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Lizzo’s ‘Big Grrrls’ Asks Big Questions

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Lizzo would have slightly simply employed her dancers via an company. However, as she says on the primary episode of her new present that premiered on Amazon Prime Video final month, “Ladies who seem like me simply don’t get illustration.”

She’s speaking about “illustration” within the skilled sense. However broader questions of illustration loom on “Lizzo’s Watch Out for the Huge Grrrls.” The eight-episode present follows a bunch of aspiring plus-size dancers who just lately competed for an opportunity to again up Lizzo onstage and probably be part of her tour as one in every of her “Huge Grrrl” dancers.

Lizzo tells the dancers that in the event that they don’t rise to the event she’ll ship them house — or she won’t. A couple of episodes in, she tells them that they may all get to remain.

“The No. 1 factor is I didn’t need to eradicate each week,” Lizzo stated in a Zoom interview.

“I’m on the lookout for dancers, not dancer,” she stated, emphasizing the plural. If she eradicated a lady each week, she stated, she wouldn’t have anybody by the top.

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A actuality TV competitors that doesn’t lower contestants could seem to be a paradox. However Lizzo’s profession has at all times featured stunning and considerably contradictory combos. She usually seems nude and bristles at being referred to as “courageous” for it. She insists on the inherent worth of fats our bodies and has began a shapewear line. She twerks and she or he performs the flute.

“I don’t have to suit into the archetypes which have been created earlier than like Tyra Banks or Puff Daddy,” Lizzo stated. “All of them did it their very own method, and that’s what I’m doing.” Lizzo’s persona as a TV host is a component demanding queen, half nurturing mentor. A number of occasions all through the present, she delivers imperious one-liners to the digicam, holds for a number of seconds after which bursts into laughter.

Lizzo’s hotter and extra supportive moments are tempered by her choreographer Tanisha Scott, who brings powerful love and an exacting rigor to her rehearsals.

“I’m capable of converse to them from my very own private expertise, to not hand over and never additionally really feel sorry for your self in any type of method,” Ms. Scott stated in a Zoom interview. Ms. Scott began her profession as an untrained dancer with a larger-than-average physique and has emerged as a uncommon success in her trade. She stated she needed to work 10 occasions more durable than different dancers to get the place she is.

“So I wasn’t going to be candy and simple and ‘this can be a bunch of roses’ and ‘all of us bought this,’” she stated. “No. You must work for it.”

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Ms. Scott credit Lizzo with opening the door for the better industrial viability of bigger dancers. “She’s making this not a development or a novelty, she’s making this a enterprise,” she stated.

One of many distinctive parts of Lizzo’s present is how critically it takes each the skills and struggles of its aspiring “Huge Grrrls.” Each episode options athletic feats carried out by larger-than-average our bodies, together with notably jaw-dropping acrobatics by Jayla Sullivan, one of many contestants. However the present doesn’t draw back from the dancers’ accidents, insecurities and occasional meals points.

Tonally, the present lives someplace between physique positivity — an idea that has absolutely penetrated sure corners of selling — and physique neutrality, a more recent concept that encourages folks to simply accept and respect their our bodies. The leisure and dance industries are additionally in a second of transition of their attitudes towards bigger our bodies.

“There’s a motion of plus-sized girls coming to the forefront as main roles, as stars,” stated Nneka Onuorah, who directed the present and seems in an episode. “This present is simply the tip of the iceberg on that.”

Lizzo stated she has seen the change “on a industrial degree, the place greater women are being welcomed in casting rooms.” “I’ll even hear issues about, ‘Oh, we want a Lizzo kind,’ which is absolutely inspiring,” she stated.

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Nonetheless, Lizzo stated that there are nonetheless vastly fewer casting alternatives for giant dancers. “I’ve seen huge women being solid in music movies nearly as a joke, not as being taken critically,” she stated. “So I believe it hasn’t infiltrated the precise dance trade.”

Jessica Judd, who runs a corporation within the Bay Space referred to as Huge Strikes that focuses on making dance accessible to folks of all sizes, agrees. Her group labored carefully with choreographers within the mainstream dance world for years till they grew disillusioned by a sample of fat-phobic feedback and empty phrases round physique range.

“They completely know what to say — they completely know they most likely shouldn’t say out loud that they solely need a dimension 4 or beneath,” Ms. Judd stated, “however then you definately have a look at who will get solid.”

She recalled feedback folks made about plus-size dancers being “courageous” for getting onstage (“that’s not the praise you assume it’s,” she stated) and the sense that mainstream producers or choreographers had been working with them to examine a range field, then going again to their uniform casts.

“I don’t need to be a perpetual prop for the mainstream dance world attempting to work out their points round fatness and our bodies,” Ms. Judd stated.

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To Ms. Judd, Lizzo’s present is a significant victory for illustration, however doesn’t essentially portend something for the broader dance world, the place she has seen loads of lip service paid to physique positivity however little substantial change.

“On the finish of the day,” she stated, “not quite a lot of presenters, administrators, producers and choreographers are essentially invested in having fats folks concerned of their group.”

Lizzo agrees that there’s a lengthy method to go for large dancers to be taken critically and handled effectively within the dance trade. Within the meantime, she is targeted on her personal work.

“I simply need folks to know that greater than something that is an unbelievable tv present,” she stated, rattling off a listing of the crew members who she labored with.

“I’m simply fats,” she added. “And I’m simply making a present about what I want.”

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Lifestyle

The Olsen Twins Go to the Beach

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The Olsen Twins Go to the Beach

There was a Cybertruck parked on Main Street in East Hampton, outside the Altuzarra store. It was a Sunday afternoon in June, and traffic stalled for a moment. Even the rich are not immune to rubbernecking a brutalist behemoth.

The monster truck marked the end of an avenue of monograms — the island’s main luxury shopping drag, with $850 raffia handbags and $15,000 decorative surfboards. You know their names: Louis Vuitton, Loewe, Lululemon.

Two and a half miles down this same street, however, quaintness emerged. East Hampton turned into Amagansett, and that flashy boutique strip became a town square with white wood-paneled cottages. There was a shoe store called Brunch, a children’s clothing chain called Pink Chicken, a jewelry and gift shop called Love Adorned. A Cybertruck here would read as a declaration of war.

It was near these cottages that the Row, a brand founded in 2006 by Ashley and Mary-Kate Olsen, quietly opened a store on Memorial Day weekend.

Quietly is how the Row tends to operate. Not only in its clothing — often described as “quiet luxury,” a term used to describe very expensive basics — but also in its communication.

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The founders rarely give interviews, advertise or otherwise promote their line. While the Row did announce its Amagansett opening on Instagram, that account is more outwardly devoted to sharing modern art than to moving product. In February, the brand caused a stir at Paris Fashion Week by asking its runway show attendees to “refrain from capturing or sharing any content during your experience” — which is, for many, the primary reason for attending a fashion show. The audience was encouraged to write down thoughts instead.

Somehow this stance works. In an industry overrun by influencers, the Row’s silence is stark. Monasticism is chic. There is an impression of exclusivity and taste, buoyed by the extreme prices. One of the Row’s most popular items, the Margaux bag, ranges in price from $3,490 to $6,810, depending on size and material. It is timeless and ladylike, the kind of purse that might remind Kendall Jenner of Jacqueline Kennedy Onassis.

The Row’s stores also have a reputation for being intimidating at times, even among seasoned high-end shoppers.

One loyal Row customer told me she felt like “peasantry” in the Los Angeles store, which houses an untouchable swimming pool. At the store in Manhattan — a townhouse with a limestone spiral staircase — “there is one guy who works there that all my friends are afraid of, who radiates a very ‘you can’t sit here’ vibe,” said Jess Graves, the writer of a shopping newsletter called The Love List, “even to girls I know who walk in wearing the brand head to toe.”

The Amagansett shop is different. It operates out of a house with roots in the 19th century, formerly occupied by Tiina the Store, the Hamptons’ Gap for billionaires. (Tiina stocked the Row.)

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It has a porch and a screen door and a woven beige carpet. The fitting rooms are harshly lit behind denim patchwork curtains. (By contrast, the spacious wood-floored dressing rooms at the Upper East Side store, where I recently tried on a $1,550 white cotton poplin tent dress that made me look, tragically, like a hospital patient, have soft lighting and softer robes.)

There is no statement artwork in Amagansett, unlike the London store, where an oval light installation by James Turrell greets visitors at the entrance. The vintage furniture is noteworthy — there’s a black chaise shaped like a person from the 1970s by Olivier Mourgue Bouloum and a white painted wooden lounge chair from the 1930s by Robert Mallet-Stevens. But the décor, with its Asian and African influences, is not the point.

The point of the store is the large selection of jewelry, home wares, snacks and skin care by more than 20 brands and artisans that are not the Row. Shampoo from Florence. Beaded necklaces from Greece. A mother-of-pearl caviar set. A bronze lighter carved to resemble tree bark. A packet of dried mango and a jar of raw almonds. Vintage glass candlesticks that can be purchased only in a set of a dozen for $16,000.

There are racks of ready-to-wear clothes made by the Row, of course, the selection tailored to this beach town: bike shorts ($1,050), denim shirts (also $1,050), ribbed tank tops ($670), sleeveless silk maxi-dresses ($1,890). Ms. Graves bought herself a raffia bag here earlier in the season. (“It felt very appropriate while I’m out here this summer,” she said.)

But the Row confirmed that the Amagansett store is its first attempt at a “local” store concept. What this presumably means is a space that is more relaxed, filled with objects that complement the brand’s vision of itself, staffed by sales associates who do not scare people away but warmly help shoppers track down sold-out jelly flats. Not that the Row’s fans are easily scared away: Even those who are intimidated don’t stay away for long, these masochists for cream-colored cashmere.

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In retrospect, the popular jelly shoes, along with the beach towels that models wore as scarves on the Row’s runway in September, may have been a sign that the brand was loosening up — that brightness and humor were coming to this austere world. (Its most recent look book showed a silky camisole dress layered over pants, Y2K-style.)

A British client of the Row visiting the Amagansett store marveled at the vibe shift. Where was the icy indifference? “I don’t think it would fly with the audience here,” she said.

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Sunny Hostin Calls J Lo Flying Commercial a Full 'Jenny From the Block' Move

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Sunny Hostin Calls J Lo Flying Commercial a Full 'Jenny From the Block' Move

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Can't stop the (classical) music : It's Been a Minute

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Can't stop the (classical) music : It's Been a Minute

Johann Sebastian Bach and Nina Simone

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Johann Sebastian Bach and Nina Simone

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It’s Black Music month! This week, Host Brittany Luse invites Howard University professor and trombonist Myles Blakemore to talk about how classical music influenced some of our favorite musicians. They look at how the counterpoint technique of Johann Sebastian Bach may have inspired Nina Simone, and how a love of Genuine can turn into a career in classical music.

Want to be featured on IBAM? Record a voice memo responding to Brittany’s question at the end of the episode and send it to ibam@npr.org.

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This episode was produced by Corey Antonio Rose. It was edited by Jessica Placzek and Sara Sarasohn. Engineering support came from Patrick Murray. We had factchecking help from Ayda Pourrasad. Our executive producer is Veralyn Williams. Our VP of programming is Yolanda Sangweni.

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