I’m not going to be ashamed of that. This time should feel celebratory. Because why should you be hiding your pregnancy?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And pregnancy No. 2 appears to be off to a similar start, given that she announced it in an all-red flight suit/breastplate/puffer coat ensemble while suspended on a glass platform high in the air.\u003c/p>\n\u003cp>[aside postid='arts_13847561']Rihanna’s influence as an “executive and visual mastermind” makes her pregnancy style “impactful and worth discussing,” Solange Franklin, a stylist and consultant, told NPR via email.\u003c/p>\n\u003cp>“Her unabashed style is a flair to the world that says ‘look at me, look at us’ and to be seen on your own terms is powerful and thrilling,” Franklin added.\u003c/p>\n\u003cp>Rihanna isn’t the first celebrity to show off her pregnancy, or the only pregnant person to have worn a mesh top.\u003c/p>\n\u003cp>But she has a massive platform, and design experts and historians tell NPR that what she’s doing is significant: By challenging society’s long-held notion that pregnant people should dress or look a certain way, she’s sparking a conversation about their role and rights — and one that advocates hope will lead to substantive change.\u003c/p>\n\u003ch3>A brief history of maternity fashion\u003c/h3>\n\u003cp>Maternity wear as we know it has only been around since the 19th century, explains Serena Dyer, \u003ca href=\"https://www.dmu.ac.uk/about-dmu/academic-staff/art-design-humanities/serena-dyer/serena-dyer.aspx\">a historian of design\u003c/a> and material culture at De Montfort University in England.\u003c/p>\n\u003cp>Before that, there wasn’t a clear distinction between maternity and regular fashion, in part because it was the norm for women to be married and spend a lot of their lives pregnant.\u003c/p>\n\u003cp>Clothes were made to be adaptable, with waistlines and other elements that could be added or removed as women’s sizes changed. (Dyer notes that stays, the precursor to corsets, weren’t actually as rigid as we tend to think nowadays.)\u003c/p>\n\u003cp>[aside postid='arts_13874517']The 19th century saw the commercialization of fashion and the emergence of distinct maternity clothes — as well as more “moralizing” around pregnancy as something to be concealed rather than celebrated, Dyer explains.\u003c/p>\n\u003cp>“And then as we go into the 20th century, it becomes even more commercialized,” she adds. “And the invention of things like lycra, spandex, elastane allow for these more specifically kind of stretchy maternity garments that are separate from the more kind of figure-revealing garments of a normal everyday fashion.”\u003c/p>\n\u003cfigure id=\"attachment_13925121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-800x600.jpg\" alt=\"A Black man wearing an all black outfit of jeans, t-shirt and denim jacket sits next to a heavily pregnant Black woman. She is wearing black pants, a black lace fitted crop top and a lilac fake fur stole.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rihanna and her partner A$AP Rocky pictured at Milan Fashion Week in February 2022. \u003ccite>(Victor Boyko/Getty Images for Gucci)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While there has been a recent push towards more “fashion-centered” lines, most modern maternity wear caters to comfort, Dyer says. Of course, there’s absolutely nothing wrong with sticking to stretchy, lose clothes during pregnancy.\u003c/p>\n\u003cp>But, she says, there should be more options for pregnant people who want to show their identity through fashion — and that goes hand-in-hand with cultural acceptance. Dyer says we’re not quite there yet, but getting closer as stars \u003ca href=\"https://www.nme.com/news/music/beyonces-pregnancy-photo-named-instagrams-liked-2017-2166729\">like Beyoncé\u003c/a> and Rihanna have challenged the assumption that pregnant women need to dress modestly.\u003c/p>\n\u003cp>“We’re seeing more of a resistance to that and more women wanting to celebrate that changing body, show off that changing body and not necessarily feel like they have to cover themselves up or change who they are as women because they’re going through this process,” she adds.\u003c/p>\n\u003ch3>Rihanna isn’t the first or only person to challenge the norm\u003c/h3>\n\u003cp>Rihanna stands on the shoulders of other women who have fought to make their pregnancies more visible, says \u003ca href=\"https://michellemillarfisher.com/\">Michelle Millar Fisher\u003c/a>, a curator at the Museum of Fine Arts in Boston and co-author of \u003cem>Designing Motherhood: Things That Make and Break Our Births\u003c/em> (she also leads an art and education program by the same name).\u003c/p>\n\u003cp>The 20th century saw several pivotal moments in maternity fashion, she explains.\u003c/p>\n\u003cp>One of them came in 1952, when Lucille Ball convinced her producers to let her keep acting on \u003cem>I Love Lucy \u003c/em>during her pregnancy. She used maternity fashion — most notably, \u003ca href=\"https://slate.com/news-and-politics/2021/10/invention-tie-waist-skirt-history-maternity-wear.html\">the tie-waist skirt\u003c/a> — to keep doing her job, and became the first pregnant person to be seen by a major TV audience.\u003c/p>\n\u003cfigure id=\"attachment_13925122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-800x600.jpg\" alt=\"A black and white image of a suave man in 1950s-era suit, holding the hand of a pregnant woman sitting on a couch. She is wearing a billowing pregnancy shirt. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1953, Lucille Ball became the first pregnant person to be seen by a major TV audience, on the ‘I Love Lucy’ show. \u003ccite>(CBS Photo Archive/CBS via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1988, Afro-Swedish singer Neneh Cherry performed on the BBC series \u003cem>Top of The Pops \u003c/em>\u003ca href=\"https://ig.ft.com/life-of-a-song/buffalo-stance.html\">while eight months pregnant\u003c/a>.\u003c/p>\n\u003cp>“And she was asked then, ‘Are you going to hurt the baby? Is this a worry for you?’ And she very bluntly and shortly said, ‘I’m not sick. I’m just pregnant. Get over it, basically,’ ” Fisher says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gVVTTXGQNJo&t=1s\u003c/p>\n\u003cp>Several years later, a pregnant Demi Moore posed nude for the August 1991 \u003ca href=\"https://www.yahoo.com/video/demi-moore-pregnant-vanity-fair-cover-223924088.html\">cover of \u003cem>Vanity Fair\u003c/em>\u003c/a> magazine, which is considered one of photographer Annie Leibovitz’s most iconic and (at least at the time) controversial shoots.\u003c/p>\n\u003cp>It helped change cultural perceptions around pregnancy, with Moore reflecting decades later on the impact it had on “on our permission to embrace ourselves in a pregnant state.” It also popularized the pregnancy photoshoot — though Dyer, the historian, says posing for “pregnancy portraits” was a trend back in the 16th and 17th centuries, before pregnancy became something to hide.\u003c/p>\n\u003cp>More recently, Beyoncé broke the internet in 2017 with her Instagram pregnancy announcement — and Rihanna broke her news with a photoshoot in \u003ca href=\"https://www.npr.org/2022/01/31/1077002465/rihanna-pregnant\">Jan. 2022 too\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/BP-rXUGBPJa/?hl=en\u003c/p>\n\u003cp>What Rihanna is doing with her wardrobe isn’t new, but it’s on a level that many non-celebrities can’t access, says Gabriella Nelson, a member of the Designing Motherhood collective who works in maternal health policy.\u003c/p>\n\u003cp>She says throughout her life she’s seen women of color wearing mesh or crop tops while pregnant, but getting shamed instead of praised for it. Black women have been at the forefront of style and innovation for a long time, she adds.\u003c/p>\n\u003cp>“Imma stan Rihanna because I can,” Nelson says. “But I’m going to also stan the girls … that maybe will never see a Super Bowl stage or a runway fashion show or be in \u003cem>Vogue \u003c/em>or have their names mentioned in an article, because I know that they are also the vanguards of all of this.”\u003c/p>\n\u003ch3>How clothes could lead to change\u003c/h3>\n\u003cp>All of the experts interviewed for this story say the point isn’t that pregnant people should all be donning red bodysuits or striving to dress like Rihanna (who happens to be \u003ca href=\"https://www.forbes.com/sites/maddieberg/2021/08/04/fentys-fortune-rihanna-is-now-officially-a-billionaire/\">one of the richest women\u003c/a> in the world).\u003c/p>\n\u003cp>[aside postid='pop_88718']It’s that pregnant people — and all people, really — should feel comfortable doing whatever is right for their own bodies.\u003c/p>\n\u003cp>“Whether we’re pregnant or not, whether we gained weight or lost weight or had surgery or whatever it is — however, our bodies change — we have the opportunity to express ourselves through what we adorn our bodies with,” Nelson says. “And so I want folks to get that from what Rihanna has done: Just be yourself. Do what you want to do, make your own lane and just have fun with it.”\u003c/p>\n\u003cp>And part of the conversation should be about more than just fashion, Fisher says.\u003c/p>\n\u003cp>She would like to see the celebration of Rihanna’s pregnancy spark more discussion of Black maternal mortality in the U.S. — which spends more money per capita on healthcare than any developed country in the world but has worse maternal and infant health outcomes.\u003c/p>\n\u003cp>The U.S. maternal mortality rate for Black women is \u003ca href=\"https://www.commonwealthfund.org/blog/2022/us-maternal-mortality-crisis-continues-worsen-international-comparison\">nearly three times higher\u003c/a> than the rate for white women. A recent \u003ca href=\"https://www.nytimes.com/interactive/2023/02/12/upshot/child-maternal-mortality-rich-poor.html\">\u003cem>New York Times \u003c/em>investigation\u003c/a> found that the risk remains disproportionately higher regardless of socioeconomic status: Even the richest Black mothers and their babies are twice as likely to die as the richest white mothers and babies.\u003c/p>\n\u003cp>“It’s very easy for us to celebrate these moments when we have a ‘win’ for being able to see pregnancy in public,” Fisher says. “But they are often at the expense of real substantive policy change and real understanding of the ways in which it’s incredibly not just difficult, but dangerous, to be a birthing person — but specifically a birthing person of color — in the United States today.”\u003c/p>\n\u003cp>Substantial changes could include making medicine accessible to more Black doctors, investing more in doulas and passing a nationwide family leave policy. Fisher says she’d love it if every time someone reposted the picture of Rihanna’s Super Bowl outfit, they’d include some of those statistics and solutions too.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“That’s what I would like to see people really get a handle on,” she says. “Because otherwise it’s really just dressing up the issue in some very fancy clothes and not really getting to the heart of it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rihanna%27s+maternity+style+isn%27t+just+fashionable.+It%27s+revolutionary%2C+experts+say&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rihanna has already been praised for redefining maternity fashion, having rocked crop tops, low-rise pants and \u003ca href=\"https://www.glamour.com/story/rihanna-pregnancy-style-lingerie-dior\">lingerie\u003c/a> during her first pregnancy last year.\u003c/p>\n\u003cp>So after the singer-slash-business-mogul-slash-fashion-icon revealed her baby bump at Sunday’s Super Bowl halftime show, fans were quick to share their excitement — not just for her growing family, but about her future outfits.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Rihanna has described her maternity style as “rebellious,” \u003ca href=\"https://www.bustle.com/style/rihanna-pregnancy-style\">telling \u003cem>Bustle \u003c/em>\u003c/a>last year that she had challenged herself to be creative and didn’t want to buy maternity clothes or do “whatever society told me to do before.”\u003c/p>\n\u003cp>“I’m hoping that we were able to redefine what’s considered ‘decent’ for pregnant women,” \u003ca href=\"https://www.vogue.com/article/rihanna-cover-may-2022\">Rihanna told \u003cem>Vogue\u003c/em>\u003c/a> in April. “My body is doing incredible things right now, and I’m not going to be ashamed of that. This time should feel celebratory. Because why should you be hiding your pregnancy?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And pregnancy No. 2 appears to be off to a similar start, given that she announced it in an all-red flight suit/breastplate/puffer coat ensemble while suspended on a glass platform high in the air.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Rihanna’s influence as an “executive and visual mastermind” makes her pregnancy style “impactful and worth discussing,” Solange Franklin, a stylist and consultant, told NPR via email.\u003c/p>\n\u003cp>“Her unabashed style is a flair to the world that says ‘look at me, look at us’ and to be seen on your own terms is powerful and thrilling,” Franklin added.\u003c/p>\n\u003cp>Rihanna isn’t the first celebrity to show off her pregnancy, or the only pregnant person to have worn a mesh top.\u003c/p>\n\u003cp>But she has a massive platform, and design experts and historians tell NPR that what she’s doing is significant: By challenging society’s long-held notion that pregnant people should dress or look a certain way, she’s sparking a conversation about their role and rights — and one that advocates hope will lead to substantive change.\u003c/p>\n\u003ch3>A brief history of maternity fashion\u003c/h3>\n\u003cp>Maternity wear as we know it has only been around since the 19th century, explains Serena Dyer, \u003ca href=\"https://www.dmu.ac.uk/about-dmu/academic-staff/art-design-humanities/serena-dyer/serena-dyer.aspx\">a historian of design\u003c/a> and material culture at De Montfort University in England.\u003c/p>\n\u003cp>Before that, there wasn’t a clear distinction between maternity and regular fashion, in part because it was the norm for women to be married and spend a lot of their lives pregnant.\u003c/p>\n\u003cp>Clothes were made to be adaptable, with waistlines and other elements that could be added or removed as women’s sizes changed. (Dyer notes that stays, the precursor to corsets, weren’t actually as rigid as we tend to think nowadays.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The 19th century saw the commercialization of fashion and the emergence of distinct maternity clothes — as well as more “moralizing” around pregnancy as something to be concealed rather than celebrated, Dyer explains.\u003c/p>\n\u003cp>“And then as we go into the 20th century, it becomes even more commercialized,” she adds. “And the invention of things like lycra, spandex, elastane allow for these more specifically kind of stretchy maternity garments that are separate from the more kind of figure-revealing garments of a normal everyday fashion.”\u003c/p>\n\u003cfigure id=\"attachment_13925121\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925121\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-800x600.jpg\" alt=\"A Black man wearing an all black outfit of jeans, t-shirt and denim jacket sits next to a heavily pregnant Black woman. She is wearing black pants, a black lace fitted crop top and a lilac fake fur stole.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1372824237-b7ad1946ad16aae8891719989edb4b9561ca8c82-scaled-e1676399084962.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rihanna and her partner A$AP Rocky pictured at Milan Fashion Week in February 2022. \u003ccite>(Victor Boyko/Getty Images for Gucci)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While there has been a recent push towards more “fashion-centered” lines, most modern maternity wear caters to comfort, Dyer says. Of course, there’s absolutely nothing wrong with sticking to stretchy, lose clothes during pregnancy.\u003c/p>\n\u003cp>But, she says, there should be more options for pregnant people who want to show their identity through fashion — and that goes hand-in-hand with cultural acceptance. Dyer says we’re not quite there yet, but getting closer as stars \u003ca href=\"https://www.nme.com/news/music/beyonces-pregnancy-photo-named-instagrams-liked-2017-2166729\">like Beyoncé\u003c/a> and Rihanna have challenged the assumption that pregnant women need to dress modestly.\u003c/p>\n\u003cp>“We’re seeing more of a resistance to that and more women wanting to celebrate that changing body, show off that changing body and not necessarily feel like they have to cover themselves up or change who they are as women because they’re going through this process,” she adds.\u003c/p>\n\u003ch3>Rihanna isn’t the first or only person to challenge the norm\u003c/h3>\n\u003cp>Rihanna stands on the shoulders of other women who have fought to make their pregnancies more visible, says \u003ca href=\"https://michellemillarfisher.com/\">Michelle Millar Fisher\u003c/a>, a curator at the Museum of Fine Arts in Boston and co-author of \u003cem>Designing Motherhood: Things That Make and Break Our Births\u003c/em> (she also leads an art and education program by the same name).\u003c/p>\n\u003cp>The 20th century saw several pivotal moments in maternity fashion, she explains.\u003c/p>\n\u003cp>One of them came in 1952, when Lucille Ball convinced her producers to let her keep acting on \u003cem>I Love Lucy \u003c/em>during her pregnancy. She used maternity fashion — most notably, \u003ca href=\"https://slate.com/news-and-politics/2021/10/invention-tie-waist-skirt-history-maternity-wear.html\">the tie-waist skirt\u003c/a> — to keep doing her job, and became the first pregnant person to be seen by a major TV audience.\u003c/p>\n\u003cfigure id=\"attachment_13925122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13925122\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-800x600.jpg\" alt=\"A black and white image of a suave man in 1950s-era suit, holding the hand of a pregnant woman sitting on a couch. She is wearing a billowing pregnancy shirt. \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/02/gettyimages-1238884308-c2a45ccececf3e7c7d832c24b1c141621332dcc2-scaled-e1676398933282.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In 1953, Lucille Ball became the first pregnant person to be seen by a major TV audience, on the ‘I Love Lucy’ show. \u003ccite>(CBS Photo Archive/CBS via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1988, Afro-Swedish singer Neneh Cherry performed on the BBC series \u003cem>Top of The Pops \u003c/em>\u003ca href=\"https://ig.ft.com/life-of-a-song/buffalo-stance.html\">while eight months pregnant\u003c/a>.\u003c/p>\n\u003cp>“And she was asked then, ‘Are you going to hurt the baby? Is this a worry for you?’ And she very bluntly and shortly said, ‘I’m not sick. I’m just pregnant. Get over it, basically,’ ” Fisher says.\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/gVVTTXGQNJo'\n title='//www.youtube.com/embed/gVVTTXGQNJo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Several years later, a pregnant Demi Moore posed nude for the August 1991 \u003ca href=\"https://www.yahoo.com/video/demi-moore-pregnant-vanity-fair-cover-223924088.html\">cover of \u003cem>Vanity Fair\u003c/em>\u003c/a> magazine, which is considered one of photographer Annie Leibovitz’s most iconic and (at least at the time) controversial shoots.\u003c/p>\n\u003cp>It helped change cultural perceptions around pregnancy, with Moore reflecting decades later on the impact it had on “on our permission to embrace ourselves in a pregnant state.” It also popularized the pregnancy photoshoot — though Dyer, the historian, says posing for “pregnancy portraits” was a trend back in the 16th and 17th centuries, before pregnancy became something to hide.\u003c/p>\n\u003cp>More recently, Beyoncé broke the internet in 2017 with her Instagram pregnancy announcement — and Rihanna broke her news with a photoshoot in \u003ca href=\"https://www.npr.org/2022/01/31/1077002465/rihanna-pregnant\">Jan. 2022 too\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What Rihanna is doing with her wardrobe isn’t new, but it’s on a level that many non-celebrities can’t access, says Gabriella Nelson, a member of the Designing Motherhood collective who works in maternal health policy.\u003c/p>\n\u003cp>She says throughout her life she’s seen women of color wearing mesh or crop tops while pregnant, but getting shamed instead of praised for it. Black women have been at the forefront of style and innovation for a long time, she adds.\u003c/p>\n\u003cp>“Imma stan Rihanna because I can,” Nelson says. “But I’m going to also stan the girls … that maybe will never see a Super Bowl stage or a runway fashion show or be in \u003cem>Vogue \u003c/em>or have their names mentioned in an article, because I know that they are also the vanguards of all of this.”\u003c/p>\n\u003ch3>How clothes could lead to change\u003c/h3>\n\u003cp>All of the experts interviewed for this story say the point isn’t that pregnant people should all be donning red bodysuits or striving to dress like Rihanna (who happens to be \u003ca href=\"https://www.forbes.com/sites/maddieberg/2021/08/04/fentys-fortune-rihanna-is-now-officially-a-billionaire/\">one of the richest women\u003c/a> in the world).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s that pregnant people — and all people, really — should feel comfortable doing whatever is right for their own bodies.\u003c/p>\n\u003cp>“Whether we’re pregnant or not, whether we gained weight or lost weight or had surgery or whatever it is — however, our bodies change — we have the opportunity to express ourselves through what we adorn our bodies with,” Nelson says. “And so I want folks to get that from what Rihanna has done: Just be yourself. Do what you want to do, make your own lane and just have fun with it.”\u003c/p>\n\u003cp>And part of the conversation should be about more than just fashion, Fisher says.\u003c/p>\n\u003cp>She would like to see the celebration of Rihanna’s pregnancy spark more discussion of Black maternal mortality in the U.S. — which spends more money per capita on healthcare than any developed country in the world but has worse maternal and infant health outcomes.\u003c/p>\n\u003cp>The U.S. maternal mortality rate for Black women is \u003ca href=\"https://www.commonwealthfund.org/blog/2022/us-maternal-mortality-crisis-continues-worsen-international-comparison\">nearly three times higher\u003c/a> than the rate for white women. A recent \u003ca href=\"https://www.nytimes.com/interactive/2023/02/12/upshot/child-maternal-mortality-rich-poor.html\">\u003cem>New York Times \u003c/em>investigation\u003c/a> found that the risk remains disproportionately higher regardless of socioeconomic status: Even the richest Black mothers and their babies are twice as likely to die as the richest white mothers and babies.\u003c/p>\n\u003cp>“It’s very easy for us to celebrate these moments when we have a ‘win’ for being able to see pregnancy in public,” Fisher says. “But they are often at the expense of real substantive policy change and real understanding of the ways in which it’s incredibly not just difficult, but dangerous, to be a birthing person — but specifically a birthing person of color — in the United States today.”\u003c/p>\n\u003cp>Substantial changes could include making medicine accessible to more Black doctors, investing more in doulas and passing a nationwide family leave policy. Fisher says she’d love it if every time someone reposted the picture of Rihanna’s Super Bowl outfit, they’d include some of those statistics and solutions too.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s what I would like to see people really get a handle on,” she says. “Because otherwise it’s really just dressing up the issue in some very fancy clothes and not really getting to the heart of it.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rihanna%27s+maternity+style+isn%27t+just+fashionable.+It%27s+revolutionary%2C+experts+say&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Guo Pei's Fashion at the Legion of Honor Dazzles in a Merger of East and West",
"headTitle": "Guo Pei’s Fashion at the Legion of Honor Dazzles in a Merger of East and West | KQED",
"content": "\u003cp>The first word that comes to mind when entering the Legion of Honor’s \u003cem>Guo Pei: Couture Fantasy\u003c/em> exhibition is “extravagance.” \u003c/p>\n\u003cp>The Chinese designer’s exquisite silk “Da Jin,” for example, inspired by Napoleon Bonaparte’s gold embroidered uniform and Tim Burton’s “Corpse Bride,” is the result of 50,000 hours of work. Each of the 82 dresses in the show represents the fruit of thousands of hours of labor. \u003c/p>\n\u003cp>Guo was born in Beijing in 1967, and while she often draws artistic inspiration from Europe, her work functions as a clear response to China’s Cultural Revolution. Much of her work highlights the idea of rebirth—specifically, the rebirth of a new aristocracy in China. The designs displayed in this exhibition are laborious, luxurious and lavish. \u003c/p>\n\u003cfigure id=\"attachment_13911992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth is a running theme through Guo’s own career. She graduated from the Beijing Second Light Industry School with a degree in fashion design in 1986—at a time when China was moving on from the Cultural Revolution, and when fine art and other luxuries finally began to see a renaissance. \u003c/p>\n\u003cp>With few famous fashion designers to look to within China, Guo turned to the West for inspiration, devouring the films, architecture and artifacts she encountered during her travels to Europe. In the absence of the formal training many European fashion designers undergo, Guo was free to improvise, and forged her own path as China’s first couturier. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The exhibition, much like Guo’s haute couture, is larger-than-life, consisting of several gallery rooms sorted thematically as opposed to chronologically. Her myriad influences include architecture, Catholicism and Buddhism, and florals. Guo also draws inspiration from Chinese legends, including Chang’e and The Journey to the West.\u003c/p>\n\u003cfigure id=\"attachment_13911989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg\" alt=\"\" width=\"800\" height=\"396\" class=\"size-medium wp-image-13911989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, Elysium, Spring-Summer 2018; Guo Pei, Porcelain dress, 1002 Nights collection, 2010; and Guo Pei\u003cbr>East Palace, Spring 2019. \u003ccite>(Lian Xu; Courtesy the artist; Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The true stars of the show, however, are upstairs, where there’s ample room for them to be admired alongside the Legion of Honor’s other collections. There are dresses patterned and presented to evoke chinoiserie, a 17th- and 18th-century Western interpretation of Chinese styles. These dresses take after porcelain; fragile, yet beautiful. \u003c/p>\n\u003cp>Mannequins dressed in Guo’s opulent gowns seem almost out of place as they stand, forlorn, in the centers of rooms adorned with old Western art. (I couldn’t help but feel a sense of camaraderie; perhaps because I know all too well the feeling of being the only Asian person in a room of white people.) \u003c/p>\n\u003cp>While it is this very juxtaposition of the East and the West that makes this exhibition effective, it also lays bare the Legion of Honor’s historical diversity problem—and its \u003ca href=\"https://deyoung.famsf.org/Becoming-an-Anti-Racist-Institution\" rel=\"noopener noreferrer\" target=\"_blank\">recent attempts at righting past wrongs\u003c/a>. This first-ever headlining exhibit at the museum by a living, female fashion designer of color is a commendable move toward centering the work of someone who is not white. \u003c/p>\n\u003cfigure id=\"attachment_13911993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, there is no need to distinguish between Eastern and Western art. For centuries, artists have drawn inspiration from other cultures. Art is most powerful when it is understood as an active conversation between cultures, rather than some static artifact. \u003c/p>\n\u003cp>In San Francisco, Eastern art wasn’t always delegated to its own museum. What is today the Asian Art Museum was conceived as a wing within the de Young Museum. (Together, the de Young Museum and the Legion of Honor make up the Fine Arts Museums of San Francisco, or FAMSF.)\u003c/p>\n\u003cp>All of that changed when former International Olympic Committee president Avery Brundage, who \u003ca href=\"https://www.nytimes.com/2020/06/15/arts/design/avery-brundage-bust-asian-art-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\">held racist views\u003c/a>, donated his collection of Asian art in the 1960s on the condition that the wing split from the de Young Museum and become a separate institution. The Legion of Honor then gave most of its collections of Asian art to the newly founded Asian Art Museum, and largely stopped exhibiting Asian art, says Jill D’Alessandro, the curator of costume and textile arts at the FAMSF and curator of the Guo exhibition. \u003c/p>\n\u003cp>But “the textile department never actually adhered to that,” says D’Alessandro. “One of the first curators said, ‘Well, you can’t tell the history of textiles and exclude Asia.’” In recent years, the Legion of Honor has continued collecting Asian art—just differentiated from the work exhibited in the Asian Art Museum, D’Alessandro added, with the style of Guo’s work as a standout example. \u003c/p>\n\u003cfigure id=\"attachment_13911987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, ‘Legend of the Dragon,’ Autumn/Winter 2012, Silk; embroidered with metallic threads, sequins, embellished with Swarovski crystals, rhinestones, metal wire, 70.86 x 62.99 x 39.37 in. \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Make no mistake, \u003cem>Guo Pei: Couture Fantasy\u003c/em> is absolutely a step in the right direction. But what is equally clear is that there is still much work to be done for our museums to give due credit to the contributions of non-white cultures. \u003c/p>\n\u003cp>“It is a museum goal to broaden the artistic canon … and to look at designers or artists outside of the West or [outside of] what we had traditionally shown,” says D’Alessandro, noting that the artistic canon does not solely exist in the West. In recent years, she adds, the Legion of Honor has been asking itself questions about the role it plays in the Bay Area, which has a prominent Asian community. \u003c/p>\n\u003cp>Putting together an exhibition of this scale during a pandemic had its challenges, with time zone differences and language barriers. Surprisingly, dressing the mannequins turned out to be the most challenging hurdle, says D’Alessandro.\u003c/p>\n\u003cp>Since Guo’s team couldn’t physically visit San Francisco to help assemble the exhibit, the team filmed themselves dressing each mannequin from head to toe before sending the clothes overseas. (The resulting videos took four days to upload, according to D’Alessandro.) Using the videos as a guide, the FAMSF team mirrored each step in a time-consuming process. \u003c/p>\n\u003cfigure id=\"attachment_13911997\" class=\"wp-caption aligncenter\" style=\"max-width: 562px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/EX1109.028-1.jpg\" alt=\"\" width=\"562\" height=\"843\" class=\"size-full wp-image-13911997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1.jpg 562w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1-160x240.jpg 160w\" sizes=\"(max-width: 562px) 100vw, 562px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, L’Architecture (Fall/Winter 2018–2019). \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably absent from the exhibition is the iconic yellow gown that pop star Rihanna wore to the Met Gala in 2015. Guo, by then already an established figure in the international fashion world, found her stature drastically elevated by the Rihanna Met Gala dress, and she became a household name stateside overnight. The decision to forgo the dress was one that came out of lengthy discussions over whether it could create the false impression that Guo is a “one-hit wonder,” says D’Alessandro.\u003c/p>\n\u003cp>It was a smart choice—in part because it gives Guo’s impressive body of work a chance to shine on its own, without being overshadowed by the dress that went viral because of its passing resemblance to an omelet. \u003c/p>\n\u003cp>Indeed, Guo’s work shines here, both literally and figuratively, considering the sheer amount of gold and silver thread she uses. Her entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes. The intentional placement of these creations by the Legion of Honor’s curatorial staff deserves notice, too. It adds an interesting dimension to Guo’s more saccharine designs. \u003c/p>\n\u003cp>“I have been really moved by Western architecture, culture, and history. I am curious. It’s this strong curiosity that has mesmerized me,” reads a quote attributed to Guo on one of the exhibition’s walls. “I want to know the stories of the West, like Westerners want to learn about the East.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Guo Pei: Couture Fantasy’ is on view at the Legion of Honor Museum in San Francisco from April 16–Sept. 5. \u003ca href=\"https://legionofhonor.famsf.org/guo-pei\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first word that comes to mind when entering the Legion of Honor’s \u003cem>Guo Pei: Couture Fantasy\u003c/em> exhibition is “extravagance.” \u003c/p>\n\u003cp>The Chinese designer’s exquisite silk “Da Jin,” for example, inspired by Napoleon Bonaparte’s gold embroidered uniform and Tim Burton’s “Corpse Bride,” is the result of 50,000 hours of work. Each of the 82 dresses in the show represents the fruit of thousands of hours of labor. \u003c/p>\n\u003cp>Guo was born in Beijing in 1967, and while she often draws artistic inspiration from Europe, her work functions as a clear response to China’s Cultural Revolution. Much of her work highlights the idea of rebirth—specifically, the rebirth of a new aristocracy in China. The designs displayed in this exhibition are laborious, luxurious and lavish. \u003c/p>\n\u003cfigure id=\"attachment_13911992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911992\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5085-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rebirth is a running theme through Guo’s own career. She graduated from the Beijing Second Light Industry School with a degree in fashion design in 1986—at a time when China was moving on from the Cultural Revolution, and when fine art and other luxuries finally began to see a renaissance. \u003c/p>\n\u003cp>With few famous fashion designers to look to within China, Guo turned to the West for inspiration, devouring the films, architecture and artifacts she encountered during her travels to Europe. In the absence of the formal training many European fashion designers undergo, Guo was free to improvise, and forged her own path as China’s first couturier. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The exhibition, much like Guo’s haute couture, is larger-than-life, consisting of several gallery rooms sorted thematically as opposed to chronologically. Her myriad influences include architecture, Catholicism and Buddhism, and florals. Guo also draws inspiration from Chinese legends, including Chang’e and The Journey to the West.\u003c/p>\n\u003cfigure id=\"attachment_13911989\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg\" alt=\"\" width=\"800\" height=\"396\" class=\"size-medium wp-image-13911989\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-800x396.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1020x505.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-160x79.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-768x380.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych-1536x761.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.triptych.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, Elysium, Spring-Summer 2018; Guo Pei, Porcelain dress, 1002 Nights collection, 2010; and Guo Pei\u003cbr>East Palace, Spring 2019. \u003ccite>(Lian Xu; Courtesy the artist; Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The true stars of the show, however, are upstairs, where there’s ample room for them to be admired alongside the Legion of Honor’s other collections. There are dresses patterned and presented to evoke chinoiserie, a 17th- and 18th-century Western interpretation of Chinese styles. These dresses take after porcelain; fragile, yet beautiful. \u003c/p>\n\u003cp>Mannequins dressed in Guo’s opulent gowns seem almost out of place as they stand, forlorn, in the centers of rooms adorned with old Western art. (I couldn’t help but feel a sense of camaraderie; perhaps because I know all too well the feeling of being the only Asian person in a room of white people.) \u003c/p>\n\u003cp>While it is this very juxtaposition of the East and the West that makes this exhibition effective, it also lays bare the Legion of Honor’s historical diversity problem—and its \u003ca href=\"https://deyoung.famsf.org/Becoming-an-Anti-Racist-Institution\" rel=\"noopener noreferrer\" target=\"_blank\">recent attempts at righting past wrongs\u003c/a>. This first-ever headlining exhibit at the museum by a living, female fashion designer of color is a commendable move toward centering the work of someone who is not white. \u003c/p>\n\u003cfigure id=\"attachment_13911993\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg\" alt=\"\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13911993\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/5030-guopei-220413.jpg 1264w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Installation view of ‘Guo Pei: Couture Fantasy’ at the Legion of Honor museum. \u003ccite>(Drew Alitzer/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2022, there is no need to distinguish between Eastern and Western art. For centuries, artists have drawn inspiration from other cultures. Art is most powerful when it is understood as an active conversation between cultures, rather than some static artifact. \u003c/p>\n\u003cp>In San Francisco, Eastern art wasn’t always delegated to its own museum. What is today the Asian Art Museum was conceived as a wing within the de Young Museum. (Together, the de Young Museum and the Legion of Honor make up the Fine Arts Museums of San Francisco, or FAMSF.)\u003c/p>\n\u003cp>All of that changed when former International Olympic Committee president Avery Brundage, who \u003ca href=\"https://www.nytimes.com/2020/06/15/arts/design/avery-brundage-bust-asian-art-museum.html\" rel=\"noopener noreferrer\" target=\"_blank\">held racist views\u003c/a>, donated his collection of Asian art in the 1960s on the condition that the wing split from the de Young Museum and become a separate institution. The Legion of Honor then gave most of its collections of Asian art to the newly founded Asian Art Museum, and largely stopped exhibiting Asian art, says Jill D’Alessandro, the curator of costume and textile arts at the FAMSF and curator of the Guo exhibition. \u003c/p>\n\u003cp>But “the textile department never actually adhered to that,” says D’Alessandro. “One of the first curators said, ‘Well, you can’t tell the history of textiles and exclude Asia.’” In recent years, the Legion of Honor has continued collecting Asian art—just differentiated from the work exhibited in the Asian Art Museum, D’Alessandro added, with the style of Guo’s work as a standout example. \u003c/p>\n\u003cfigure id=\"attachment_13911987\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13911987\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/GuoPei.Dragon.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, ‘Legend of the Dragon,’ Autumn/Winter 2012, Silk; embroidered with metallic threads, sequins, embellished with Swarovski crystals, rhinestones, metal wire, 70.86 x 62.99 x 39.37 in. \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Make no mistake, \u003cem>Guo Pei: Couture Fantasy\u003c/em> is absolutely a step in the right direction. But what is equally clear is that there is still much work to be done for our museums to give due credit to the contributions of non-white cultures. \u003c/p>\n\u003cp>“It is a museum goal to broaden the artistic canon … and to look at designers or artists outside of the West or [outside of] what we had traditionally shown,” says D’Alessandro, noting that the artistic canon does not solely exist in the West. In recent years, she adds, the Legion of Honor has been asking itself questions about the role it plays in the Bay Area, which has a prominent Asian community. \u003c/p>\n\u003cp>Putting together an exhibition of this scale during a pandemic had its challenges, with time zone differences and language barriers. Surprisingly, dressing the mannequins turned out to be the most challenging hurdle, says D’Alessandro.\u003c/p>\n\u003cp>Since Guo’s team couldn’t physically visit San Francisco to help assemble the exhibit, the team filmed themselves dressing each mannequin from head to toe before sending the clothes overseas. (The resulting videos took four days to upload, according to D’Alessandro.) Using the videos as a guide, the FAMSF team mirrored each step in a time-consuming process. \u003c/p>\n\u003cfigure id=\"attachment_13911997\" class=\"wp-caption aligncenter\" style=\"max-width: 562px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/EX1109.028-1.jpg\" alt=\"\" width=\"562\" height=\"843\" class=\"size-full wp-image-13911997\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1.jpg 562w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/EX1109.028-1-160x240.jpg 160w\" sizes=\"(max-width: 562px) 100vw, 562px\">\u003cfigcaption class=\"wp-caption-text\">Guo Pei, L’Architecture (Fall/Winter 2018–2019). \u003ccite>(Lian Xu/Fine Arts Museums of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notably absent from the exhibition is the iconic yellow gown that pop star Rihanna wore to the Met Gala in 2015. Guo, by then already an established figure in the international fashion world, found her stature drastically elevated by the Rihanna Met Gala dress, and she became a household name stateside overnight. The decision to forgo the dress was one that came out of lengthy discussions over whether it could create the false impression that Guo is a “one-hit wonder,” says D’Alessandro.\u003c/p>\n\u003cp>It was a smart choice—in part because it gives Guo’s impressive body of work a chance to shine on its own, without being overshadowed by the dress that went viral because of its passing resemblance to an omelet. \u003c/p>\n\u003cp>Indeed, Guo’s work shines here, both literally and figuratively, considering the sheer amount of gold and silver thread she uses. Her entrancing, iridescent gowns, with bold silhouettes and precise needlework, are a treat for the eyes. The intentional placement of these creations by the Legion of Honor’s curatorial staff deserves notice, too. It adds an interesting dimension to Guo’s more saccharine designs. \u003c/p>\n\u003cp>“I have been really moved by Western architecture, culture, and history. I am curious. It’s this strong curiosity that has mesmerized me,” reads a quote attributed to Guo on one of the exhibition’s walls. “I want to know the stories of the West, like Westerners want to learn about the East.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Guo Pei: Couture Fantasy’ is on view at the Legion of Honor Museum in San Francisco from April 16–Sept. 5. \u003ca href=\"https://legionofhonor.famsf.org/guo-pei\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Rihanna is Pregnant, and the Internet is Understandably Abuzz",
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"content": "\u003cp>Rihanna has brought the world many gifts. She’s an influential musician, actress, cosmetics and lingerie mogul, billionaire and national hero of her native Barbados.\u003c/p>\n\u003cp>And now she’s poised to add another title to that list: parent. The global superstar is expecting her first child with rapper A$AP Rocky.\u003c/p>\n\u003cp>Photos of the couple walking hand-in-hand in New York City are making the rounds on Twitter, with news of their announcement spreading like wildfire across social media and celebrity-focused media outlets.\u003c/p>\n\u003cp>https://twitter.com/CoutureIsBeyond/status/1488170065686114309\u003c/p>\n\u003cp>The power couple’s exact relationship timeline is unclear, but they reportedly went official in the summer of 2020. They made their red carpet debut at the 2021 Met Gala in September, which made headlines while simultaneously being very casual.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We weren’t even sure if we were going to go, so separately we were planning our looks just to be prepared,” Rihanna later told E! News. “We ended up getting ready together and going and I didn’t even realize we were on a carpet together until somebody said, ‘You’re making your debut,’ and I was like, ‘Oh, s––t.'”\u003c/p>\n\u003cp>A$AP Rocky spoke about their relationship in an interview with GQ in May 2021, in which he called Rihanna “the love of my life” and “the One.”\u003c/p>\n\u003cp>When asked whether he was ready to be a father at some point, he said he thought he would be an “incredible, remarkably, overall amazing dad.”\u003c/p>\n\u003cp>“I would have a very fly child,” he said. “Very.”\u003c/p>\n\u003cp>For her part, Rihanna told Vogue in May 2020 that she wants to have three or four kids, and would do it on her own if she didn’t meet the right person.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I feel like society makes me want to feel like, ‘Oh, you got it wrong…’ They diminish you as a mother if there’s not a dad in your kids’ lives,” she said. “But the only thing that matters is happiness, that’s the only healthy relationship between a parent and a child. That’s the only thing that can raise a child truly, is love.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We weren’t even sure if we were going to go, so separately we were planning our looks just to be prepared,” Rihanna later told E! News. “We ended up getting ready together and going and I didn’t even realize we were on a carpet together until somebody said, ‘You’re making your debut,’ and I was like, ‘Oh, s––t.'”\u003c/p>\n\u003cp>A$AP Rocky spoke about their relationship in an interview with GQ in May 2021, in which he called Rihanna “the love of my life” and “the One.”\u003c/p>\n\u003cp>When asked whether he was ready to be a father at some point, he said he thought he would be an “incredible, remarkably, overall amazing dad.”\u003c/p>\n\u003cp>“I would have a very fly child,” he said. “Very.”\u003c/p>\n\u003cp>For her part, Rihanna told Vogue in May 2020 that she wants to have three or four kids, and would do it on her own if she didn’t meet the right person.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I feel like society makes me want to feel like, ‘Oh, you got it wrong…’ They diminish you as a mother if there’s not a dad in your kids’ lives,” she said. “But the only thing that matters is happiness, that’s the only healthy relationship between a parent and a child. That’s the only thing that can raise a child truly, is love.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala",
"headTitle": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala | KQED",
"content": "\u003cp>When the Met Gala provides celebrities and designers with a clear-cut theme, the results tend to be stunning. Think 2018’s \u003ci>Heavenly Bodies: Fashion and the Catholic Imagination\u003c/i> with its spectacular plays on religious iconography. (\u003ca href=\"https://www.thecut.com/2018/05/met-gala-2018-rihanna-pope-hat.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna wore a pearl-encrusted pope hat!\u003c/a>) Or 2019’s \u003ci>Camp: Notes on Fashion\u003c/i> with its unabashedly kitsch and kooky couture experiments. (Like \u003ca href=\"https://www.youtube.com/watch?v=8WuC-kUe6c0\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga’s iconic hot pink striptease\u003c/a>.)\u003c/p>\n\u003cp>Last night’s Met Gala was guided only by the phrase (and \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2021/in-america\" target=\"_blank\" rel=\"noopener noreferrer\">exhibition title\u003c/a>) \u003ci>In America: A Lexicon of Fashion\u003c/i>. And its vagueness was evident all over the red carpet.\u003c/p>\n\u003cp>Billie Eilish took the opportunity to run straight towards old-school Hollywood glamour in a divine Oscar de la Renta gown. “I’m so excited. I have butterflies,” Eilish told E! News. “I couldn’t be happier.” Same, Billie. Same.\u003c/p>\n\u003cfigure id=\"attachment_13902996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902996\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1536x1083.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-2048x1444.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1920x1354.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish came as a heavenly goddess. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Ratajkowski took that “lexicon” and read it as vamp, in Vera Wang:\u003c/p>\n\u003cfigure id=\"attachment_13903002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-2048x1639.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1920x1536.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Ratajkowski in her form-fitting lacy Vera Wang gown. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few people embraced the “America” part of the theme. Like Debbie Harry in her flag stripes and blue denim:\u003c/p>\n\u003cfigure id=\"attachment_13903003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Harry, stunning as ever, in her all-American Zac Posen ensemble. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Pharrell Williams and his wife Helen Lasichanh, who did a matching leather cowboy thing:\u003c/p>\n\u003cfigure id=\"attachment_13903009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chanel meets ‘Bonanza’. Yee-haw! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if I’d have had to guess what the theme of the evening was last night, I’d have said \u003ci>Glamping: Survivalist-Wear For a Post-COVID World\u003c/i>. Nowhere was this more visible than in the ensembles of Rihanna and A$AP Rocky.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s RiRi in her black, survivalist Balenciaga sleeping bag, and A$AP in a high-end grandma quilt made by ERL. (Every time I eat outdoors at night in San Francisco, I will dream of the warmth contained in both of these outfits.)\u003c/p>\n\u003cfigure id=\"attachment_13902997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg\" alt=\"(L-R) A$AP Rocky and Rihanna.\" width=\"800\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-768x688.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1536x1376.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-2048x1834.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1920x1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 1 and Cozy 2. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whoopi Goldberg showed up in a Valentino getup, working hard to get an invite to the Rihanna and A$AP campgrounds, in this raincoat-cum-sleeping bag:\u003c/p>\n\u003cfigure id=\"attachment_13902998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg\" alt=\"\" width=\"800\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1447x2048.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1920x2718.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-scaled.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi Goldberg in her Valentino ruffled duvet. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Normani—also in Valentino—was on hand to demonstrate how to don a sleeping bag and shoulder pillows, \u003cem>and\u003c/em> make it sexy:\u003c/p>\n\u003cfigure id=\"attachment_13903011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903011\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Normani: You wouldn’t lose this dress on a mountainside at night. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janet Mock, also in Valentino, was on the exact same page:\u003c/p>\n\u003cfigure id=\"attachment_13903025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 3. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presumably in that photo, she’s eyeing up Tessa Thompson, who came dressed in Iris Van Herpen, as the most alluring campfire in all of history.\u003c/p>\n\u003cfigure id=\"attachment_13903000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson being straight fire in a short red cocktail dress with cowboy accessories. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like RiRi, A$AP, Whoopi and Normani, Lil Nas X arrived as posh bedding…\u003c/p>\n\u003cfigure id=\"attachment_13903019\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 4. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulled a fast one by transforming, first, into an C-3PO campfire lunchbox…\u003c/p>\n\u003cfigure id=\"attachment_13903022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1920x1312.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shazam! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before revealing himself as a sneaky little snake invader! And yes, actually, come hiss at us, you slinky love muffin:\u003c/p>\n\u003cfigure id=\"attachment_13903013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X slithering on up to RiRi’s campgrounds. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Levy cared not about nearby snakes, for he chose to fully embrace his inner survivalist, in a LOEWE outfit that combined pajamas, hiking boots, some floatation devices, and—actual genius!—maps. (Why didn’t anyone else think of that?)\u003c/p>\n\u003cfigure id=\"attachment_13903048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Levy: The floofiest survivalist in all the land. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, of course, no camping trip would be complete without something terrifying lurking in the shadows. And last night, Balenciaga dressed Kim Kardashian as that one dark patch behind that tree over there, that might just be a shadow, but also might well be a serial killer.\u003c/p>\n\u003cfigure id=\"attachment_13903010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-2048x1355.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1920x1271.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Kardashian in an outfit even scarier than that flowery Givenchy couch cover she wore in 2013. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Until 2022, fashion fans!\u003c/p>\n\n",
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"excerpt": "Sleeping bag couture was embraced by Rihanna, A$AP Rocky, Janet Mock and more...",
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"title": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala | KQED",
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"headline": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Met Gala provides celebrities and designers with a clear-cut theme, the results tend to be stunning. Think 2018’s \u003ci>Heavenly Bodies: Fashion and the Catholic Imagination\u003c/i> with its spectacular plays on religious iconography. (\u003ca href=\"https://www.thecut.com/2018/05/met-gala-2018-rihanna-pope-hat.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna wore a pearl-encrusted pope hat!\u003c/a>) Or 2019’s \u003ci>Camp: Notes on Fashion\u003c/i> with its unabashedly kitsch and kooky couture experiments. (Like \u003ca href=\"https://www.youtube.com/watch?v=8WuC-kUe6c0\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga’s iconic hot pink striptease\u003c/a>.)\u003c/p>\n\u003cp>Last night’s Met Gala was guided only by the phrase (and \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2021/in-america\" target=\"_blank\" rel=\"noopener noreferrer\">exhibition title\u003c/a>) \u003ci>In America: A Lexicon of Fashion\u003c/i>. And its vagueness was evident all over the red carpet.\u003c/p>\n\u003cp>Billie Eilish took the opportunity to run straight towards old-school Hollywood glamour in a divine Oscar de la Renta gown. “I’m so excited. I have butterflies,” Eilish told E! News. “I couldn’t be happier.” Same, Billie. Same.\u003c/p>\n\u003cfigure id=\"attachment_13902996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902996\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1536x1083.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-2048x1444.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1920x1354.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish came as a heavenly goddess. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Ratajkowski took that “lexicon” and read it as vamp, in Vera Wang:\u003c/p>\n\u003cfigure id=\"attachment_13903002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-2048x1639.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1920x1536.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Ratajkowski in her form-fitting lacy Vera Wang gown. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few people embraced the “America” part of the theme. Like Debbie Harry in her flag stripes and blue denim:\u003c/p>\n\u003cfigure id=\"attachment_13903003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Harry, stunning as ever, in her all-American Zac Posen ensemble. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Pharrell Williams and his wife Helen Lasichanh, who did a matching leather cowboy thing:\u003c/p>\n\u003cfigure id=\"attachment_13903009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chanel meets ‘Bonanza’. Yee-haw! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if I’d have had to guess what the theme of the evening was last night, I’d have said \u003ci>Glamping: Survivalist-Wear For a Post-COVID World\u003c/i>. Nowhere was this more visible than in the ensembles of Rihanna and A$AP Rocky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s RiRi in her black, survivalist Balenciaga sleeping bag, and A$AP in a high-end grandma quilt made by ERL. (Every time I eat outdoors at night in San Francisco, I will dream of the warmth contained in both of these outfits.)\u003c/p>\n\u003cfigure id=\"attachment_13902997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg\" alt=\"(L-R) A$AP Rocky and Rihanna.\" width=\"800\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-768x688.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1536x1376.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-2048x1834.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1920x1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 1 and Cozy 2. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whoopi Goldberg showed up in a Valentino getup, working hard to get an invite to the Rihanna and A$AP campgrounds, in this raincoat-cum-sleeping bag:\u003c/p>\n\u003cfigure id=\"attachment_13902998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg\" alt=\"\" width=\"800\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1447x2048.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1920x2718.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-scaled.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi Goldberg in her Valentino ruffled duvet. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Normani—also in Valentino—was on hand to demonstrate how to don a sleeping bag and shoulder pillows, \u003cem>and\u003c/em> make it sexy:\u003c/p>\n\u003cfigure id=\"attachment_13903011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903011\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Normani: You wouldn’t lose this dress on a mountainside at night. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janet Mock, also in Valentino, was on the exact same page:\u003c/p>\n\u003cfigure id=\"attachment_13903025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 3. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presumably in that photo, she’s eyeing up Tessa Thompson, who came dressed in Iris Van Herpen, as the most alluring campfire in all of history.\u003c/p>\n\u003cfigure id=\"attachment_13903000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson being straight fire in a short red cocktail dress with cowboy accessories. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like RiRi, A$AP, Whoopi and Normani, Lil Nas X arrived as posh bedding…\u003c/p>\n\u003cfigure id=\"attachment_13903019\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 4. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulled a fast one by transforming, first, into an C-3PO campfire lunchbox…\u003c/p>\n\u003cfigure id=\"attachment_13903022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1920x1312.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shazam! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before revealing himself as a sneaky little snake invader! And yes, actually, come hiss at us, you slinky love muffin:\u003c/p>\n\u003cfigure id=\"attachment_13903013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X slithering on up to RiRi’s campgrounds. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Levy cared not about nearby snakes, for he chose to fully embrace his inner survivalist, in a LOEWE outfit that combined pajamas, hiking boots, some floatation devices, and—actual genius!—maps. (Why didn’t anyone else think of that?)\u003c/p>\n\u003cfigure id=\"attachment_13903048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Levy: The floofiest survivalist in all the land. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, of course, no camping trip would be complete without something terrifying lurking in the shadows. And last night, Balenciaga dressed Kim Kardashian as that one dark patch behind that tree over there, that might just be a shadow, but also might well be a serial killer.\u003c/p>\n\u003cfigure id=\"attachment_13903010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-2048x1355.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1920x1271.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Kardashian in an outfit even scarier than that flowery Givenchy couch cover she wore in 2013. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Until 2022, fashion fans!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer Rihanna denounced an ad that appeared on Snapchat making a game of domestic violence that featured photographs of her and Chris Brown. And the social media app’s stock price went tumbling.\u003c/p>\n\u003cp>“Now SNAPCHAT I know you already know you ain’t my fav app out there,” Rihanna said in a statement posted Thursday on rival social media platform Instagram, where she has 61 million followers. “I’d love to call it ignorance, but I know you ain’t that dumb! You spent money to animate something that would intentionally bring shame to DV victims and made a joke of it!!!”\u003c/p>\n\u003cp>The ad was for the mobile game “Would You Rather,” which asks users a series of questions, sometimes offensive. The ad said, “Would you rather slap Rihanna” or “punch Chris Brown.”\u003c/p>\n\u003cp>In 2009, Brown pleaded guilty to felony assault after Rihanna accused him of beating her and trying to push her out of a car. Photos emerged of her with a bruised face.\u003c/p>\n\u003cp>Snapchat had already yanked the ad Monday and issued an apology. But the ad reappeared on social media as users circulated it and questioned its content.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/nicollettemw/status/974298645666451456\u003c/p>\n\u003cp>https://twitter.com/mswawasi/status/974909891520458752\u003c/p>\n\u003cp>https://twitter.com/ChelseaClinton/status/973215666244325376\u003c/p>\n\u003cp>“Just awful,” Chelsea Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/973215666244325376\">tweeted\u003c/a>. “Awful that anyone thinks this is funny. Awful that anyone thinks this is appropriate. Awful that any company would approve this.”\u003c/p>\n\u003cp>Apparently Snapchat agreed.\u003c/p>\n\u003cp>“This advertisement is disgusting and never should have appeared on our service,” a Snapchat spokesperson said in a statement. “We are so sorry we made the terrible mistake of allowing it through our review process. We are investigating how that happened so that we can make sure it never happens again.”\u003c/p>\n\u003cp>Snapchat has an \u003ca href=\"https://marketingland.com/snapchat-opens-advertising-api-everyone-234429\">automated ad-buying platform\u003c/a>. But \u003ca href=\"https://www.snap.com/en-US/ad-policies/\">company policy states\u003c/a>, “All ads are subject to our review and approval.” It also says it prohibits “Shocking, sensational, or disrespectful content.”\u003c/p>\n\u003cp>In her Instagram post, Rihanna went on to say, “This isn’t about my personal feelings, cause I don’t have much of them…but all the women, children and men that have been victims of DV in the past and especially the ones who haven’t made it out yet…you let us down! Shame on you. Throw the whole app-oligy away.”\u003c/p>\n\u003cp>Investors apparently heeded the call and threw away some stock. Snap Inc’s stock prices fell around 4 percent later Thursday, wiping out nearly $800 million from its market value, \u003ca href=\"http://money.cnn.com/2018/03/16/technology/snapchat-stock-rihanna/index.html\">reports CNN\u003c/a>. By Friday, it had rebounded some, but closed the week with a 1 percent loss.\u003c/p>\n\u003cp>Snapchat has experience with the kind of influence celebrities can wield. Last month after Snapchat changed its layout, Kylie Jenner, one of its most popular users, tweeted that she was no longer using the app.\u003c/p>\n\u003cp>https://twitter.com/KylieJenner/status/966429897118728192\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The company’s stock quickly fell 6 percent, erasing more than a billion dollars from its market value, \u003ca href=\"http://money.cnn.com/2018/02/22/technology/snapchat-update-kylie-jenner/index.html\">said CNN\u003c/a>. \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=Snapchat%27s+Stock+Sinks+After+Rihanna+Denounces+Domestic+Violence+Ad&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer Rihanna denounced an ad that appeared on Snapchat making a game of domestic violence that featured photographs of her and Chris Brown. And the social media app’s stock price went tumbling.\u003c/p>\n\u003cp>“Now SNAPCHAT I know you already know you ain’t my fav app out there,” Rihanna said in a statement posted Thursday on rival social media platform Instagram, where she has 61 million followers. “I’d love to call it ignorance, but I know you ain’t that dumb! You spent money to animate something that would intentionally bring shame to DV victims and made a joke of it!!!”\u003c/p>\n\u003cp>The ad was for the mobile game “Would You Rather,” which asks users a series of questions, sometimes offensive. The ad said, “Would you rather slap Rihanna” or “punch Chris Brown.”\u003c/p>\n\u003cp>In 2009, Brown pleaded guilty to felony assault after Rihanna accused him of beating her and trying to push her out of a car. Photos emerged of her with a bruised face.\u003c/p>\n\u003cp>Snapchat had already yanked the ad Monday and issued an apology. But the ad reappeared on social media as users circulated it and questioned its content.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“Just awful,” Chelsea Clinton \u003ca href=\"https://twitter.com/ChelseaClinton/status/973215666244325376\">tweeted\u003c/a>. “Awful that anyone thinks this is funny. Awful that anyone thinks this is appropriate. Awful that any company would approve this.”\u003c/p>\n\u003cp>Apparently Snapchat agreed.\u003c/p>\n\u003cp>“This advertisement is disgusting and never should have appeared on our service,” a Snapchat spokesperson said in a statement. “We are so sorry we made the terrible mistake of allowing it through our review process. We are investigating how that happened so that we can make sure it never happens again.”\u003c/p>\n\u003cp>Snapchat has an \u003ca href=\"https://marketingland.com/snapchat-opens-advertising-api-everyone-234429\">automated ad-buying platform\u003c/a>. But \u003ca href=\"https://www.snap.com/en-US/ad-policies/\">company policy states\u003c/a>, “All ads are subject to our review and approval.” It also says it prohibits “Shocking, sensational, or disrespectful content.”\u003c/p>\n\u003cp>In her Instagram post, Rihanna went on to say, “This isn’t about my personal feelings, cause I don’t have much of them…but all the women, children and men that have been victims of DV in the past and especially the ones who haven’t made it out yet…you let us down! Shame on you. Throw the whole app-oligy away.”\u003c/p>\n\u003cp>Investors apparently heeded the call and threw away some stock. Snap Inc’s stock prices fell around 4 percent later Thursday, wiping out nearly $800 million from its market value, \u003ca href=\"http://money.cnn.com/2018/03/16/technology/snapchat-stock-rihanna/index.html\">reports CNN\u003c/a>. By Friday, it had rebounded some, but closed the week with a 1 percent loss.\u003c/p>\n\u003cp>Snapchat has experience with the kind of influence celebrities can wield. Last month after Snapchat changed its layout, Kylie Jenner, one of its most popular users, tweeted that she was no longer using the app.\u003c/p>\u003c/p>\u003c/div>",
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