"Donald Trump is America's back mole—it may have seemed harmless a year ago, but now that it has gotten frighteningly bigger, it is no longer wise to ignore it."

And with that, John Oliver finally took on the politics of Donald Trump on Sunday, after spending months largely ignoring the real estate magnate's meteoric rise in the polls since launching his presidential campaign last summer.

"But he has now won three states, has been endorsed by Chris Christie, and polls show him leading most Super Tuesday states, which is a big deal," Oliver said.

While he claimed to understand why Trump's campaign is resonating with voters, Oliver explained that upon closer inspection, Trump's appeal reveals to be quite horrifying, much like the attractiveness of a "buffet lunch at a strip club."

The Last Week Tonight host went on to suggest supporters start imagining the candidacy of a man named Donald Drumpf—the last name one biographer recently uncovered was the Republican front-runner's original family name—to help expose Trump and his empty, often racist promises to make America great again.

"Stop and take a moment to imagine how you would feel if you just met a guy named Donald Drumpf, a litigious serial liar with a string of broken business ventures and the support of a former KKK leader who he can't decide whether or not to condemn."

Yep, let's #MakeDonaldDrumpf again.

In one of the most widely expected wins of the night, Leonardo DiCaprio took out Best Actor at the 88th Annual Academy Awards Sunday night for his role in The Revenant. DiCaprio used his acceptance speech to call out global leaders for climate inaction—capping off a night that was already fueled by the biting and brilliant political performance by moderator Chris Rock.

"Climate change is real, it is happening right now," DiCaprio said, to applause. "It is the most urgent threat facing our entire species, and we need to work collectively together and stop procrastinating."

He went on: "We need to support leaders around the world who do not speak for the big polluters or the big corporations." Watch the clip below:

In his searing opening monologue for the 88th Academy Awards—what he dubbed the "White People's Choice Awards"—comedian Chris Rock relentlessly roasted Hollywood's racism, in a year criticized for only nominating white actors.

"We want opportunity," he said. "We want black actors to get the same opportunities as white actors. That's it." Watch the full clip above.

It was, in fact, a year marked by stellar performances from actors of color, including Michael B. JordanAbraham Attah, Idris Elba, Teyonah Parris, O'Shea Jackson, Ava DuVernay, and David Oyelowo. And Chris Rock, without pulling any punches, called the Academy of Motion Pictures Arts and Sciences out on it: "If they nominated a host, I wouldn't even get this job."

He went on: "Is Hollywood racist? You damn right Hollywood's racist," Rock said. "Hollywood is sorority racist: We like you Rhonda, but you're not a Kappa."

Since its list of nominees was unveiled in January, the Academy has been criticized for its failure to nominate a single minority actor for the second year in a row. The move fueled outrage from celebrities, with some like Spike LeeJada Pinkett Smith, and Will Smith refusing to attend this year's ceremony. There was also an online campaign using the hashtag #OscarSoWhite. (One bright spot: Mexican filmmaker Alejandro González Iñárritu, who is vying to become the first director since Joseph Mankiewicz to win best director for the second year in a row for The Revenant.)

In response to the criticism, the Academy vowed to change its membership rules to boost diversity among voters. (This could take a while: A recent Los Angeles Times analysis found that Oscar voters are currently 91 percent white and 77 percent male.) The film industry's diversity problem comes down to, in part, a problem with the creative pipeline, which is largely made up of white guys. Research shows film studios may be throwing away millions of dollars for their failure to embrace diversity.

It was the talk of the night, as actors took to the marathon of preshow red carpet interviews to raise awareness, not just about diversity, but about sexual assaults on college campuses and clergy sexual abuse.

Before the event, Rock had no qualms about his willingness to criticize the Academy. Just last week, he took to Twitter:

Stan Getz and Joao Gilberto
Getz/Gilberto '76

Courtesy of Resonance Records

In 1964, with America in the throes of Beatlemania, "The Girl from Ipanema" breezed into the Top Five and sparked the bossa nova craze. This unlikely hit was a collaboration between American tenor sax great Stan Getz and Brazilian singer-guitarist Joao Gilberto (with enchanting vocals by his soon-to-be-ex-wife Astrud Gilberto), who would continue to work together on and off in the 1960s and '70s. The previously unreleased Getz/Gilberto '76 is pure pleasure, as inviting as a gentle summer breeze (something especially welcome this time of year). Recorded at San Francisco's Keystone Klub—you can hear glasses clinking in the background, with no detriment to the music—this delicious live set features Gilberto's shimmering acoustic guitar and gentle singing unaccompanied on some tracks; elsewhere, he's supported by Getz's gorgeous sax and deftly understated band, which includes pianist Joanne Brackeen, bassist Clint Houston, and drummer Billy Hart. Either way, it would be almost impossible to overstate the silkily seductive charms of this wonderful set. For those who prefer a straight-ahead jazz experience, the same cast, minus Gilberto, shines on the companion release Moments in Time, also previously unheard and recorded at the same venue.


Love Yes
Carpark Records

Courtesy of Carpark Records

Led by Teeny Lieberson, the New York-based combo TEEN (which also includes Lieberson's two sisters) has undergone a dramatic sonic makeover in the course of just three albums without sacrificing its off-kilter sensibility. The quartet began as the garage-rock version of a synth band, playing electronica with abundant rough edges. Today, they're the epitome of polish, with supersleek melodies and gleaming vocal harmonies that echo the slickest modern R&B. But the songs are restless, probing studies of troubled sexuality and corrosive isolation, pondering "a suffered heart from years without touch" in "Push" and confronting ambivalence over a longterm commitment on "Another Man's Woman." Love Yes functions equally well as consummate easy listening and as a subtle antidote to complacency.

On Sunday, John Oliver tackled the increasing number of abortion laws recently enacted that aim to restrict a woman's access to an abortion clinic and weaken reproductive rights.

"Since 2010, new state laws have contributed to the closure of about 17 abortion clinics and these four states are down to exactly one abortion clinic each," Oliver said. "That's right, Mississippi now has four times as many s's as it does abortion clinics."

Since abortion is technically legal, lawmakers in these states have instead introduced TRAP laws to create significant obstacles for women seeking an abortion. Lawmakers justify these laws by saying they protect a woman's health, but as Oliver notes, many of these laws lack a medical basis.

"Legal abortions have a mortality rate of 0.00073 percent," he said. "That is nearly 10 times less than what one study found was the risk for dying from the result of a colonoscopy. And let's agree, all of us, that death by colonoscopy has to be one of the worst ways to die."

As Mother Jones has reported, many of these anti-abortion laws range from requiring a medical consultation 24 hours before getting an abortion to outright bans on the most common method of second trimester abortions. For more on the war on women and abortion laws, check out our in-depth reporting here.

Harper Lee Has Died at 89

Harper Lee, the iconic author of To Kill a Mockingbird, has died at the age of 89. Lee's death was confirmed by a city clerk in Monroeville, Alabama, the New York Times reports. The mayor of Monroeville also confirmed the news.

To Kill a Mockingbird won the Pulitzer Prize for fiction in 1961.

In 2015, more than five decades after To Kill a Mockingbird was published, her second novel, titled Go Set a Watchman, was released, after a 304-page manuscript following up on the classic was discovered.

"I was born in a little town called Monroeville, Alabama, on April 28, 1926," she said in an interview in 1964. "I went to school in the local grammar school, went to high school there, and then went to the University of Alabama. That's about it, as far as education goes."

Reflecting on the overwhelming success of To Kill a Mockingbird, Lee said in a 1964 radio interview that she never expected it and instead had hoped the book would be well received enough to inspire her to write more. "I got rather a whole lot [of encouragement], and in some ways this was just about as frightening as the quick, merciful death I'd expected."

This is a breaking news post. We will update soon as more information becomes available.

Radiation City

Courtesy of Polyvinyl Records

Drawing on from '60s easy listening and '70s dance grooves, among a host of other sources, the third album from Radiation City offers a feast of attractive pop that sounds great in the background—kudos to John Vanderslice's shiny production—but also holds up under closer scrutiny. Like spiritual and stylistic cousins the Bird and the Bee, minus the sardonic undertone, the Portland, Oregon combo uses retro as a ruse, with poised singer Lizzy Ellison gently suggesting a melancholy heart full of desire and regret. For all its breezy allure and obvious echoes, from Paul McCartney ("Juicy") to bossa nova ("Separate") to James Bond themes ("Butter"), Synesthetica is subtly original and quietly powerful work.

Kendrick Lamar performs Grammy Awards in Los Angeles.

Kendrick Lamar won best rap album for his 2015 masterpiece, To Pimp a Butterfly, at Monday night's 58th Annual Grammy Awards in Los Angeles. That win came after Lamar already had picked up four other awards during the pre-televised portion of the night. Lamar even got a shout-out from the highest office in the land:

But that was all prelude to Lamar's powerful, politically charged onstage performance, starting with "The Blacker the Berry," which he sang, at first, while wearing chains and standing against the backdrop of a prison. That was followed by "Alright," a defacto anthem of the Black Lives Matter movement, which was staged in front of an enormous bonfire.

Watch the full performance below:

Meet Jane! She's lithe, leggy, and spirited—attractive, but too much of a professional to show she cares. Most days she wears jeans, and she makes them look good. She was a model once, but living an actual life has taken its toll.

If that sounds like a garbage way to introduce a woman, well that's exactly the way that Ross Putman—a cinematographer and producer of such gems as Trigger Finger and First Girl I Loved—says female characters are routinely described in the movie scripts he's read. He's taken to social media to publicize them. According to Putman's Twitter bio, the characters' names have been swapped for Jane; otherwise the descriptions are word for word from the scripts.

While it's not surprising to see Hollywood treating female leads as sexual objects, this series of verbatim descriptions illustrate just how bad the situation is. Here's hoping Jane gets to play the role of a fully realized woman soon.