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Post Malone's new album makes it sound like that rockstar lifestyle is losing its luster. It's titled Austin — after his real name, Austin Post. We talk about what he's accomplished so far, and what's next.
On fatherhood: We asked the rapper how it made him want to change how he lives his life.
On being liked: "He says: "I mean, my dad told me when I was a kid, 'Not everybody's going to like you.' And that stuck with me. I do the best for the people that do.
It's hard to describe Post Malone as anything other than a rockstar. He's lived like it: jewelry, face tattoos and his ever present cans of Bud Light.
But Post Malone's new album makes it sound like that rockstar lifestyle is losing its luster. It's titled Austin — after his real name, Austin Post.
A Martinez, a co-host of NPR's Morning Edition, spoke with Post Malone shortly before the album's release. The following has been edited for length and clarity.
A Martinez: Let's just start off with the name of the album. You named it after yourself: Austin. So what about what you were writing and recording made you think, Yeah, this is Austin.
Post Malone: We were about to go on tour and we initially wanted to record an acoustic record. We ended up making half the record in that week. And towards the end, you know, the development of it, we were like, 'Well, let's add some drums. Let's do some fun stuff to it.' So it just kind of became its own record and not strictly an acoustic record.
But I guess... That's my name! So we figured, you know, this is a record done by me. And also we couldn't think of another name.
A Martinez: So that's the ultimate reason? "I just couldn't think of anything."
I want to give you guys a smarter answer, but that's about it. We had a lot of options: "Don't Eat the Chicken Nuggets, There's Plastic in It." But see, that's, like, way too long.
A Martinez: It also sounds way more intensely personal. The very first song — "I Don't Understand" — you sing, "I don't understand how you like me so much because I don't like myself." Millions of people feel the same way. It's like that Groucho Marx line, "I don't want to be part of a club that would have someone like me as a member."
To be honest, I have a lot of self-confidence issues, and they came around kind of late. As I got older, I started looking at things differently, trying to take my time. And then you start thinking, "You have so much riding on everything!" You don't want to be disrespectful and super crazy because you have so many people that work with you and people that you love. So, you just try to take time to really think through things. It's a lot of anxiety, and a lot of different emotions come with that.
A Martinez: I think a lot of people couldn't possibly understand that someone like you, that has millions of fans — that does a job that people dream of doing — they think, 'Well, how could you possibly not like yourself when we like you so much?'
Sure. That not only has to do with relationships, but also performing and being in the public light. It's super introspective. I always questioned things, and now I have a tendency to second-guess myself. And I know I shouldn't. I love the music that I make. I love making music. I guess that's the takeaway from that song — just try your best. I mean, my dad told me when I was a kid, "Not everybody's going to like you." And that stuck with me. I do the best for the people that do.
A Martinez: I think dads tend to say that more than moms. My mom says, "Everyone loves you." My dad's like, "Maybe people don't like you so much.
That's all right.
A Martinez: Being a father changes things, doesn't it?
Post Malone: Very much so. Very much so. It put everything into perspective.
She is about 14 months now, and she just started running around and walking. I used to not really care about a lot of stuff, but that really turns it around super quick, man. I don't leave the house anymore. I don't really want to do anything. I want to hang out with the baby and play video games when she goes to bed.
I want to work my ass off, you know, and it's such a hard thing to do, especially going on tour. Going on tour is really hard because she just did ten steps the other day, and her mom sent me a video. I really, really, really wish that I could have seen that.
But I hope one day, she understands that, you know, me and my super bust ass just try to give her the best life that we can.
A Martinez: So she knows your voice? She knows that's daddy singing?
Post Malone: She knows and it's so cute because her mom has all the songs. I sent her all the songs. And whenever she hears, she does this kind-of shoulder dance.
She loves "Chemical." She gets so pumped. It's so funny to watch her. And that makes me, like, the proudest man in the world.
You got someone that loves you unconditionally, and then you have someone you love unconditionally as well. And for the longest time, we had a hard time. "We," as in me — I don't know why I'm doing that — but we had a hard time where we lost a lot of focus and were super sad and down in the dumps. And this baby... It's the most amazing thing to happen to me in a long time.
A Martinez: How did it make you want to change your life, or change how you lived your life?
Post Malone: I used to drink a whole lot, now I drink to celebrate, to have a good time. And now I don't smoke inside anymore. I save my money and take care of stuff that I need to do. And get everything prepared and just make sure that she has the coolest life that she can. I guess that's what all dads want to do is just make it beautiful for their baby.
And yeah, it's changed a lot. Making those changes has made me the happiest I've ever been. So it's pretty amazing.
A Martinez: You've described yourself at certain points "not feeling like Austin." Now with this album, where you live... are you back to being Austin?
Post Malone: I think so. Yes, sir. I'm in the best spot that I have been in ten years, if not my whole entire life mentally. It takes a lot of work. And it takes a lot of getting your ass kicked to say, "This is not even what I wanted in the first place."
And the cool thing is that now, I know what I want. I have a purpose. I spent so long looking for a purpose. Like, Who am I? What do I want to do? What is this?
Now I feel like Austin. Yeah, I feel like Austin. I think the goal of every person is to be as happy as a kid and just be like, eat those chicken nuggets! You know what I'm talking about? I think at the end of the day, my goal is to just be happy and be able to run around with my daughter and just be a kid and have fun.
Copyright 2024 NPR. To see more, visit npr.org.
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SAG-AFTRA, the union representing Hollywood actors, reached a tentative agreement with major studios yesterday Saturday on a new contract covering films, scripted TV dramas, and streaming content.
Why it matters: The tentative agreement still needs to be approved by the SAG-AFTRA National Board, which the union says will meet in the coming days to review the terms. Details of the new contract won’t be released before then.
The backstory: The actors'union began negotiating with Alliance of Motion Picture and Television Producers (AMPTP) in February. In 2023, actors went on a four-month strike along with Hollywood writers after negotiations for their respective contracts fell through. In late April, the Writers Guild of America approved their new labor contract.
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The Academy of Motion Picture Arts and Sciences has announced several significant rule changes for the 99th Oscars, including AI protections for actors and writers as well as expanded eligibility for international films.
Details: Among the most noteworthy changes, the Academy now explicitly states that only roles, "demonstrably performed by humans with their consent" are eligible for Acting awards. In other words, AI creations like the much-hyped Tilly Norwood cannot hope to win a Best Actress Oscar anytime soon.
Why now: In a statement to NPR, the Academy on Saturday said the changes are in response to listening to the global filmmaking community and addressing barriers to entry in its eligibility process.
The Academy of Motion Picture Arts and Sciences has announced several significant rule changes for the 99th Oscars, including AI protections for actors and writers as well as expanded eligibility for international films.
In a statement to NPR, the Academy on Saturday said the changes are in response to listening to the global filmmaking community and addressing barriers to entry in its eligibility process.
The Academy added that its rules and eligibility standards have always evolved alongside technologies such as sound, color, and CGI, and that AI is no different. Awards rules and guidelines are reviewed and refined each year.
Among the most noteworthy changes, the Academy now explicitly states that only roles, "demonstrably performed by humans with their consent" are eligible for Acting awards. In other words, AI creations like the much-hyped Tilly Norwood cannot hope to win a Best Actress Oscar anytime soon.
Particle6, the production company behind Norwood, did not immediately respond to NPR's request for comment on Saturday about its creations' ban from consideration. In March, Norwood commented, "Can't wait to go to the Oscars!" in an Instagram post announcing its newly released music video.
The Academy also requires screenplays to be "human-authored" and said it reserved the right to investigate the use of generative AI in any submission.
Meanwhile, qualifying flesh-and-blood human actors can now be nominated for multiple performances in the same category if those performances get enough votes to land in the top five. So, someone like Anne Hathaway, who has five major movies scheduled for release in 2026, could now theoretically sweep the nominations – though that outcome seems extremely unlikely.
"If an actor has an extremely prolific year, might we even see someone swallow up three of the five nominations?," wrote Deadline's awards columnist and chief film critic Pete Hammond about the changes. "Probably won't happen, but it's now possible."
Under previous rules, an actor could only receive one nomination per category. If they had two high-ranking performances in Best Actor, for example, only the one with the most votes would move forward.
While international films can still be the official selection of their countries, now they can qualify by winning the top prize at a major international festival such as the Palme d'Or at Cannes, the Golden Lion at Venice, or the World Cinema Grand Jury Prize at Sundance.
Historically, countries "owned" the nomination, and only one film per country was allowed. The new rules allow multiple films from the same country to compete if they are critically acclaimed, and it shifts the honor from a geopolitical entity to the filmmakers themselves.
The changes have prompted a largely positive reaction from the film community on social media, such as on the popular The Shade Room entertainment and celebrity-focused Instagram feed, where commenters widely praised the "human-only" move to protect creative jobs.
The Academy's Awards Committee oversees the rules in tandem with branch executive committees, the International Feature Film Executive Committee and the Scientific and Technical Awards Executive Committee.
The rules are scheduled to go into effect next year, covering films released in 2026.
Copyright 2026 NPR
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Even in rapidly changing and often paved over L.A., there are still places where you can find ruins that tell a tale. Take the Verdugo Lodge: a long-forgotten speakeasy for old Hollywood near La Crescenta.
The background: According to Mike Lawler of the Historical Society of the Crescenta Valley, the timeline isn’t perfectly clear, but some of the compound was built in the 1920s. It was set up kind of like a timeshare where people bought 10 x 10 foot "tent lots" that gave them access to on-site amenities. There was a golf course, stables, trout stream, a swimming pool... and a lodge with gambling and alcohol.
From speakeasy to 'Mountain Oaks': Sometime around the early 1930s, the tawdry Verdugo Lodge and the surrounding land were purchased and then renamed Mountain Oaks by the Kadletzes — an entrepreneurial family who had run everything from a Turkish bath to a mini golf course. Over the next few decades, the family would rent the place out to local groups for recreational retreats.
The future of Mountain Oaks: Last year, with help from the City of Glendale, a U.S. Department of Housing and Urban Development grant and other funding sources, the Mountains Recreation and Conservation Authority (MRCA) put up $6.1 million to acquire 33-acres of the land — not including the private lots where the homes stand — so the public can continue to roam the meadow and ruins.
Los Angeles changes fast, and oftentimes that means some of the architectural relics of our shared past get swept up and paved over in all the "progress." (RIP Garden of Allah.)
But there are still places where you can find ruins that tell a tale, like a long-forgotten speakeasy reputedly for old Hollywood near La Crescenta.
On a recent afternoon, author and local historian Mike Lawler led me just beyond the boundary of Crescenta Valley Park. Joggers like me might have seen an old, towering stone arch shrouded by bushes there — and wondered what lies beyond.
Turns out there was once a place called the Verdugo Lodge back there and Lawler has spent years excavating its history.
“It was a very high-end speakeasy for a time,” Lawler, who also helps run the Historical Society of the Crescenta Valley, said. “An amazing thing. And all the ruins are still here, just like this arch.”
Lawler said we don’t know exactly when the lodge was built, but we do have some of the picture starting in the late 1920s. The place was set up kind of like a timeshare where people bought 10 x 10 foot ‘tent lots’ that gave them access to on-site amenities. There was a golf course, stables, trout stream, a swimming pool — and a lodge with gambling and alcohol.
“The Crescenta Valley in the teens and '20s was a hotbed of moonshine, prostitution, all that stuff," Lawler said. "It was a quiet little community. But in all these canyons up here, stuff was going on. Illegal stuff!”
We don’t have a full guest list, but Lawler said it’s likely at least a few Hollywood types had gone up to the lodge to circumvent Prohibition era laws.
In some ways, it was kind of like the original glamping. Lawler said patrons probably weren’t doing much sleeping, though.
“They might have been unconscious!” he said with a chuckle.
Lawler led me to a road that swooped around a meadow. We passed by a massive swimming pool nestled into the hillside.
Once known as the “Crystal Pool,” it’s now empty and fenced off, with pitch black locker rooms below.
We continued our journey up the hill and eventually arrived at a cascading stone stairway.
And at the top, the big show: overgrown with orange monkey flowers and goliath agaves lies the foundation of the old Verdugo Lodge, with lofty stone fireplaces the only guardians keeping the surrounding oak trees at bay.
Lawler takes out a floorplan that one of the former owners drew up for him.
“This is what it was laid out like on the inside. So a dancehall, and band stand on that side... And then upstairs was the gambling,” Lawler said.
Lawler had in hand a copy of a Los Angeles Times article from 1933 he found. The headline reads: “Revelers Flee in Lodge Raid.”
“The police that raided it were here at 3 o'clock in the morning. And there were still 500 people here. And they said it was the classiest joint they had ever raided... Anyway, people were diving out of windows and everything,” Lawler explained.
In a ruin like this, covered with moss and overgrowth, the imagination can run wild, too.
Lawler pointed out a questionable door jam below the old dancefloor that’s been cemented over.
“That is a door. So what is behind there? So there’s a room in there that got walled in for some reason,” he said.
What we do know is that, sometime after the raid, the tawdry Verdugo Lodge and the surrounding land were purchased and then renamed Mountain Oaks by the Kadletzes — an entrepreneurial family who had run everything from a Turkish bath to a mini golf course. Over the next few decades, the family would rent the place out to local groups for recreational retreats.
After they sold it in the ‘60s, Lawler said Mountain Oaks faced a “nightmare” of development threats. Over the years, some of the subdivided "tent lots" had been combined and sold off, Lawler said. A dozen private homes now stand on these pieces of land, next to the ruins of the Verdugo Lodge.
Last year, with help from the City of Glendale, a U.S. Department of Housing and Urban Development grant among other funding sources, the Mountains Recreation and Conservation Authority (MRCA) put up $6.1 million to acquire 33-acres of the land — not including the private lots where the homes stand — so the public can continue to roam the meadow and ruins.
Paul Edelman, MRCA's director of natural resources and planning, said his group will continue to manage the land, doing things like brush clearance, trash pickup and sign maintenance. And he said there are no current plans to remove the ruins or make any major changes to the property.
“If somebody comes up with a grand idea where they can find some funding for us to do something to enhance it, we’re always open to it,” Edelman said.
The purchase was good news for local preservationist Joanna Linkchorst.
“I grew up directly up the hill. But I always saw the sign that said ‘private property’ and didn’t really think about it until several years ago when I finally asked Mike. And he said, ‘Oh yeah, we got a resort speakeasy down the street,’” Linkchorst said standing among the oaks and overgrowth.
Linkchorst, who founded the group Friends of Rockhaven to preserve another nearby historic site, said it’s been amazing to see all of the decaying structures that were still hiding out at Mountain Oaks.
“There’s almost like these little ghosts in your head as you imagine what it was like when there was a beautiful wood floor and there was a second floor that people came jumping out of,” Linkchorst said.
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A local architect who hails from South Pasadena has meticulously crafted a 3D model of the iconic and fictional Overlook Hotel made famous in the Stanley Kubrick film, The Shining.
The background: At his day job, architect Anthony Chieh mainly works on residential and boutique commercial spaces. But over the course of five months, he spent his nights recreating a virtual replica of the Overlook Hotel.
What’s next? Chieh says he’s thinking about giving the spaceship from “2001: A Space Odyssey" the virtual treatment next. Or maybe turning to a local non-fictional space, like the Stahl House.
Now, let’s check in to the Overlook Hotel.
That’s the fictional place Stanley Kubrick brought to life in his 1980 film The Shining, loosely based on Stephen King’s novel of the same name.
A local architect who hails from South Pasadena meticulously crafted a 3D model of the iconic space so Shining fans everywhere never have to check out.
At his day job, architect Anthony Chieh mainly works on residential and boutique commercial spaces. But over the course of five months, he spent his nights meticulously recreating a virtual replica of the Overlook Hotel from the film that first scared him when he was 12.
Of course he started with the deeply haunted Room 237. That’s where Jack Torrance, played by Jack Nicholson, has a terrifying encounter with a ghostly woman.
“But once I started, I just couldn’t stop,” Chieh told LAist.
“I ended up modeling the Colorado Lounge, and then after that I was thinking maybe I should make the lobby and then arriving to the Gold Room, and then Grady’s bathroom.”
“It’s like a rabbit hole,” he said.
Experience the virtual Overlook Hotel
You can download Chieh's digital model of the Overlook Hotel by clicking the link in the comments section of his YouTube essay on the subject.
Users who download Chieh’s free 3D model can fly through all of those spaces, immersed in atmospheric sounds and music from the film.
“It’s interesting to dive into these kind of fictional environments and try to make sense of it,” Chieh said. “And the hope is people will get a different perspective once they’re in there.”
Kubrick’s take on the Overlook was famously inspired by real hotels like the Timberline Lodge in Oregon and the Ahwahnee in Yosemite. But the interiors you see in the film were created on sound stages in England.
“Real architecture, physical buildings, are built for people to live. And for movies, these are more meant to express the emotional aspect of things. It’s a psychological construct,” Chieh said.
In a recently published video essay on YouTube, Chieh dives deep into those psychological constructs and how, as he puts it, “Kubrick designed the Overlook Hotel not as a backdrop, but as the film's true villain.”
Chieh said during the monthslong process he was reminded of the power of architecture and design in the real world too – whether it’s an uncomfortably repetitive carpet design or a claustrophobic hallway.
“A physical construct can affect your emotion,” Chieh said.
“You can use it in a way to make people feel comfortable and you can also use it in a way to create fear.”
What’s next for this architect moonlighting as a 3D modeler?
Chieh says he’s thinking about giving the spaceship from “2001: A Space Odyssey" the virtual treatment next. Or maybe turning to a local non-fictional space, like the Stahl House.
That is, of course, if he can ever escape the Overlook.
