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"title": "Former Chorus Girls Recall Chinatown's Storied Nightlife Scene",
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"content": "\u003cp>The \u003ca href=\"https://clarionmusic.com/showgirl-magic-museum/\" target=\"_blank\" rel=\"noopener noreferrer\">Showgirl Magic Museum\u003c/a> occupies the basement of the \u003ca href=\"https://clarionmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Clarion Performing Arts Center\u003c/a>, located down a back alley in San Francisco’s Chinatown. In the corner of the unassuming space, crammed with costumes, hats, jewelry and other memorabilia dedicated to the neighborhood’s nightclub history, there’s a photo of Pat Chin posing with Frank Sinatra.\u003c/p>\n\u003cp>“That picture was taken after he filmed \u003cem>Pal Joey\u003c/em> here in San Francisco,” says Chin, who worked as a chorus girl at Chinese Sky Room, one of around eight local nightspots, in the 1950s. “Sinatra rushed over to help me off the stage, lit my cigarette and did a lot of small talk. He was a complete gentleman.”\u003c/p>\n\u003cp>\u003cstrong>A Nightlife Destination\u003c/strong>\u003c/p>\n\u003cp>From the 1930s to the 1960s, San Francisco’s Chinatown was a nightlife destination, where celebrity sightings, if not full-on flirting opportunities, were commonplace.\u003c/p>\n\u003cp>The sidewalks bustled at 3 a.m. Busloads of tourists came through, and the neighborhood thrived with an array of glitzy supper clubs like \u003ca href=\"https://en.wikipedia.org/wiki/Forbidden_City_(nightclub)\" target=\"_blank\" rel=\"noopener noreferrer\">Forbidden City\u003c/a>, Chinese Sky Room and Club Mandalay, where you might run into the likes of Sinatra, Bing Crosby, Humphrey Bogart and Lauren Bacall.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The recently opened Showgirl Magic Museum aims to memorialize this glamorous past, with the support and from the viewpoint of the Asian American entertainers who put Chinatown on the international nightlife map.\u003c/p>\n\u003cp>“I was a dancer during the ’60s,” says museum founder and Clarion Performing Arts Center vice president Cynthia Yee. “And so it only made sense to me that I would try to bring back the history of Chinatown.”\u003c/p>\n\u003cfigure id=\"attachment_13904476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Showgirl Magic Museum in San Francisco’s Chinatown. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Asian Discrimination Abounds\u003c/strong>\u003c/p>\n\u003cp>Yee says discrimination against Asian residents in San Francisco was rampant during the days when the clubs flourished. Remnants of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Exclusion Act\u003c/a>, which barred many Chinese people from living and working in the U.S., were still in effect. Even the bands that played the Chinese nightclubs were predominantly white.\u003c/p>\n\u003cp>“In those days, the musicians union was very strong,” Yee says. “Chinese musicians were not allowed to join the union.”\u003c/p>\n\u003cp>There were especially few professional opportunities for women, Yee adds. The burgeoning Chinatown club scene gave some measure of financial independence to the young Asian American women who worked in these nightspots.\u003c/p>\n\u003cfigure id=\"attachment_13904480\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51844_cynthia-yee-ms-chinatown-1967-qut-800x1067.jpg\" alt=\"\" width=\"600\" height=\"772\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Yee as ‘Miss Chinatown,’ in 1967. \u003ccite>(Courtesy of Cynthia Yee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yee found herself hitting the road with famous dancer \u003ca href=\"https://www.washingtonpost.com/local/obituaries/dorothy-toy-dazzling-dancer-known-as-the-asian-ginger-rogers-dies-at-102/2019/07/27/73722096-b08b-11e9-bc5c-e73b603e7f38_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Toy\u003c/a> (a.k.a “The Asian Ginger Rogers”) as a teenager, after Toy—whose family owned the building in Chinatown where Yee lived as a child—needed to hire a replacement dancer for her troupe at short notice. Yee had been inspired by Toy to take dancing classes as a girl, and jumped at the tantalizing offer.\u003c/p>\n\u003cp>“We traveled throughout the United States, to the Caribbean, and Europe,” Yee says. “We used to run around in a checker limousine and it would hold 12 of us with all of our luggage and all of our wardrobe.”\u003c/p>\n\u003cp>Meanwhile, Chin got her start as a dancer after quitting a low-rung job at the stock exchange and facing few prospects except cafe or restaurant work. Chin says the clubs were clamoring for talent, and soon found herself treading the boards at Chinese Sky Room after responding to an ad she saw one day in a local paper.\u003c/p>\n\u003cp>“They hired me immediately because they couldn’t find too many Chinese girls who would be willing to reveal their legs in public,” Chin says.\u003c/p>\n\u003cfigure id=\"attachment_13904474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-800x568.jpg\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-1536x1090.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Advertising for ‘Toy and Wing’s Oriental Playgirl Revue’ at Chinese Sky Room, circa 1960s. Dorothy Toy and Paul Wing were famous dancers on San Francisco’s Chinese nightclub scene, which flourished from the 1930s to 60s. \u003ccite>(Courtesy Showgirl Magic Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many other Chinatown chorus girls, who performed three shows a night in skimpy sequined outfits before predominantly white audiences, Chin didn’t tell her family about her line of work.\u003c/p>\n\u003cp>“I kept it a secret for a long time,” she says.\u003c/p>\n\u003cp>Chin says her parents eventually found out when they saw her picture in the paper, by which time they didn’t have the will to do anything about it.\u003c/p>\n\u003cp>“By then it’s too late,” Chin says. “Because here I am earning a living and sending money home. And there’s no complaints there.”\u003c/p>\n\u003cp>Yee’s family, meanwhile, took a more benign view.\u003c/p>\n\u003cp>“Most families would shun at the idea of joining the show,” she says. “But I was lucky because Dorothy Toy had promised my mom that she would take care of me. And she did.”\u003c/p>\n\u003cp>\u003cstrong>A Scene in Decline\u003c/strong>\u003c/p>\n\u003cp>In the late 1960s, the elegant showgirls and big bands of Chinatown’s nightclubs started to fall out of fashion.\u003c/p>\n\u003cp>Chin and Yee blame the topless venues that started to proliferate in nearby North Beach, like the \u003ca href=\"https://en.wikipedia.org/wiki/Condor_Club\" target=\"_blank\" rel=\"noopener noreferrer\">Condor Club\u003c/a>, which became notorious after a cocktail waitress named \u003ca href=\"https://en.wikipedia.org/wiki/Carol_Doda\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Doda\u003c/a> first danced in a topless swimsuit in 1964.\u003c/p>\n\u003cfigure id=\"attachment_13904481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51838_pat-chin-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pat Chin chats with KQED at the Showgirl Magic Museum. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I guess people would rather go see the topless performers and go-go dancers who danced inside of cages on Broadway,” says Chin.\u003c/p>\n\u003cp>“It killed a lot of the business,” adds Yee.\u003c/p>\n\u003cp>Toughening zoning laws in the neighborhood also played a role in the dwindling of the scene.\u003c/p>\n\u003cp>[aside postid='arts_13914487']“The community leaders changed the zoning to protect Chinatown,” says \u003ca href=\"https://sfgov.org/entertainment/entertainment-representative-steven-lee\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Lee\u003c/a>, a member of \u003ca href=\"https://sf.gov/departments/city-administrator/entertainment-commission\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco’s Entertainment Commission\u003c/a> and the owner of \u003ca href=\"https://www.lionsdenbarandlounge.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lion’s Den Bar and Lounge\u003c/a>, one of very few new nightclubs to have opened in Chinatown in the last few years. “There was a lot of bars in Chinatown at the time and they didn’t want them to become strip clubs. They wanted to keep Chinatown historic. So after a while, the entertainment scene in Chinatown was near nothing.”\u003c/p>\n\u003cp>For decades, according to the San Francisco Entertainment Commission, entertainment could only be offered in the neighborhood in conjunction with an existing restaurant permit. That requirement was lifted as part of Chinatown’s zoning reorganization legislation in 2019, and Lee says he’s eager to see Chinatown’s nightlife scene spring back to life. Lion’s Den, which offers food as well as live music and DJs, opened its doors in March of this year.\u003c/p>\n\u003cp>“And that’s why I wanted to open Lion’s Den,” Lee says. “It’s trying to show that we can maybe help Chinatown a different way than just having a store selling back scratchers.”\u003c/p>\n\u003cfigure id=\"attachment_13904482\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13904482 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51845_lions-den-qut-e1633997514794-800x1067.jpg\" alt=\"\" width=\"600\" height=\"772\">\u003cfigcaption class=\"wp-caption-text\">Outside the Lion’s Den Bar and Lounge, one of very few new nightspots to have opened in Chinatown in recent years. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Chinatown’s Nightlife Prospects\u003c/strong>\u003c/p>\n\u003cp>Running a nightclub today is different than it was in the 1950s. There are parking issues, and car break-ins are on the rise. The yo-yoing COVID-19 restrictions of the past 18 months have added a further layer of challenges.\u003c/p>\n\u003cp>“People were starting to come out,” Lee says. But as soon as the Delta variant caused new restrictions, “tables were canceling and bands were canceling, because we’re requiring vaccine cards now.”\u003c/p>\n\u003cp>Then there’s the recent spate of racially motivated attacks against the local Asian population to contend with.\u003c/p>\n\u003cp>Former showgirl Chin, who’s now in her 80s and lives in the Richmond but spends a lot of time in her old neighborhood, says she misses the Chinatown of her youth—not just because of the bustle, but also because of its safety.\u003c/p>\n\u003cp>“It was so lovely then. I would go out at midnight just to pick up the \u003cem>Examiner\u003c/em> for my mother. So here I am, a little girl, about 9 or 10 years old, still walking the streets and it’s safe.” Chin says. “We didn’t have to worry about people hitting us over the head or robbing us.”\u003c/p>\n\u003cp>Not that this former chorus girl plans to stay home anytime soon.\u003c/p>\n\u003cp>Since 2004, Chin and Yee have been members of the \u003ca href=\"http://grantavenuefollies.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grant Avenue Follies\u003c/a>, a performance group that focuses on vintage tap dance routines. It’s a way of bringing back the glory days of the Chinatown nightclub scene, along with preserving its artifacts at the Showgirl Magic Museum.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_gzk0fQhV9I\u003c/p>\n\u003cp>Earlier this year the group made an artistic departure. They got political, creating a rap in response to racist attacks against Asian elders with impassioned lyrics like, \u003cem>“The elders are your teachers, the elders are your guides / When you mess with them, you’re committing suicide.”\u003c/em>\u003c/p>\n\u003cp>The high-energy video for the “Gai Mou Sou Rap” racked up over 80,000 views on YouTube and made the evening news.\u003c/p>\n\u003cp>“We want to show people that you can’t bully us,” Chin says. “Because we will fight back.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" 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>Learn \u003ca href=\"https://clarionmusic.com/showgirl-magic-museum/\" target=\"_blank\" rel=\"noopener noreferrer\">more about the Showgirl Magic Museum here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://clarionmusic.com/showgirl-magic-museum/\" target=\"_blank\" rel=\"noopener noreferrer\">Showgirl Magic Museum\u003c/a> occupies the basement of the \u003ca href=\"https://clarionmusic.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Clarion Performing Arts Center\u003c/a>, located down a back alley in San Francisco’s Chinatown. In the corner of the unassuming space, crammed with costumes, hats, jewelry and other memorabilia dedicated to the neighborhood’s nightclub history, there’s a photo of Pat Chin posing with Frank Sinatra.\u003c/p>\n\u003cp>“That picture was taken after he filmed \u003cem>Pal Joey\u003c/em> here in San Francisco,” says Chin, who worked as a chorus girl at Chinese Sky Room, one of around eight local nightspots, in the 1950s. “Sinatra rushed over to help me off the stage, lit my cigarette and did a lot of small talk. He was a complete gentleman.”\u003c/p>\n\u003cp>\u003cstrong>A Nightlife Destination\u003c/strong>\u003c/p>\n\u003cp>From the 1930s to the 1960s, San Francisco’s Chinatown was a nightlife destination, where celebrity sightings, if not full-on flirting opportunities, were commonplace.\u003c/p>\n\u003cp>The sidewalks bustled at 3 a.m. Busloads of tourists came through, and the neighborhood thrived with an array of glitzy supper clubs like \u003ca href=\"https://en.wikipedia.org/wiki/Forbidden_City_(nightclub)\" target=\"_blank\" rel=\"noopener noreferrer\">Forbidden City\u003c/a>, Chinese Sky Room and Club Mandalay, where you might run into the likes of Sinatra, Bing Crosby, Humphrey Bogart and Lauren Bacall.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The recently opened Showgirl Magic Museum aims to memorialize this glamorous past, with the support and from the viewpoint of the Asian American entertainers who put Chinatown on the international nightlife map.\u003c/p>\n\u003cp>“I was a dancer during the ’60s,” says museum founder and Clarion Performing Arts Center vice president Cynthia Yee. “And so it only made sense to me that I would try to bring back the history of Chinatown.”\u003c/p>\n\u003cfigure id=\"attachment_13904476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904476\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51835_IMG_5744-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the Showgirl Magic Museum in San Francisco’s Chinatown. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Asian Discrimination Abounds\u003c/strong>\u003c/p>\n\u003cp>Yee says discrimination against Asian residents in San Francisco was rampant during the days when the clubs flourished. Remnants of the \u003ca href=\"https://en.wikipedia.org/wiki/Chinese_Exclusion_Act\" target=\"_blank\" rel=\"noopener noreferrer\">Chinese Exclusion Act\u003c/a>, which barred many Chinese people from living and working in the U.S., were still in effect. Even the bands that played the Chinese nightclubs were predominantly white.\u003c/p>\n\u003cp>“In those days, the musicians union was very strong,” Yee says. “Chinese musicians were not allowed to join the union.”\u003c/p>\n\u003cp>There were especially few professional opportunities for women, Yee adds. The burgeoning Chinatown club scene gave some measure of financial independence to the young Asian American women who worked in these nightspots.\u003c/p>\n\u003cfigure id=\"attachment_13904480\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904480\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51844_cynthia-yee-ms-chinatown-1967-qut-800x1067.jpg\" alt=\"\" width=\"600\" height=\"772\">\u003cfigcaption class=\"wp-caption-text\">Cynthia Yee as ‘Miss Chinatown,’ in 1967. \u003ccite>(Courtesy of Cynthia Yee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Yee found herself hitting the road with famous dancer \u003ca href=\"https://www.washingtonpost.com/local/obituaries/dorothy-toy-dazzling-dancer-known-as-the-asian-ginger-rogers-dies-at-102/2019/07/27/73722096-b08b-11e9-bc5c-e73b603e7f38_story.html\" target=\"_blank\" rel=\"noopener noreferrer\">Dorothy Toy\u003c/a> (a.k.a “The Asian Ginger Rogers”) as a teenager, after Toy—whose family owned the building in Chinatown where Yee lived as a child—needed to hire a replacement dancer for her troupe at short notice. Yee had been inspired by Toy to take dancing classes as a girl, and jumped at the tantalizing offer.\u003c/p>\n\u003cp>“We traveled throughout the United States, to the Caribbean, and Europe,” Yee says. “We used to run around in a checker limousine and it would hold 12 of us with all of our luggage and all of our wardrobe.”\u003c/p>\n\u003cp>Meanwhile, Chin got her start as a dancer after quitting a low-rung job at the stock exchange and facing few prospects except cafe or restaurant work. Chin says the clubs were clamoring for talent, and soon found herself treading the boards at Chinese Sky Room after responding to an ad she saw one day in a local paper.\u003c/p>\n\u003cp>“They hired me immediately because they couldn’t find too many Chinese girls who would be willing to reveal their legs in public,” Chin says.\u003c/p>\n\u003cfigure id=\"attachment_13904474\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904474\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-800x568.jpg\" alt=\"\" width=\"800\" height=\"568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-800x568.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-1020x724.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-768x545.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut-1536x1090.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51840_Toy-and-Wings-Oriental-Playgirl-Revue-publicity-for-Chinese-Skyroom-Nightclub-circa-early-1960s-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Advertising for ‘Toy and Wing’s Oriental Playgirl Revue’ at Chinese Sky Room, circa 1960s. Dorothy Toy and Paul Wing were famous dancers on San Francisco’s Chinese nightclub scene, which flourished from the 1930s to 60s. \u003ccite>(Courtesy Showgirl Magic Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like many other Chinatown chorus girls, who performed three shows a night in skimpy sequined outfits before predominantly white audiences, Chin didn’t tell her family about her line of work.\u003c/p>\n\u003cp>“I kept it a secret for a long time,” she says.\u003c/p>\n\u003cp>Chin says her parents eventually found out when they saw her picture in the paper, by which time they didn’t have the will to do anything about it.\u003c/p>\n\u003cp>“By then it’s too late,” Chin says. “Because here I am earning a living and sending money home. And there’s no complaints there.”\u003c/p>\n\u003cp>Yee’s family, meanwhile, took a more benign view.\u003c/p>\n\u003cp>“Most families would shun at the idea of joining the show,” she says. “But I was lucky because Dorothy Toy had promised my mom that she would take care of me. And she did.”\u003c/p>\n\u003cp>\u003cstrong>A Scene in Decline\u003c/strong>\u003c/p>\n\u003cp>In the late 1960s, the elegant showgirls and big bands of Chinatown’s nightclubs started to fall out of fashion.\u003c/p>\n\u003cp>Chin and Yee blame the topless venues that started to proliferate in nearby North Beach, like the \u003ca href=\"https://en.wikipedia.org/wiki/Condor_Club\" target=\"_blank\" rel=\"noopener noreferrer\">Condor Club\u003c/a>, which became notorious after a cocktail waitress named \u003ca href=\"https://en.wikipedia.org/wiki/Carol_Doda\" target=\"_blank\" rel=\"noopener noreferrer\">Carol Doda\u003c/a> first danced in a topless swimsuit in 1964.\u003c/p>\n\u003cfigure id=\"attachment_13904481\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13904481\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51838_pat-chin-qut-800x600.jpg\" alt=\"\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/10/RS51838_pat-chin-qut.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pat Chin chats with KQED at the Showgirl Magic Museum. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I guess people would rather go see the topless performers and go-go dancers who danced inside of cages on Broadway,” says Chin.\u003c/p>\n\u003cp>“It killed a lot of the business,” adds Yee.\u003c/p>\n\u003cp>Toughening zoning laws in the neighborhood also played a role in the dwindling of the scene.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The community leaders changed the zoning to protect Chinatown,” says \u003ca href=\"https://sfgov.org/entertainment/entertainment-representative-steven-lee\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Lee\u003c/a>, a member of \u003ca href=\"https://sf.gov/departments/city-administrator/entertainment-commission\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco’s Entertainment Commission\u003c/a> and the owner of \u003ca href=\"https://www.lionsdenbarandlounge.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Lion’s Den Bar and Lounge\u003c/a>, one of very few new nightclubs to have opened in Chinatown in the last few years. “There was a lot of bars in Chinatown at the time and they didn’t want them to become strip clubs. They wanted to keep Chinatown historic. So after a while, the entertainment scene in Chinatown was near nothing.”\u003c/p>\n\u003cp>For decades, according to the San Francisco Entertainment Commission, entertainment could only be offered in the neighborhood in conjunction with an existing restaurant permit. That requirement was lifted as part of Chinatown’s zoning reorganization legislation in 2019, and Lee says he’s eager to see Chinatown’s nightlife scene spring back to life. Lion’s Den, which offers food as well as live music and DJs, opened its doors in March of this year.\u003c/p>\n\u003cp>“And that’s why I wanted to open Lion’s Den,” Lee says. “It’s trying to show that we can maybe help Chinatown a different way than just having a store selling back scratchers.”\u003c/p>\n\u003cfigure id=\"attachment_13904482\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13904482 size-medium\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/10/RS51845_lions-den-qut-e1633997514794-800x1067.jpg\" alt=\"\" width=\"600\" height=\"772\">\u003cfigcaption class=\"wp-caption-text\">Outside the Lion’s Den Bar and Lounge, one of very few new nightspots to have opened in Chinatown in recent years. \u003ccite>(Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Chinatown’s Nightlife Prospects\u003c/strong>\u003c/p>\n\u003cp>Running a nightclub today is different than it was in the 1950s. There are parking issues, and car break-ins are on the rise. The yo-yoing COVID-19 restrictions of the past 18 months have added a further layer of challenges.\u003c/p>\n\u003cp>“People were starting to come out,” Lee says. But as soon as the Delta variant caused new restrictions, “tables were canceling and bands were canceling, because we’re requiring vaccine cards now.”\u003c/p>\n\u003cp>Then there’s the recent spate of racially motivated attacks against the local Asian population to contend with.\u003c/p>\n\u003cp>Former showgirl Chin, who’s now in her 80s and lives in the Richmond but spends a lot of time in her old neighborhood, says she misses the Chinatown of her youth—not just because of the bustle, but also because of its safety.\u003c/p>\n\u003cp>“It was so lovely then. I would go out at midnight just to pick up the \u003cem>Examiner\u003c/em> for my mother. So here I am, a little girl, about 9 or 10 years old, still walking the streets and it’s safe.” Chin says. “We didn’t have to worry about people hitting us over the head or robbing us.”\u003c/p>\n\u003cp>Not that this former chorus girl plans to stay home anytime soon.\u003c/p>\n\u003cp>Since 2004, Chin and Yee have been members of the \u003ca href=\"http://grantavenuefollies.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Grant Avenue Follies\u003c/a>, a performance group that focuses on vintage tap dance routines. It’s a way of bringing back the glory days of the Chinatown nightclub scene, along with preserving its artifacts at the Showgirl Magic Museum.\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/_gzk0fQhV9I'\n title='//www.youtube.com/embed/_gzk0fQhV9I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Earlier this year the group made an artistic departure. They got political, creating a rap in response to racist attacks against Asian elders with impassioned lyrics like, \u003cem>“The elders are your teachers, the elders are your guides / When you mess with them, you’re committing suicide.”\u003c/em>\u003c/p>\n\u003cp>The high-energy video for the “Gai Mou Sou Rap” racked up over 80,000 views on YouTube and made the evening news.\u003c/p>\n\u003cp>“We want to show people that you can’t bully us,” Chin says. “Because we will fight back.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" 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>Learn \u003ca href=\"https://clarionmusic.com/showgirl-magic-museum/\" target=\"_blank\" rel=\"noopener noreferrer\">more about the Showgirl Magic Museum here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Judge Suspends Britney Spears' Dad From Her Conservatorship",
"headTitle": "A Judge Suspends Britney Spears’ Dad From Her Conservatorship | KQED",
"content": "\u003cp>Pop star Britney Spears has been living under a legal conservatorship that has controlled every aspect of her life since 2008. For much of that time, all decisions about her personal, medical and financial situation have been completely controlled by her father, Jamie Spears, who initiated the conservatorship 13 years ago—and whom the singer has accused of exploiting her.\u003c/p>\n\u003cp>At Los Angeles Superior Court Wednesday afternoon, Judge Brenda J. Penny decided to suspend Mr. Spears as the conservator of his daughter’s estate. John Zabel, a certified public accountant, will step into that role for now.\u003c/p>\n\u003cp>With this ruling, Judge Penny granted Britney Spears’ most adamant request: to remove her father immediately. According to AP, the judge said during the hearing, “The current arrangement is untenable. It reflects a toxic environment which requires the suspension of James Spears.”\u003c/p>\n\u003cp>[aside postid='arts_13899317']Since 2019, the conservator of Ms. Spears’ person—that is, the individual looking after her personal decisions and day-to-day life—has been a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a>. (In her own court filings, Montgomery has argued that her decisions are ultimately controlled by Jamie Spears, since he is responsible for paying his daughter’s bills and expenses.)\u003c/p>\n\u003cp>In July, Spears herself spoke to the court by telephone at a hearing, asking for the conservatorship to be terminated without having to undergo any further medical evaluation. In those comments, which went viral instantly, Spears accused her father of abusing her, saying she was being exploited and “bullied” by the conservatorship—and particularly by her father.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Less than a week after Spears gave her emotional statement in court, Judge Penny \u003ca href=\"https://www.npr.org/2021/06/30/1012027100/judge-denies-britney-spears-request-father-removed-conservator\" target=\"_blank\" rel=\"noopener noreferrer\">denied\u003c/a> the singer’s request to have Jamie Spears removed as conservator of her finances. Since 2019, Jamie Spears has retained control of her estate, while a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a> has been responsible for the singer’s “person”—that is, her day-to-day life and personal decisions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13902687/britney-spears-father-has-filed-a-petition-to-end-her-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">Last month\u003c/a>, Spears’ father said in a court filing that he was willing to step down. However, he did not provide a timeline, instead stating only he would do so “when the time is right.”\u003c/p>\n\u003cp>Britney Spears’ current attorney, Mathew Rosengart, has been pushing vociferously for her father to be removed immediately, and for the conservatorship to be \u003ca href=\"https://www.npr.org/2021/09/22/1039850881/britney-spears-jamie-spears-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">terminated completely\u003c/a>. Rosengart has argued in court filings that his position has been bolstered by a raft of investigative reporting in recent months, including in two \u003cem>New York Times\u003c/em> documentaries available on Hulu: \u003cem>Framing Britney Spears\u003c/em> and \u003cem>Controlling Britney Spears\u003c/em>.\u003c/p>\n\u003cp>[aside postID='arts_13903795,pop_111253']The second \u003cem>Times \u003c/em>documentary premiered last Friday, just days before Wednesday’s hearing. It featured a former cybersecurity specialist on Spears’ security team \u003ca href=\"https://www.kqed.org/arts/13903795/britney-spears-conservatorship-documentaries\" target=\"_blank\" rel=\"noopener noreferrer\">alleging\u003c/a> that the security company for which he worked surveilled the pop star at her father’s request by installing listening devices in her bedroom at her California home and mirroring all her text and phone communications. According to the \u003ca href=\"https://www.nytimes.com/2021/09/24/arts/music/britney-spears-conservatorship-documentary.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Times\u003c/em>\u003c/a>, that surveillance captured conversations Spears had with her former attorney as well as with her children, boyfriend and mother.\u003c/p>\n\u003cp>In a court filing Monday, Rosengart wrote: “Mr. Spears has crossed unfathomable lines. While they are not evidence, the allegations warrant serious investigation, certainly by Ms. Spears as, among other things, California is a ‘two-party’ consent state.”\u003c/p>\n\u003cp>In an earlier filing, Rosengart said that over the past 13 years, the elder Spears appears to have “profited handsomely” from being his daughter’s conservator. Rosengart has also asserted that “serious questions abound concerning Mr. Spears’s potential misconduct, including conflicts of interest, conservatorship abuse and the evident dissipation of Ms. Spears’s fortune.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jamie Spears has repeatedly defended his decisions regarding his daughter and her estate. In a filing earlier this month, his lawyer, Vivian L. Thoreen wrote: “As Mr. Spears has said again and again, all he wants is what’s best for his daughter. If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Judge+Suspends+Britney+Spears%27+Dad+From+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Judge Brenda Penny just suspended Jamie Spears from controlling Britney's financial affairs. The #FreeBritney folks are elated.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pop star Britney Spears has been living under a legal conservatorship that has controlled every aspect of her life since 2008. For much of that time, all decisions about her personal, medical and financial situation have been completely controlled by her father, Jamie Spears, who initiated the conservatorship 13 years ago—and whom the singer has accused of exploiting her.\u003c/p>\n\u003cp>At Los Angeles Superior Court Wednesday afternoon, Judge Brenda J. Penny decided to suspend Mr. Spears as the conservator of his daughter’s estate. John Zabel, a certified public accountant, will step into that role for now.\u003c/p>\n\u003cp>With this ruling, Judge Penny granted Britney Spears’ most adamant request: to remove her father immediately. According to AP, the judge said during the hearing, “The current arrangement is untenable. It reflects a toxic environment which requires the suspension of James Spears.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Since 2019, the conservator of Ms. Spears’ person—that is, the individual looking after her personal decisions and day-to-day life—has been a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a>. (In her own court filings, Montgomery has argued that her decisions are ultimately controlled by Jamie Spears, since he is responsible for paying his daughter’s bills and expenses.)\u003c/p>\n\u003cp>In July, Spears herself spoke to the court by telephone at a hearing, asking for the conservatorship to be terminated without having to undergo any further medical evaluation. In those comments, which went viral instantly, Spears accused her father of abusing her, saying she was being exploited and “bullied” by the conservatorship—and particularly by her father.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Less than a week after Spears gave her emotional statement in court, Judge Penny \u003ca href=\"https://www.npr.org/2021/06/30/1012027100/judge-denies-britney-spears-request-father-removed-conservator\" target=\"_blank\" rel=\"noopener noreferrer\">denied\u003c/a> the singer’s request to have Jamie Spears removed as conservator of her finances. Since 2019, Jamie Spears has retained control of her estate, while a licensed personal fiduciary and care professional named \u003ca href=\"https://www.npr.org/2021/07/14/1015674045/britney-spears-conservatorship-is-back-in-court-whos-who-and-what-they-want\" target=\"_blank\" rel=\"noopener noreferrer\">Jodi Montgomery\u003c/a> has been responsible for the singer’s “person”—that is, her day-to-day life and personal decisions.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13902687/britney-spears-father-has-filed-a-petition-to-end-her-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">Last month\u003c/a>, Spears’ father said in a court filing that he was willing to step down. However, he did not provide a timeline, instead stating only he would do so “when the time is right.”\u003c/p>\n\u003cp>Britney Spears’ current attorney, Mathew Rosengart, has been pushing vociferously for her father to be removed immediately, and for the conservatorship to be \u003ca href=\"https://www.npr.org/2021/09/22/1039850881/britney-spears-jamie-spears-conservatorship\" target=\"_blank\" rel=\"noopener noreferrer\">terminated completely\u003c/a>. Rosengart has argued in court filings that his position has been bolstered by a raft of investigative reporting in recent months, including in two \u003cem>New York Times\u003c/em> documentaries available on Hulu: \u003cem>Framing Britney Spears\u003c/em> and \u003cem>Controlling Britney Spears\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The second \u003cem>Times \u003c/em>documentary premiered last Friday, just days before Wednesday’s hearing. It featured a former cybersecurity specialist on Spears’ security team \u003ca href=\"https://www.kqed.org/arts/13903795/britney-spears-conservatorship-documentaries\" target=\"_blank\" rel=\"noopener noreferrer\">alleging\u003c/a> that the security company for which he worked surveilled the pop star at her father’s request by installing listening devices in her bedroom at her California home and mirroring all her text and phone communications. According to the \u003ca href=\"https://www.nytimes.com/2021/09/24/arts/music/britney-spears-conservatorship-documentary.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Times\u003c/em>\u003c/a>, that surveillance captured conversations Spears had with her former attorney as well as with her children, boyfriend and mother.\u003c/p>\n\u003cp>In a court filing Monday, Rosengart wrote: “Mr. Spears has crossed unfathomable lines. While they are not evidence, the allegations warrant serious investigation, certainly by Ms. Spears as, among other things, California is a ‘two-party’ consent state.”\u003c/p>\n\u003cp>In an earlier filing, Rosengart said that over the past 13 years, the elder Spears appears to have “profited handsomely” from being his daughter’s conservator. Rosengart has also asserted that “serious questions abound concerning Mr. Spears’s potential misconduct, including conflicts of interest, conservatorship abuse and the evident dissipation of Ms. Spears’s fortune.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Jamie Spears has repeatedly defended his decisions regarding his daughter and her estate. In a filing earlier this month, his lawyer, Vivian L. Thoreen wrote: “As Mr. Spears has said again and again, all he wants is what’s best for his daughter. If Ms. Spears wants to terminate the conservatorship and believes that she can handle her own life, Mr. Spears believes that she should get that chance.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Judge+Suspends+Britney+Spears%27+Dad+From+Her+Conservatorship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Everything We Just Learned From ‘Controlling Britney Spears’ and ‘Britney vs Spears’",
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"content": "\u003cp>Not since her high profile breakdown in 2008 has Britney Spears received so much media attention. Last Friday, \u003cem>Controlling Britney Spears\u003c/em>—the follow-up to the \u003cem>New York Times\u003c/em>’ bombshell \u003cem>Framing Britney Spears\u003c/em> investigative film—premiered on Hulu. And on Tuesday morning, a 93-minute documentary titled \u003cem>Britney vs Spears\u003c/em> emerged on Netflix.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Z920uNiv1Eg\u003c/p>\n\u003cp>Between the two films—in addition to Britney’s recent statements in court—the public now has a fairly exhaustive view of what Britney’s life has been like since her initially temporary conservatorship was put in place on Feb. 1, 2008. It was made permanent in 2009, leaving her father Jamie in control of Britney’s career and assets. What is now clear is that the conservatorship was a great deal more restrictive than previously thought, Britney has been unhappy living under it from the very beginning, and her trust was violated on innumerable occasions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SgFDWK_sf9c\u003c/p>\n\u003cp>Here are the key revelations from both \u003cem>Controlling Britney Spears\u003c/em>, and \u003cem>Britney vs Spears\u003c/em>. While both documentaries contain shocking assertions, they also serve on many levels to back each other up.\u003c/p>\n\u003ch2>Accounts of surveillance\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Alex Vlasov is a former employee of Black Box, the company Jamie Spears hired to provide security to Britney. Vlasov says that Britney had to ask permission to get an iPhone and when she did, Jamie put parental controls on it. In addition, Vlasov says an iPad was set up and linked to Britney’s iPhone in order to monitor her private texts, calls and internet use. Vlasov says even conversations between Britney and her mom and lawyer were monitored.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It didn’t feel like she was being treated like a human being,” Vlasov says. “Ethically, it was one big mess.”\u003c/p>\n\u003cp>Most shocking of all, Vlasov claims that the head of the star’s security team, Edan Yemini, put a recording device into Britney’s bedroom and recorded 180 hours of audio. Vlasov says he was later asked to erase the audio, but made a copy because he didn’t want to be complicit in anything illegal.\u003c/p>\n\u003cp>[aside postid='arts_13902687']Tish Yates was Britney’s head of wardrobe for seven years, 2008–10 and 2013–18. She says the person she saw exert the most control over Britney was Robin Greenhill from Tri Star Sports and Entertainment Group—the business management company Jamie also put in place to handle Britney’s affairs. This extended to the food she ate. “I had to have Robin’s approval before I spoke with Britney about a question Britney had,” Yates notes.\u003c/p>\n\u003cp>The film claims that, at one point, Britney attempted to get a new attorney to come to her house disguised as a plumber, so she could get him past the gates. That conversation was monitored, so she was ultimately unable to meet with him.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery, a cinematographer and friend to Britney, says that Britney asked him for help repeatedly, and that this often involved using his phone. At one point, after Kevin Federline did an interview with \u003cem>People\u003c/em> magazine, Britney wanted to tell her side of the story but was forbidden to do so. Instead, Gallery explains, she wrote a letter and asked him to read it publicly. Jamie got wind of this and put a stop to it, but Gallery had already taken photos of the letter.\u003c/p>\n\u003cp>It read, in part: “[Britney] would love for new eyes to see her situation, but if she brings it up, she’s constantly threatened that the conservators will take her kids away.”\u003c/p>\n\u003cp>“I always felt bad for her,” Gallery says during \u003cem>Britney vs Spears\u003c/em>. “That this was her reality and her world. All she wanted to do was respond to an article.”\u003c/p>\n\u003ch2>Like ‘someone who was in prison’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Vlasov claims that Britney’s medication was doled out to her on a schedule and she was not allowed to leave the room until she had taken it in front of someone. “It really reminded me of someone who was in prison,” Vlasov said. “Security was put in place to be the prison guards, essentially.”\u003c/p>\n\u003cp>Yates details an occasion when she used her wardrobe budget to buy Britney a pair of Sketchers she liked. The star’s management wouldn’t allow Britney to spend her own money on the sneakers.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> In documents obtained by the filmmakers, Jason Trawick—Britney’s former agent turned fiancé—details having to ask permission every time the couple wanted to go out to eat or go for a drive. He talked about Britney having to wait for days even to obtain permission to buy books for her kids.\u003c/p>\n\u003cp>[aside postid='pop_111253']The Netflix documentary also details that, when the conservatorship was made permanent in 2009, Jamie was granted the power to cancel Britney’s credit cards. He was also given absolute power over Britney’s career choices, once they had been “approved by her medical team.” Despite this, Britney would later become a judge on the \u003cem>X Factor\u003c/em> TV show, despite serious objections by her medical team. A compromise was eventually met between her doctors and management.\u003c/p>\n\u003ch2>‘She was kept very isolated’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates says she was so concerned about Britney being repeatedly cut off from those closest to her that at one point she gave the pop star a Tiffany’s necklace that had Yates’ phone number engraved on the back.\u003c/p>\n\u003cp>Felicia Culotta acted as Britney’s assistant for 16 years (1998–2007 and 2009–2016). She says that towards the end of her time touring with Britney, she was told in no uncertain terms that Britney no longer wanted her around. Culotta actively stayed out of the singer’s way on the road as a result. When they finally found themselves in the same room together, Culotta explains, Britney was elated to see her and completely baffled as to why they hadn’t been spending time together.\u003c/p>\n\u003cp>Dan George, Britney’s 2008 tour manager, notes: “She was kept very isolated.”\u003c/p>\n\u003cp>Claims are made by multiple sources that all of Britney’s boyfriends since the conservatorship started have been forced to sign NDAs. Britney is also seen admitting in an interview that Jamie ran a background check on at least one of them.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery says that once it was clear that he and Britney had developed a close relationship, he was cut off by those around her.\u003c/p>\n\u003cp>Adnan Ghalib, the paparazzi photographer who dated Britney during her divorce from Kevin Federline, explains how pushing her loved ones out of the picture became the norm. He also paints a frightening picture of the start of the conservatorship.\u003c/p>\n\u003cp>“It was always so extreme,” he says. “Let me explain to you how fucking devastating it was for me to pull up at the gates and there’s her father standing there, four of the security, and two officers… And she freaks out… And she looks at me. I’m supposed to be the one that protects her. And I’m trying to calm her down. I cannot. I’m trying to explain to her, ‘He is your conservator. Without his permission… [essentially] I’ve kidnapped you.’”\u003c/p>\n\u003cp>Culotta is less forthright in the Netflix doc, but when asked about Jamie, she wrinkles up her nose and says, “I don’t wanna talk about her daddy.”\u003c/p>\n\u003ch2>‘My father has threatened me’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The filmmakers unearthed a 2009 voicemail to an attorney in which Britney makes her position clear. “During the process of eliminating the conservatorship,” she says, “my father has threatened me several times that he will take my children away. I just wanted to guarantee that everything will be fine.”\u003c/p>\n\u003cp>[aside postid='arts_13899317']That same year, Ghalib and Britney’s former manager Sam Lutfi, aware that Britney wanted to hire her own lawyer and was being prevented from doing so, hatched a plan. They contacted Jenny Eliscu—a \u003cem>Rolling Stone\u003c/em> reporter and one of the producers on \u003cem>Britney vs Spears\u003c/em>—to get paperwork to Britney. Eliscu met Britney in the bathroom of the Montage Hotel in Beverly Hills, so Britney could sign documents requesting the right to hire her own attorney.\u003c/p>\n\u003cp>“She definitely seemed scared,” Eliscu says. “It was hard to tell because I was so scared, but she was appreciative. Which is so classic her… in that moment to be scared, but also grateful.”\u003c/p>\n\u003cp>The signed document expressed Britney’s lack of confidence in her court-appointed attorney Sam Ingham, and stated: “Certainly, this woman who can complete two new CDs and be set to go on a national tour has sufficient capacity, after nearly one year of a protective conservatorship, to retain counsel of her choice, and in whom she has confidence.”\u003c/p>\n\u003cp>Despite this, the court decided that Britney did not have the capacity to choose her own attorney. This was the second time the court decided Britney did not have capacity to choose her own attorney. San Ingham was installed as her representative in place of Britney’s chosen attorney, Adam Streisand.\u003c/p>\n\u003ch2>‘Jamie wasn’t with us’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Britney vs. Spears\u003c/em>:\u003c/strong> Culotta says, “Jamie wasn’t with us very often. Hardly ever.”\u003c/p>\n\u003cp>Ghalib says during his relationship with her in 2008, Britney didn’t trust anyone in her family, “and that [was] a very scary, dark place to be.”\u003c/p>\n\u003cp>Lutfi says that Jamie was involved “not at all.” Lufti was also under the impression that father and daughter were estranged “for years.”\u003c/p>\n\u003ch2>Stories of drugs as crutches and weapons\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates talks of an incident when Britney smelled weed in the audience as she was about to go on stage one night. Yates says Britney ran in a blind panic back to her dressing room, in tears, and told Yates she was terrified that if the smoke got into her system, her children would be taken away.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Ghalib says that during the time of her divorce from Kevin Federline, Britney was taking Adderall. “I’m sure X-amount of millions of people are taking Adderall,” he says, “but these are the things that become volatile and deadly weapons when you’re going through a child custody case.” He also said he was scared for both Britney and himself during that period. “It’s hard to stay up for three days,” he says, “but you have that fear—and it’s a very real fear—that if anything happens to her, they’re just gonna blame you.”\u003c/p>\n\u003cp>[aside postid='arts_13901695']An inside source leaked thousands of documents to the filmmakers. One, a report by a doctor who resigned from Britney’s case in 2013, suggests the amount of medication Britney took was increased on the days she was working. One section says: “Jamie and others on the team valued the benefits of stimulants for Britney’s performance. This has been the case for both of her tours, and for her participation on \u003cem>X Factor\u003c/em>. By the same token, Jamie wanted Britney not to take stimulants. This contradiction has not been resolved.”\u003c/p>\n\u003cp>Lutfi, who was accused years ago of drugging Britney without her knowledge says, “You have 100 blood tests and drug tests the entire time I was with her and she passed every single one of them.”\u003c/p>\n\u003ch2>Who ‘stands to make a cut’?\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Tish Yates describes a pattern of tours being extended and shows being added at a relentless pace. She says breaks were basically nonexistent. Yates also says Britney’s concerns and needs were ignored. “Whenever she brought up something that was disturbing her, she’d always be dismissed.” Yates says Britney was consistently told, “‘You don’t need to ask these questions because it’s none of your business.’”\u003c/p>\n\u003cp>\u003cem>New York Times\u003c/em> journalist Liz Day points out that the standard in California for conservatorship is someone who is unable to feed, clothe or shelter themselves. “But,” she says, “Britney began working again almost immediately after the conservatorship starts.”\u003c/p>\n\u003cp>Day subsequently reports: “According to court records, Tri Star was getting five percent of Britney’s gross income. And Jamie is making $16,000 a month plus a percent of Britney’s multi-million-dollar deals. So, if her father Jamie as conservator enters into a deal for her, is that because it’s in Britney’s best interest? Or because everyone involved stands to make a cut?”\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The Netflix documentary goes even further, getting into specifics about how much Jamie has profited off his daughter since the conservatorship started. According to the film, the 2009 conservatorship terms included buying him a car. Jamie has since earned $2.1 million from tour revenues alone. The documentary says Jamie grants Britney an $8,000-per-month allowance—half of what he pays himself. Her \u003cem>Piece of Me\u003c/em> residency in Las Vegas and accompanying 2018 tour brought in $192 million in box office sales.\u003c/p>\n\u003cp>On Monday, a post on Britney’s Instagram page appeared to make objections to \u003cem>Controlling Britney Spears\u003c/em>. (\u003cem>Britney vs. Spears\u003c/em> had not yet premiered.)\u003c/p>\n\u003cp>https://www.instagram.com/p/CUWBw4TM6Np/\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Many of the 8,000-plus comments underneath the post openly questioned whether Britney made the post herself. Several stated: “Free Britney! This isn’t her.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Not since her high profile breakdown in 2008 has Britney Spears received so much media attention. Last Friday, \u003cem>Controlling Britney Spears\u003c/em>—the follow-up to the \u003cem>New York Times\u003c/em>’ bombshell \u003cem>Framing Britney Spears\u003c/em> investigative film—premiered on Hulu. And on Tuesday morning, a 93-minute documentary titled \u003cem>Britney vs Spears\u003c/em> emerged on Netflix.\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/Z920uNiv1Eg'\n title='//www.youtube.com/embed/Z920uNiv1Eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Between the two films—in addition to Britney’s recent statements in court—the public now has a fairly exhaustive view of what Britney’s life has been like since her initially temporary conservatorship was put in place on Feb. 1, 2008. It was made permanent in 2009, leaving her father Jamie in control of Britney’s career and assets. What is now clear is that the conservatorship was a great deal more restrictive than previously thought, Britney has been unhappy living under it from the very beginning, and her trust was violated on innumerable occasions.\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/SgFDWK_sf9c'\n title='//www.youtube.com/embed/SgFDWK_sf9c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here are the key revelations from both \u003cem>Controlling Britney Spears\u003c/em>, and \u003cem>Britney vs Spears\u003c/em>. While both documentaries contain shocking assertions, they also serve on many levels to back each other up.\u003c/p>\n\u003ch2>Accounts of surveillance\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Alex Vlasov is a former employee of Black Box, the company Jamie Spears hired to provide security to Britney. Vlasov says that Britney had to ask permission to get an iPhone and when she did, Jamie put parental controls on it. In addition, Vlasov says an iPad was set up and linked to Britney’s iPhone in order to monitor her private texts, calls and internet use. Vlasov says even conversations between Britney and her mom and lawyer were monitored.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It didn’t feel like she was being treated like a human being,” Vlasov says. “Ethically, it was one big mess.”\u003c/p>\n\u003cp>Most shocking of all, Vlasov claims that the head of the star’s security team, Edan Yemini, put a recording device into Britney’s bedroom and recorded 180 hours of audio. Vlasov says he was later asked to erase the audio, but made a copy because he didn’t want to be complicit in anything illegal.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Tish Yates was Britney’s head of wardrobe for seven years, 2008–10 and 2013–18. She says the person she saw exert the most control over Britney was Robin Greenhill from Tri Star Sports and Entertainment Group—the business management company Jamie also put in place to handle Britney’s affairs. This extended to the food she ate. “I had to have Robin’s approval before I spoke with Britney about a question Britney had,” Yates notes.\u003c/p>\n\u003cp>The film claims that, at one point, Britney attempted to get a new attorney to come to her house disguised as a plumber, so she could get him past the gates. That conversation was monitored, so she was ultimately unable to meet with him.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery, a cinematographer and friend to Britney, says that Britney asked him for help repeatedly, and that this often involved using his phone. At one point, after Kevin Federline did an interview with \u003cem>People\u003c/em> magazine, Britney wanted to tell her side of the story but was forbidden to do so. Instead, Gallery explains, she wrote a letter and asked him to read it publicly. Jamie got wind of this and put a stop to it, but Gallery had already taken photos of the letter.\u003c/p>\n\u003cp>It read, in part: “[Britney] would love for new eyes to see her situation, but if she brings it up, she’s constantly threatened that the conservators will take her kids away.”\u003c/p>\n\u003cp>“I always felt bad for her,” Gallery says during \u003cem>Britney vs Spears\u003c/em>. “That this was her reality and her world. All she wanted to do was respond to an article.”\u003c/p>\n\u003ch2>Like ‘someone who was in prison’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Vlasov claims that Britney’s medication was doled out to her on a schedule and she was not allowed to leave the room until she had taken it in front of someone. “It really reminded me of someone who was in prison,” Vlasov said. “Security was put in place to be the prison guards, essentially.”\u003c/p>\n\u003cp>Yates details an occasion when she used her wardrobe budget to buy Britney a pair of Sketchers she liked. The star’s management wouldn’t allow Britney to spend her own money on the sneakers.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> In documents obtained by the filmmakers, Jason Trawick—Britney’s former agent turned fiancé—details having to ask permission every time the couple wanted to go out to eat or go for a drive. He talked about Britney having to wait for days even to obtain permission to buy books for her kids.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Netflix documentary also details that, when the conservatorship was made permanent in 2009, Jamie was granted the power to cancel Britney’s credit cards. He was also given absolute power over Britney’s career choices, once they had been “approved by her medical team.” Despite this, Britney would later become a judge on the \u003cem>X Factor\u003c/em> TV show, despite serious objections by her medical team. A compromise was eventually met between her doctors and management.\u003c/p>\n\u003ch2>‘She was kept very isolated’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates says she was so concerned about Britney being repeatedly cut off from those closest to her that at one point she gave the pop star a Tiffany’s necklace that had Yates’ phone number engraved on the back.\u003c/p>\n\u003cp>Felicia Culotta acted as Britney’s assistant for 16 years (1998–2007 and 2009–2016). She says that towards the end of her time touring with Britney, she was told in no uncertain terms that Britney no longer wanted her around. Culotta actively stayed out of the singer’s way on the road as a result. When they finally found themselves in the same room together, Culotta explains, Britney was elated to see her and completely baffled as to why they hadn’t been spending time together.\u003c/p>\n\u003cp>Dan George, Britney’s 2008 tour manager, notes: “She was kept very isolated.”\u003c/p>\n\u003cp>Claims are made by multiple sources that all of Britney’s boyfriends since the conservatorship started have been forced to sign NDAs. Britney is also seen admitting in an interview that Jamie ran a background check on at least one of them.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Andrew Gallery says that once it was clear that he and Britney had developed a close relationship, he was cut off by those around her.\u003c/p>\n\u003cp>Adnan Ghalib, the paparazzi photographer who dated Britney during her divorce from Kevin Federline, explains how pushing her loved ones out of the picture became the norm. He also paints a frightening picture of the start of the conservatorship.\u003c/p>\n\u003cp>“It was always so extreme,” he says. “Let me explain to you how fucking devastating it was for me to pull up at the gates and there’s her father standing there, four of the security, and two officers… And she freaks out… And she looks at me. I’m supposed to be the one that protects her. And I’m trying to calm her down. I cannot. I’m trying to explain to her, ‘He is your conservator. Without his permission… [essentially] I’ve kidnapped you.’”\u003c/p>\n\u003cp>Culotta is less forthright in the Netflix doc, but when asked about Jamie, she wrinkles up her nose and says, “I don’t wanna talk about her daddy.”\u003c/p>\n\u003ch2>‘My father has threatened me’\u003c/h2>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The filmmakers unearthed a 2009 voicemail to an attorney in which Britney makes her position clear. “During the process of eliminating the conservatorship,” she says, “my father has threatened me several times that he will take my children away. I just wanted to guarantee that everything will be fine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That same year, Ghalib and Britney’s former manager Sam Lutfi, aware that Britney wanted to hire her own lawyer and was being prevented from doing so, hatched a plan. They contacted Jenny Eliscu—a \u003cem>Rolling Stone\u003c/em> reporter and one of the producers on \u003cem>Britney vs Spears\u003c/em>—to get paperwork to Britney. Eliscu met Britney in the bathroom of the Montage Hotel in Beverly Hills, so Britney could sign documents requesting the right to hire her own attorney.\u003c/p>\n\u003cp>“She definitely seemed scared,” Eliscu says. “It was hard to tell because I was so scared, but she was appreciative. Which is so classic her… in that moment to be scared, but also grateful.”\u003c/p>\n\u003cp>The signed document expressed Britney’s lack of confidence in her court-appointed attorney Sam Ingham, and stated: “Certainly, this woman who can complete two new CDs and be set to go on a national tour has sufficient capacity, after nearly one year of a protective conservatorship, to retain counsel of her choice, and in whom she has confidence.”\u003c/p>\n\u003cp>Despite this, the court decided that Britney did not have the capacity to choose her own attorney. This was the second time the court decided Britney did not have capacity to choose her own attorney. San Ingham was installed as her representative in place of Britney’s chosen attorney, Adam Streisand.\u003c/p>\n\u003ch2>‘Jamie wasn’t with us’\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Britney vs. Spears\u003c/em>:\u003c/strong> Culotta says, “Jamie wasn’t with us very often. Hardly ever.”\u003c/p>\n\u003cp>Ghalib says during his relationship with her in 2008, Britney didn’t trust anyone in her family, “and that [was] a very scary, dark place to be.”\u003c/p>\n\u003cp>Lutfi says that Jamie was involved “not at all.” Lufti was also under the impression that father and daughter were estranged “for years.”\u003c/p>\n\u003ch2>Stories of drugs as crutches and weapons\u003c/h2>\n\u003cp>\u003cstrong>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/strong> Tish Yates talks of an incident when Britney smelled weed in the audience as she was about to go on stage one night. Yates says Britney ran in a blind panic back to her dressing room, in tears, and told Yates she was terrified that if the smoke got into her system, her children would be taken away.\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> Ghalib says that during the time of her divorce from Kevin Federline, Britney was taking Adderall. “I’m sure X-amount of millions of people are taking Adderall,” he says, “but these are the things that become volatile and deadly weapons when you’re going through a child custody case.” He also said he was scared for both Britney and himself during that period. “It’s hard to stay up for three days,” he says, “but you have that fear—and it’s a very real fear—that if anything happens to her, they’re just gonna blame you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>An inside source leaked thousands of documents to the filmmakers. One, a report by a doctor who resigned from Britney’s case in 2013, suggests the amount of medication Britney took was increased on the days she was working. One section says: “Jamie and others on the team valued the benefits of stimulants for Britney’s performance. This has been the case for both of her tours, and for her participation on \u003cem>X Factor\u003c/em>. By the same token, Jamie wanted Britney not to take stimulants. This contradiction has not been resolved.”\u003c/p>\n\u003cp>Lutfi, who was accused years ago of drugging Britney without her knowledge says, “You have 100 blood tests and drug tests the entire time I was with her and she passed every single one of them.”\u003c/p>\n\u003ch2>Who ‘stands to make a cut’?\u003c/h2>\n\u003cp>\u003cb>\u003cem>Controlling Britney Spears\u003c/em>:\u003c/b> Tish Yates describes a pattern of tours being extended and shows being added at a relentless pace. She says breaks were basically nonexistent. Yates also says Britney’s concerns and needs were ignored. “Whenever she brought up something that was disturbing her, she’d always be dismissed.” Yates says Britney was consistently told, “‘You don’t need to ask these questions because it’s none of your business.’”\u003c/p>\n\u003cp>\u003cem>New York Times\u003c/em> journalist Liz Day points out that the standard in California for conservatorship is someone who is unable to feed, clothe or shelter themselves. “But,” she says, “Britney began working again almost immediately after the conservatorship starts.”\u003c/p>\n\u003cp>Day subsequently reports: “According to court records, Tri Star was getting five percent of Britney’s gross income. And Jamie is making $16,000 a month plus a percent of Britney’s multi-million-dollar deals. So, if her father Jamie as conservator enters into a deal for her, is that because it’s in Britney’s best interest? Or because everyone involved stands to make a cut?”\u003c/p>\n\u003cp>\u003cb>\u003cem>Britney vs Spears\u003c/em>:\u003c/b> The Netflix documentary goes even further, getting into specifics about how much Jamie has profited off his daughter since the conservatorship started. According to the film, the 2009 conservatorship terms included buying him a car. Jamie has since earned $2.1 million from tour revenues alone. The documentary says Jamie grants Britney an $8,000-per-month allowance—half of what he pays himself. Her \u003cem>Piece of Me\u003c/em> residency in Las Vegas and accompanying 2018 tour brought in $192 million in box office sales.\u003c/p>\n\u003cp>On Monday, a post on Britney’s Instagram page appeared to make objections to \u003cem>Controlling Britney Spears\u003c/em>. (\u003cem>Britney vs. Spears\u003c/em> had not yet premiered.)\u003c/p>\u003c/p>\u003c/div>",
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"title": "R. Kelly Found Guilty of Racketeering and Sex Trafficking",
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"content": "\u003cp>After more than\u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\"> 25 years of accusations\u003c/a> and a New York federal court trial that lasted seven weeks, R&B singer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> has been found guilty of charges including sexual exploitation of a child, bribery, kidnapping, racketeering and sex trafficking involving six victims. Kelly faces a possible sentence of 10 years to life in prison.\u003c/p>\n\u003cp>Kelly sat absolutely still as the foreperson gave the jury’s verdict to Judge Ann Donnelly.\u003c/p>\n\u003cp>[aside postid='arts_13901400']Federal prosecutors in the Eastern District of New York successfully proved to a jury of seven men and five women that Kelly had been the head of a criminal enterprise, whose purpose was to lure girls, boys and women to the R&B singer for his sexual gratification.\u003c/p>\n\u003cp>On top of awaiting sentencing in this New York case, Kelly will face a second federal trial on charges of child pornography and obstruction of justice in Illinois. Some of those accusations are related to a 2008 child pornography trial in Chicago, in which he was \u003ca href=\"https://www.npr.org/transcripts/91480976\" target=\"_blank\" rel=\"noopener noreferrer\">acquitted of all charges\u003c/a>.\u003c/p>\n\u003cp>Additionally, Kelly faces outstanding criminal charges in both Cook County, Ill., where he was indicted by the state attorney in\u003ca href=\"https://www.npr.org/2019/08/05/748370799/r-kelly-charged-with-two-criminal-counts-in-minnesota\" target=\"_blank\" rel=\"noopener noreferrer\"> Feb. 2019\u003c/a> for aggravated criminal sexual abuse involving four victims (three of them minors), and in Minnesota, where Mr. Kelly was charged in Aug. 2019 with engaging in prostitution with a minor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sentencing in New York is scheduled for May 4.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=R.+Kelly+Found+Guilty+Of+Racketeering+And+Sex+Trafficking&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After more than\u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\"> 25 years of accusations\u003c/a> and a New York federal court trial that lasted seven weeks, R&B singer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> has been found guilty of charges including sexual exploitation of a child, bribery, kidnapping, racketeering and sex trafficking involving six victims. Kelly faces a possible sentence of 10 years to life in prison.\u003c/p>\n\u003cp>Kelly sat absolutely still as the foreperson gave the jury’s verdict to Judge Ann Donnelly.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Federal prosecutors in the Eastern District of New York successfully proved to a jury of seven men and five women that Kelly had been the head of a criminal enterprise, whose purpose was to lure girls, boys and women to the R&B singer for his sexual gratification.\u003c/p>\n\u003cp>On top of awaiting sentencing in this New York case, Kelly will face a second federal trial on charges of child pornography and obstruction of justice in Illinois. Some of those accusations are related to a 2008 child pornography trial in Chicago, in which he was \u003ca href=\"https://www.npr.org/transcripts/91480976\" target=\"_blank\" rel=\"noopener noreferrer\">acquitted of all charges\u003c/a>.\u003c/p>\n\u003cp>Additionally, Kelly faces outstanding criminal charges in both Cook County, Ill., where he was indicted by the state attorney in\u003ca href=\"https://www.npr.org/2019/08/05/748370799/r-kelly-charged-with-two-criminal-counts-in-minnesota\" target=\"_blank\" rel=\"noopener noreferrer\"> Feb. 2019\u003c/a> for aggravated criminal sexual abuse involving four victims (three of them minors), and in Minnesota, where Mr. Kelly was charged in Aug. 2019 with engaging in prostitution with a minor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The economy may have reopened, but musicians and cultural institutions are still struggling from 18 months of COVID-19 shutdowns and the lingering presence of the delta variant. The latter is the reason why Hardly Strictly Bluegrass decided to host its Oct. 1–3 festival online this year, with a lineup that stars Mavis Staples, Ani DiFranco, \u003ca href=\"https://www.kqed.org/arts/13817300/the-10-best-bay-area-albums-of-2017-meklit-when-the-people-move-the-music-moves-too\" target=\"_blank\" rel=\"noopener noreferrer\">Meklit\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13887363/ambrose-akinmusire-soundtracks-black-resistance-from-oakland-to-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">Ambrose Akinmusire\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13894963/pass-the-aux-new-tracks-from-caleborate-bachelor-miko-marks-ruby-mountain-and-more\" target=\"_blank\" rel=\"noopener noreferrer\">Bachelor\u003c/a>.\u003c/p>\n\u003cp>Today, in its ongoing efforts to give back to the musicians and venues that keep roots music going, Hardly Strictly announced a new round of philanthropic funding. The foundation behind the festival will disburse $1 million among three groups: the \u003ca href=\"https://www.sweetrelief.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sweet Relief Musicians Fund\u003c/a>, which has been distributing emergency funding to artists and workers during the pandemic; East Bay Permanent Real Estate Cooperative’s \u003ca href=\"https://ebprec.org/esthers\" target=\"_blank\" rel=\"noopener noreferrer\">Esther’s Orbit Room Cultural Revival Project\u003c/a>, which seeks to restore the historic West Oakland blues venue; and the Tenderloin Museum’s “Sounds of the Tenderloin” project.\u003c/p>\n\u003cp>With Hardly Strictly’s funding, Sweet Relief will be able to provide hundreds of grants to musicians and music workers. Residents of the Bay Area and New Orleans are eligible to apply for \u003ca href=\"https://www.sweetrelief.org/covid-19-fund.html\" target=\"_blank\" rel=\"noopener noreferrer\">up to $1,000 in assistance\u003c/a> with rent, bills, medication and other life essentials. The organization suggests submitting by Oct. 31.\u003c/p>\n\u003cp>The Esther’s Orbit Room grant will help fund East Bay Permanent Real Estate Cooperative’s efforts to revitalize the renowned venue into a performance space with a cafe and artist housing. And the grant for the Tenderloin Museum’s “Sounds of the Tenderloin” will book small-scale live performances throughout the San Francisco neighborhood, which once had thriving jazz, swing, rock and folk scenes.\u003c/p>\n\u003cp>This latest philanthropic effort follows \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly’s $3 million dollar investment\u003c/a> in local music venues and artist relief efforts in 2020.\u003c/p>\n\u003cp>The Hardly Strictly Bluegrass festival on Oct. 1–3 will be \u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">available for streaming on the festival’s website\u003c/a>, \u003ca href=\"https://facebook.com/hardlystrictlybluegrass/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://youtube.com/user/hsbfest\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a> pages, as well as on Xfinity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The economy may have reopened, but musicians and cultural institutions are still struggling from 18 months of COVID-19 shutdowns and the lingering presence of the delta variant. The latter is the reason why Hardly Strictly Bluegrass decided to host its Oct. 1–3 festival online this year, with a lineup that stars Mavis Staples, Ani DiFranco, \u003ca href=\"https://www.kqed.org/arts/13817300/the-10-best-bay-area-albums-of-2017-meklit-when-the-people-move-the-music-moves-too\" target=\"_blank\" rel=\"noopener noreferrer\">Meklit\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13887363/ambrose-akinmusire-soundtracks-black-resistance-from-oakland-to-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">Ambrose Akinmusire\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/13894963/pass-the-aux-new-tracks-from-caleborate-bachelor-miko-marks-ruby-mountain-and-more\" target=\"_blank\" rel=\"noopener noreferrer\">Bachelor\u003c/a>.\u003c/p>\n\u003cp>Today, in its ongoing efforts to give back to the musicians and venues that keep roots music going, Hardly Strictly announced a new round of philanthropic funding. The foundation behind the festival will disburse $1 million among three groups: the \u003ca href=\"https://www.sweetrelief.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Sweet Relief Musicians Fund\u003c/a>, which has been distributing emergency funding to artists and workers during the pandemic; East Bay Permanent Real Estate Cooperative’s \u003ca href=\"https://ebprec.org/esthers\" target=\"_blank\" rel=\"noopener noreferrer\">Esther’s Orbit Room Cultural Revival Project\u003c/a>, which seeks to restore the historic West Oakland blues venue; and the Tenderloin Museum’s “Sounds of the Tenderloin” project.\u003c/p>\n\u003cp>With Hardly Strictly’s funding, Sweet Relief will be able to provide hundreds of grants to musicians and music workers. Residents of the Bay Area and New Orleans are eligible to apply for \u003ca href=\"https://www.sweetrelief.org/covid-19-fund.html\" target=\"_blank\" rel=\"noopener noreferrer\">up to $1,000 in assistance\u003c/a> with rent, bills, medication and other life essentials. The organization suggests submitting by Oct. 31.\u003c/p>\n\u003cp>The Esther’s Orbit Room grant will help fund East Bay Permanent Real Estate Cooperative’s efforts to revitalize the renowned venue into a performance space with a cafe and artist housing. And the grant for the Tenderloin Museum’s “Sounds of the Tenderloin” will book small-scale live performances throughout the San Francisco neighborhood, which once had thriving jazz, swing, rock and folk scenes.\u003c/p>\n\u003cp>This latest philanthropic effort follows \u003ca href=\"https://www.kqed.org/arts/13887609/hardly-strictly-gives-over-3-million-to-out-of-work-musicians-venues\" target=\"_blank\" rel=\"noopener noreferrer\">Hardly Strictly’s $3 million dollar investment\u003c/a> in local music venues and artist relief efforts in 2020.\u003c/p>\n\u003cp>The Hardly Strictly Bluegrass festival on Oct. 1–3 will be \u003ca href=\"https://www.hardlystrictlybluegrass.com/\" target=\"_blank\" rel=\"noopener noreferrer\">available for streaming on the festival’s website\u003c/a>, \u003ca href=\"https://facebook.com/hardlystrictlybluegrass/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://youtube.com/user/hsbfest\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube\u003c/a> pages, as well as on Xfinity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Jennifer Hough’s Harassment Lawsuit Against Nicki Minaj and Her Husband, Explained",
"headTitle": "Jennifer Hough’s Harassment Lawsuit Against Nicki Minaj and Her Husband, Explained | KQED",
"content": "\u003cp>If you’ve been having some trouble keeping up with all of the Nicki Minaj drama circulating on the internet these last few weeks, you are not alone. Chances are, most of what you’ve heard has revolved around Nicki’s assertion that one of her cousin’s friends got swollen testicles from the COVID vaccine, which apparently made him impotent, which apparently made his girlfriend leave him.\u003c/p>\n\u003cp>https://twitter.com/nickiminaj/status/1437532566945341441\u003c/p>\n\u003cp>Truly, a tweet this preposterous is impossible for the internet to ignore, which is why \u003ca href=\"https://twitter.com/KevzPolitics/status/1438183898358366208?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Trinidad and Tobago’s health minister debunked Minaj’s claims\u003c/a>. \u003ca href=\"https://twitter.com/gaybonez/status/1440709750182670343\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter is still roasting her for it\u003c/a> almost two weeks later. For some observers, however, the testicular Minaj tweet looks an awful lot like a deflection; a distraction from the very real legal trouble she and her husband, Kenneth “Zoo” Petty, are currently embroiled in. Legal trouble that could do Minaj’s reputation a lot more damage than asking people to “pray on it“ before they get vaccinated. And yesterday, that legal trouble hit daytime TV when Jennifer Hough made a heart-rending appearance on \u003cem>The Real\u003c/em>.\u003c/p>\n\u003cp>Hough’s interview follows a civil lawsuit she filed on Aug. 13 against Minaj and Petty. According to legal \u003ca href=\"https://www.eonline.com/news/1298910/nicki-minaj-and-husband-kenneth-petty-sued-by-his-sexual-assault-accuser\" target=\"_blank\" rel=\"noopener noreferrer\">documents obtained by E! News\u003c/a> last month, Hough’s suit accuses the couple of a litany of serious offenses. These include: harassment, assault, battery, sexual assault and sexual harassment, witness intimidation and intentional and negligent infliction of emotional distress. The suit also accuses Minaj of threatening and attempting to bribe Hough. At one point, E! reports, the suit states:\u003c/p>\n\u003cblockquote>\u003cp>As a direct result of the actions of Defendant Minaj and Defendant Petty, [Hough] has been traumatized her entire life. Plaintiff has moved to multiple states to avoid intimidation and harassment by Defendant Minaj, Defendant, and their allies, legal teams, and fans.\u003c/p>\u003c/blockquote>\n\u003cp>If you haven’t been following along in real time, you might be wondering where all of this stems from. To explain, we have to go way back to 1994. Specifically, Sept. 16, 1994—the day a 16-year-old Hough accused a 16-year-old Petty of rape. Hough reported that Petty approached her while she waited at a Jamaica, Queens bus stop, pressed an object to her back, forced her into a nearby house, fought against her objections, and raped her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Petty was subsequently charged with first degree rape, but on April 5, 1995, he pleaded guilty to—and was convicted of—attempted rape in the first degree. (The \u003ca href=\"https://www.criminaljustice.ny.gov/SomsSUBDirectory/ReCaptchaServlet?offenderId=7370&g-recaptcha-response=03AGdBq24_X-gC_S78M_WKF0HaXwprUMZF07B0VeGUImVtZ_zP2DF0VkiBGy6kgbpM3Jcx1Gj3AZYgqNI0A_VNZHWQfaDbr1halHa3bZyK-O1KA917OUOqk1CW5RwIAS3RZG-9m-Z3X0KAVrGG1VVEoMdRIhq2z3yqCaK3nkOQzNsw1Zq-TRC1W9USrFXA4pglgwZDjknoKGzaGzIPTlvhvrqUQSf9MG51xuL2JcZO2BBMDeE2QBp9g0LBkZdZEDabs2a9XMkEq2Vsg65He2gxVCOXXCopmBxIByMnVZwsg0DG3QamQCVGKFgtpJ-9Am9Bak0PPLhuMd8NfAO0XVmt34APkTDozwMBQpLOTHGf5s2SMHimbHW1WBl8GEMhikDqOofhd7VKcyVmVanSBY82Q7LdlvLyDflkAkamEiPSYHSUhxn6kj_oBi4iWxeU7ToUKlyXQdL8Nfpch7ghtRSTPnkG2A36-_1uDA&Submit=Search\" target=\"_blank\" rel=\"noopener noreferrer\">offense listed on his conviction\u003c/a>, however, states that “Actual, Sexual Intercourse” took place. It also states that he was in possession of a “Knife/cutting instrument” at the time of the attack.) Two days before his 17th birthday, Petty was sentenced to “18 to 54 months” in a state penitentiary. He served nearly four years for the attack on Hough.\u003c/p>\n\u003cp>[aside postid='futureofyou_438664']On his release, Petty returned to Queens and promptly began a relationship with a 17-year-old Nicki Minaj—then known by her real name, Onika Tanya Maraj. But Petty didn’t stay out of trouble for long. By 2006—just one year before Minaj would release her first mixtape, \u003cem>Playtime is Over\u003c/em>—Petty pleaded guilty to manslaughter charges, following a 2002 incident in which he shot and killed a man named Lamont Robinson.\u003c/p>\n\u003cp>According to \u003cem>Billboard\u003c/em>, \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8533743/who-did-nicki-minaj-marry-kenneth-petty\" target=\"_blank\" rel=\"noopener noreferrer\">Petty served seven years\u003c/a> before entering a supervised release program in 2013. He stayed in the program until 2018—the year he reunited with Minaj.\u003c/p>\n\u003cp>At that time, the couple’s reunion prompted the internet and tabloid media to begin reporting on Petty’s prior convictions in earnest. One \u003ca href=\"https://www.tmz.com/2018/12/22/nicki-minaj-boyfriend-kenneth-petty-manslaughter-shot-three-times-stomach/\" target=\"_blank\" rel=\"noopener noreferrer\">report from TMZ\u003c/a> that year, titled “Nicki Minaj’s BF Manslaughter Case Was Cold-Blooded,” stated:\u003c/p>\n\u003cblockquote>\u003cp>We’re told Petty drove to the crime scene with a group of cohorts, hopped out of the car, walked across the street where Robinson was hanging out, pulled out a gun … and shot him in the stomach three times. Our sources say he then fled in the vehicle with the group.\u003c/p>\u003c/blockquote>\n\u003cp>This kind of media attention quickly put Minaj on the offensive. In June 2019, she included Petty in her video for “\u003ca href=\"https://www.youtube.com/watch?v=C3a1sz2Bp_E\" target=\"_blank\" rel=\"noopener noreferrer\">Megatron\u003c/a>.” The track includes the lyrics, “I fuck him like I miss him / He just got out of prison / Bitches be talking shit / But they ain’t got a pot to piss in.” The following month, during a featured spot on Chance the Rapper’s “Zanies and Fools,” Minaj rapped: “I met my husband when I was 17 out in Queens / If you love it, let it go, now I know what that means / While he was up North for a body, I bodied everybody and got known for my body.”\u003c/p>\n\u003cp>Also in 2019, during an episode of her Apple Music show, \u003cem>Queen Radio\u003c/em>, Minaj claimed that Petty was “wrongfully accused … when he was 15 years old.” (Petty’s arrest record clearly states he was 16 at the time of Hough’s assault.) Minaj went on to claim that Hough had attempted to recant her accusation, but didn’t after she was threatened with legal penalties for doing so. (\u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Hough has denied this\u003c/a>.) Minaj also used the phrase, “White is right,” implying that Hough was a white woman. She is not.\u003c/p>\n\u003cp>https://twitter.com/britneyxmariah/status/1440695471572283411\u003c/p>\n\u003cp>On another occasion, while defending Petty on Instagram in relation to the Hough case, Minaj claimed: “He was 15, she was 16 … in a relationship. But go awf Internet. y’all can’t run my life. Y’all can’t even run y’all own life.” In \u003cem>The Real\u003c/em> interview, Hough also denied that she and Petty dated.\u003c/p>\n\u003cp>[aside postid='pop_109382']Undeterred by Petty’s criminal history, or the negative publicity it was attracting, Minaj married him in October 2019. After moving from New York to Minaj’s home in L.A., Petty was pulled over by Beverly Hills police. The police discovered that Petty had failed to register as a sex offender when he moved to California—a condition left over from his 1995 conviction. On Sept. 9, Petty pleaded guilty during a virtual court hearing on the matter. He is expected to be sentenced in January 2022 and faces up to 10 years in prison.\u003c/p>\n\u003cp>Which brings us back to Hough’s appearance on \u003cem>The Real\u003c/em> yesterday. Hough, visibly nervous and frequently tearful, cut a sympathetic figure. “I’m tired of being afraid,” she said. “I feel like the actions that were taken in regards to this whole situation have put me in a different type of fear.”\u003c/p>\n\u003cp>Hough went on to claim that, over the last couple of years, Minaj and Petty had “sent people” repeatedly to try and negotiate a financial sum with her, in an attempt to buy her silence. She said that after consistently refusing to cooperate with the couple, threats on her life were made. “The last message I received,” Hough said, “was that I should’ve taken the money ’cause they’re gonna use that money to put on my head.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SPugv3HtrqA\u003c/p>\n\u003cp>A \u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Daily Beast\u003c/a> article from March confirms that Hough had moved three times in 2020 alone, out of concern for her personal safety.\u003c/p>\n\u003cp>Hough’s appearance on \u003cem>The Real\u003c/em> is bound to raise her public profile to a degree that might get uncomfortable for her. But it also caused something of a Minaj backlash on social media last night, even as the rapper attempted to boost the voices of her defenders by \u003ca href=\"https://twitter.com/ritaeatspitas/status/1440832709236981769\" target=\"_blank\" rel=\"noopener noreferrer\">“liking” their positive posts\u003c/a> about her.\u003c/p>\n\u003cp>\u003cem>The Real\u003c/em> was a means for Hough to take back a narrative Minaj has used her considerable platform to try and control for the last three years. It was a means for Hough to show her humanity beyond salacious tabloid headlines. And it was a chance to explain the emotional and mental scars wrought by what happened to her in her teens, and how the fallout of that case continues to affect her now.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In 2018, on the track “Nip Tuck,” Minaj compared herself to Teflon. She may have spoken too soon.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Truly, a tweet this preposterous is impossible for the internet to ignore, which is why \u003ca href=\"https://twitter.com/KevzPolitics/status/1438183898358366208?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Trinidad and Tobago’s health minister debunked Minaj’s claims\u003c/a>. \u003ca href=\"https://twitter.com/gaybonez/status/1440709750182670343\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter is still roasting her for it\u003c/a> almost two weeks later. For some observers, however, the testicular Minaj tweet looks an awful lot like a deflection; a distraction from the very real legal trouble she and her husband, Kenneth “Zoo” Petty, are currently embroiled in. Legal trouble that could do Minaj’s reputation a lot more damage than asking people to “pray on it“ before they get vaccinated. And yesterday, that legal trouble hit daytime TV when Jennifer Hough made a heart-rending appearance on \u003cem>The Real\u003c/em>.\u003c/p>\n\u003cp>Hough’s interview follows a civil lawsuit she filed on Aug. 13 against Minaj and Petty. According to legal \u003ca href=\"https://www.eonline.com/news/1298910/nicki-minaj-and-husband-kenneth-petty-sued-by-his-sexual-assault-accuser\" target=\"_blank\" rel=\"noopener noreferrer\">documents obtained by E! News\u003c/a> last month, Hough’s suit accuses the couple of a litany of serious offenses. These include: harassment, assault, battery, sexual assault and sexual harassment, witness intimidation and intentional and negligent infliction of emotional distress. The suit also accuses Minaj of threatening and attempting to bribe Hough. At one point, E! reports, the suit states:\u003c/p>\n\u003cblockquote>\u003cp>As a direct result of the actions of Defendant Minaj and Defendant Petty, [Hough] has been traumatized her entire life. Plaintiff has moved to multiple states to avoid intimidation and harassment by Defendant Minaj, Defendant, and their allies, legal teams, and fans.\u003c/p>\u003c/blockquote>\n\u003cp>If you haven’t been following along in real time, you might be wondering where all of this stems from. To explain, we have to go way back to 1994. Specifically, Sept. 16, 1994—the day a 16-year-old Hough accused a 16-year-old Petty of rape. Hough reported that Petty approached her while she waited at a Jamaica, Queens bus stop, pressed an object to her back, forced her into a nearby house, fought against her objections, and raped her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Petty was subsequently charged with first degree rape, but on April 5, 1995, he pleaded guilty to—and was convicted of—attempted rape in the first degree. (The \u003ca href=\"https://www.criminaljustice.ny.gov/SomsSUBDirectory/ReCaptchaServlet?offenderId=7370&g-recaptcha-response=03AGdBq24_X-gC_S78M_WKF0HaXwprUMZF07B0VeGUImVtZ_zP2DF0VkiBGy6kgbpM3Jcx1Gj3AZYgqNI0A_VNZHWQfaDbr1halHa3bZyK-O1KA917OUOqk1CW5RwIAS3RZG-9m-Z3X0KAVrGG1VVEoMdRIhq2z3yqCaK3nkOQzNsw1Zq-TRC1W9USrFXA4pglgwZDjknoKGzaGzIPTlvhvrqUQSf9MG51xuL2JcZO2BBMDeE2QBp9g0LBkZdZEDabs2a9XMkEq2Vsg65He2gxVCOXXCopmBxIByMnVZwsg0DG3QamQCVGKFgtpJ-9Am9Bak0PPLhuMd8NfAO0XVmt34APkTDozwMBQpLOTHGf5s2SMHimbHW1WBl8GEMhikDqOofhd7VKcyVmVanSBY82Q7LdlvLyDflkAkamEiPSYHSUhxn6kj_oBi4iWxeU7ToUKlyXQdL8Nfpch7ghtRSTPnkG2A36-_1uDA&Submit=Search\" target=\"_blank\" rel=\"noopener noreferrer\">offense listed on his conviction\u003c/a>, however, states that “Actual, Sexual Intercourse” took place. It also states that he was in possession of a “Knife/cutting instrument” at the time of the attack.) Two days before his 17th birthday, Petty was sentenced to “18 to 54 months” in a state penitentiary. He served nearly four years for the attack on Hough.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>On his release, Petty returned to Queens and promptly began a relationship with a 17-year-old Nicki Minaj—then known by her real name, Onika Tanya Maraj. But Petty didn’t stay out of trouble for long. By 2006—just one year before Minaj would release her first mixtape, \u003cem>Playtime is Over\u003c/em>—Petty pleaded guilty to manslaughter charges, following a 2002 incident in which he shot and killed a man named Lamont Robinson.\u003c/p>\n\u003cp>According to \u003cem>Billboard\u003c/em>, \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8533743/who-did-nicki-minaj-marry-kenneth-petty\" target=\"_blank\" rel=\"noopener noreferrer\">Petty served seven years\u003c/a> before entering a supervised release program in 2013. He stayed in the program until 2018—the year he reunited with Minaj.\u003c/p>\n\u003cp>At that time, the couple’s reunion prompted the internet and tabloid media to begin reporting on Petty’s prior convictions in earnest. One \u003ca href=\"https://www.tmz.com/2018/12/22/nicki-minaj-boyfriend-kenneth-petty-manslaughter-shot-three-times-stomach/\" target=\"_blank\" rel=\"noopener noreferrer\">report from TMZ\u003c/a> that year, titled “Nicki Minaj’s BF Manslaughter Case Was Cold-Blooded,” stated:\u003c/p>\n\u003cblockquote>\u003cp>We’re told Petty drove to the crime scene with a group of cohorts, hopped out of the car, walked across the street where Robinson was hanging out, pulled out a gun … and shot him in the stomach three times. Our sources say he then fled in the vehicle with the group.\u003c/p>\u003c/blockquote>\n\u003cp>This kind of media attention quickly put Minaj on the offensive. In June 2019, she included Petty in her video for “\u003ca href=\"https://www.youtube.com/watch?v=C3a1sz2Bp_E\" target=\"_blank\" rel=\"noopener noreferrer\">Megatron\u003c/a>.” The track includes the lyrics, “I fuck him like I miss him / He just got out of prison / Bitches be talking shit / But they ain’t got a pot to piss in.” The following month, during a featured spot on Chance the Rapper’s “Zanies and Fools,” Minaj rapped: “I met my husband when I was 17 out in Queens / If you love it, let it go, now I know what that means / While he was up North for a body, I bodied everybody and got known for my body.”\u003c/p>\n\u003cp>Also in 2019, during an episode of her Apple Music show, \u003cem>Queen Radio\u003c/em>, Minaj claimed that Petty was “wrongfully accused … when he was 15 years old.” (Petty’s arrest record clearly states he was 16 at the time of Hough’s assault.) Minaj went on to claim that Hough had attempted to recant her accusation, but didn’t after she was threatened with legal penalties for doing so. (\u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Hough has denied this\u003c/a>.) Minaj also used the phrase, “White is right,” implying that Hough was a white woman. She is not.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On another occasion, while defending Petty on Instagram in relation to the Hough case, Minaj claimed: “He was 15, she was 16 … in a relationship. But go awf Internet. y’all can’t run my life. Y’all can’t even run y’all own life.” In \u003cem>The Real\u003c/em> interview, Hough also denied that she and Petty dated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Undeterred by Petty’s criminal history, or the negative publicity it was attracting, Minaj married him in October 2019. After moving from New York to Minaj’s home in L.A., Petty was pulled over by Beverly Hills police. The police discovered that Petty had failed to register as a sex offender when he moved to California—a condition left over from his 1995 conviction. On Sept. 9, Petty pleaded guilty during a virtual court hearing on the matter. He is expected to be sentenced in January 2022 and faces up to 10 years in prison.\u003c/p>\n\u003cp>Which brings us back to Hough’s appearance on \u003cem>The Real\u003c/em> yesterday. Hough, visibly nervous and frequently tearful, cut a sympathetic figure. “I’m tired of being afraid,” she said. “I feel like the actions that were taken in regards to this whole situation have put me in a different type of fear.”\u003c/p>\n\u003cp>Hough went on to claim that, over the last couple of years, Minaj and Petty had “sent people” repeatedly to try and negotiate a financial sum with her, in an attempt to buy her silence. She said that after consistently refusing to cooperate with the couple, threats on her life were made. “The last message I received,” Hough said, “was that I should’ve taken the money ’cause they’re gonna use that money to put on my head.”\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/SPugv3HtrqA'\n title='//www.youtube.com/embed/SPugv3HtrqA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A \u003ca href=\"https://www.thedailybeast.com/nicki-minaj-and-husband-kenneth-pettys-campaign-to-silence-his-sexual-assault-victim\" target=\"_blank\" rel=\"noopener noreferrer\">Daily Beast\u003c/a> article from March confirms that Hough had moved three times in 2020 alone, out of concern for her personal safety.\u003c/p>\n\u003cp>Hough’s appearance on \u003cem>The Real\u003c/em> is bound to raise her public profile to a degree that might get uncomfortable for her. But it also caused something of a Minaj backlash on social media last night, even as the rapper attempted to boost the voices of her defenders by \u003ca href=\"https://twitter.com/ritaeatspitas/status/1440832709236981769\" target=\"_blank\" rel=\"noopener noreferrer\">“liking” their positive posts\u003c/a> about her.\u003c/p>\n\u003cp>\u003cem>The Real\u003c/em> was a means for Hough to take back a narrative Minaj has used her considerable platform to try and control for the last three years. It was a means for Hough to show her humanity beyond salacious tabloid headlines. And it was a chance to explain the emotional and mental scars wrought by what happened to her in her teens, and how the fallout of that case continues to affect her now.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2018, on the track “Nip Tuck,” Minaj compared herself to Teflon. She may have spoken too soon.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Sarah Dash, the singer and co-founder of the all-female singing group Labelle, best known for their 1974 hit “Lady Marmalade,” died Monday at the age of 76.\u003c/p>\n\u003cp>Dash’s bandmate Patti LaBelle announced her longtime friend’s death on social media.\u003c/p>\n\u003cp>“We were just onstage together on Saturday and it was such a powerful and special moment!” LaBelle said on Twitter. “Sarah Dash was an awesomely talented, beautiful and loving soul who blessed my life and the lives of so many others in more ways than I can say. And I could always count on her to have my back! That’s who Sarah was … a loyal friend and a voice for those who didn’t have one.”\u003c/p>\n\u003cp>https://twitter.com/MsPattiPatti/status/1440066002209759232\u003c/p>\n\u003cp>Nona Hendryx rounded out the Labelle trio. Hendryx shared on Instagram of the passing of her former bandmate, “Words are inadequate so I will use few. We spoke a musical language, music says it best. Singing brought us together…”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She added that the two had just talked and texted on Saturday. “Now you’re gone, I can’t believe it,” Hendryx said.\u003c/p>\n\u003cp>https://www.instagram.com/p/CUEEeUQgpJd/\u003c/p>\n\u003cp>Labelle \u003ca href=\"https://www.npr.org/2021/02/10/962840768/the-hidden-legacy-of-the-pointer-sisters-genre-busting-pioneers-of-message-music\" target=\"_blank\" rel=\"noopener noreferrer\">started out as the conventional girl group \u003c/a>called Patti LaBelle and the Bluebelles and changed into an Afro-futuristic glam rock group (even changing the name to Labelle to complete the transformation) in 1971.\u003c/p>\n\u003cp>Unlike other girl groups of the time, each member of the group sang both lead and background voices.\u003c/p>\n\u003cp>They also embraced a futuristic look—complete with spacesuits and feathers. With their biggest hit, “Lady Marmalade,” the group also embraced a sexually suggestive and empowering message.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Tn0-6n_dng4\u003c/p>\n\u003cp>After the group disbanded in 1976, Dash continued performing as a solo singer, releasing several albums over the years. She \u003ca href=\"https://www.sarahdash.net/about\" target=\"_blank\" rel=\"noopener noreferrer\">became well-established\u003c/a> as a session singer, recording and performing with Keith Richards and the Rolling Stones.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LaBelle went on to say on Twitter of her friend: “She was a true giver, always serving and sharing her talent and time. I am heartbroken, as I know all of her loved ones and fans are. But I know that Sarah’s spirit and all that she has given to the world live on. And I pray that her precious memory brings us peace and comfort. Rest in power my dear sister. I love you always!”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Dash%2C+Singer+And+Co-Founder+Of+Labelle%2C+Dies+At+Age+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Labelle \u003ca href=\"https://www.npr.org/2021/02/10/962840768/the-hidden-legacy-of-the-pointer-sisters-genre-busting-pioneers-of-message-music\" target=\"_blank\" rel=\"noopener noreferrer\">started out as the conventional girl group \u003c/a>called Patti LaBelle and the Bluebelles and changed into an Afro-futuristic glam rock group (even changing the name to Labelle to complete the transformation) in 1971.\u003c/p>\n\u003cp>Unlike other girl groups of the time, each member of the group sang both lead and background voices.\u003c/p>\n\u003cp>They also embraced a futuristic look—complete with spacesuits and feathers. With their biggest hit, “Lady Marmalade,” the group also embraced a sexually suggestive and empowering message.\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/Tn0-6n_dng4'\n title='//www.youtube.com/embed/Tn0-6n_dng4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After the group disbanded in 1976, Dash continued performing as a solo singer, releasing several albums over the years. She \u003ca href=\"https://www.sarahdash.net/about\" target=\"_blank\" rel=\"noopener noreferrer\">became well-established\u003c/a> as a session singer, recording and performing with Keith Richards and the Rolling Stones.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>LaBelle went on to say on Twitter of her friend: “She was a true giver, always serving and sharing her talent and time. I am heartbroken, as I know all of her loved ones and fans are. But I know that Sarah’s spirit and all that she has given to the world live on. And I pray that her precious memory brings us peace and comfort. Rest in power my dear sister. I love you always!”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Dash%2C+Singer+And+Co-Founder+Of+Labelle%2C+Dies+At+Age+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the \u003ca href=\"https://www.youtube.com/watch?v=lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> that accompanies \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a>‘s 2020 album, \u003cem>CYAN\u003c/em>, you can tell that singer Lalin St. Juste is not at peace. The dreamlike music video sequence shows her crashing through a ceiling, her body subsumed by rubble; later, she fretfully yanks a door open and runs through a series of empty rooms. When she collapses from exhaustion, a group of friends revive her with their healing touch—a visualization of the spiritual nourishment sisterhood and community can offer.\u003c/p>\n\u003cp>Looking back on that project, St. Juste admits that it overlapped with a time of turmoil in her life. After years of identifying as queer and bisexual, she suddenly awakened to the realization that “lesbian” more accurately describes how she feels inside. The epiphany forced a reckoning, and presented a set of daunting complications, both personally and creatively. For the past 10 years, her work with The Seshen revolved around her artistic partnership with her now-ex-husband, bassist and producer Aki Ehara. Suddenly, the way she had arranged her life no longer aligned with her truth.\u003c/p>\n\u003cp>“The origin story of The Seshen is our love—we would talk about the fact that we met [while studying abroad] in Ghana, and fell in love and started this band. That’s been part of the identity and the narrative of The Seshen,” says St. Juste. “Then this thing happened, and it’s so painful. It’s like, how do you publicly share this? Our love is really public, but here’s a moment that things have changed.”\u003c/p>\n\u003cfigure id=\"attachment_13903246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903246\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman gazes pensively into the distance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year of grieving and healing while concerts were canceled during pandemic restrictions, St. Juste is ready to write her next chapter. On Sept. 17, she released her self-produced first single, “scar,” from her forthcoming EP, \u003cem>behind my eyes\u003c/em>. She began writing the EP’s four tracks during a residency at the Oakland music incubator Zoo Labs, which gave her the resources and space to process this huge life shift through music.\u003c/p>\n\u003cp>“I want to practice sharing who I am in a bigger way,” she says. “Now is that time. All the pieces are falling into place. And I think I needed this big transformation to actually kick me into gear so that I could develop myself as a songwriter and producer.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=603708048/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>In “scar,” a quiet hum grounds the downtempo track in a self-reflective mood that stands apart from The Seshen’s big, propulsive electropop. Snappy snares and soaring synths underscore St. Juste’s optimism about the terrifying, yet ultimately gratifying, process of self-discovery. After a cathartic crescendo of layered vocals, a moment of calm acceptance arrives: “It’s OK, let your heart break,” she repeats to herself in a half-whisper, like a mantra.\u003c/p>\n\u003cfigure id=\"attachment_13903247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste from The Seshen poses for a portrait at her home in Oakland on Sept. 15, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s accepting the realities of it, and the pain of it, and the beauty of it,” she says. “This is what it means to love, this is what it means to exist, this is what it means to grow: it’s to feel the growing pains of it all, to feel the discomfort of it all. But what you find in your own scar tissue is a beautiful world of all those experiences, and it’s what makes us who we are.”\u003c/p>\n\u003cp>St. Juste and Ehara are still close, and they haven’t slowed down on songwriting or performing with The Seshen. “As difficult as everything has been, we’re both really committed to the friendship because that’s been the basis of our relationship from the beginning,” Ehara says.\u003c/p>\n\u003cp>The expansive band, which also includes drummer Chris Thalmann, keyboard and synth player Mahesh Rao, percussionist Mirza Kopelman and sequencer Kumar Butler, is getting ready to embark on a Northwestern tour next week that concludes with a \u003ca href=\"https://www.ticketweb.com/event/the-seshen-the-new-parish-tickets/11206455?camefrom=CFC_ANOTHERPLANET_web&brand=anotherplanet\" target=\"_blank\" rel=\"noopener noreferrer\">hometown show at the New Parish\u003c/a> in Oakland on Nov. 19.\u003c/p>\n\u003cp>https://youtu.be/lR7AmjLCnWk\u003c/p>\n\u003cp>And St. Juste is pursuing other creative endeavors. She’s releasing \u003cem>behind my eyes \u003c/em>on \u003ca href=\"https://7000coils.com/Info\" target=\"_blank\" rel=\"noopener noreferrer\">7000COILS\u003c/a>, the new, queer- and Black-focused label she co-founded with her new partner, the DJ \u003ca href=\"https://soundcloud.com/privateselecta\" target=\"_blank\" rel=\"noopener noreferrer\">KKINGBOO\u003c/a>. She’s also creating a sound art piece for the experimental music festival \u003ca href=\"https://soundwavesf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soundwave NEXT: Translocality\u003c/a>, which commissioned a variety of artists to compose location-specific works. Listeners will be able to hear the pieces at different Bay Area landmarks in late October via an app.\u003c/p>\n\u003cp>St. Juste takes a lot of solo walks near bodies of water to gather her thoughts. “I have this really deep connection to the power of water, the stories water holds, the way it moves in our lives. It’s a place I go to grieve and to celebrate,” she says, noting water’s role in her ancestors’ passage from West Africa to Haiti, where her parents are from.\u003c/p>\n\u003cp>Her piece for Translocality explores the history of the one of the places she frequents: Sutro Baths, the ruins near San Francisco’s Ocean Beach. In her research, she learned about an unsung civil rights hero, a Black man named \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\" target=\"_blank\" rel=\"noopener noreferrer\">John Harris\u003c/a>, who in 1897 sued Adolph Sutro for discrimination when he was denied access to the baths. Harris’ lawsuit helped reinforce a new California law that granted equal access to public spaces, and set a precedent for desegregation.\u003c/p>\n\u003cfigure id=\"attachment_13903245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman smiles in a garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping to create some discomfort and some sense of dissonance. I think that’s what we need in order to confront these memories—not even just memories. These are current things that are happening,” St. Juste says of the piece. “Black lives are at threat every single day. … You’re fighting for your space, fighting for your voice, fighting for a right to exist. And in a place like San Francisco, where the demographics have changed so much, and the Black population is so little, I have to explore these things.”\u003c/p>\n\u003cp>Taking an unflinching look at those hard truths, and finding a way to create beauty from them, is key to not only St. Juste’s creative practice, but her way of living. As she says, “All these are steps in the direction of me fulfilling more of my destiny in terms of being more out in every possible way, loud in every possible way.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the \u003ca href=\"https://www.youtube.com/watch?v=lR7AmjLCnWk\" target=\"_blank\" rel=\"noopener noreferrer\">short film\u003c/a> that accompanies \u003ca href=\"https://theseshen.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Seshen\u003c/a>‘s 2020 album, \u003cem>CYAN\u003c/em>, you can tell that singer Lalin St. Juste is not at peace. The dreamlike music video sequence shows her crashing through a ceiling, her body subsumed by rubble; later, she fretfully yanks a door open and runs through a series of empty rooms. When she collapses from exhaustion, a group of friends revive her with their healing touch—a visualization of the spiritual nourishment sisterhood and community can offer.\u003c/p>\n\u003cp>Looking back on that project, St. Juste admits that it overlapped with a time of turmoil in her life. After years of identifying as queer and bisexual, she suddenly awakened to the realization that “lesbian” more accurately describes how she feels inside. The epiphany forced a reckoning, and presented a set of daunting complications, both personally and creatively. For the past 10 years, her work with The Seshen revolved around her artistic partnership with her now-ex-husband, bassist and producer Aki Ehara. Suddenly, the way she had arranged her life no longer aligned with her truth.\u003c/p>\n\u003cp>“The origin story of The Seshen is our love—we would talk about the fact that we met [while studying abroad] in Ghana, and fell in love and started this band. That’s been part of the identity and the narrative of The Seshen,” says St. Juste. “Then this thing happened, and it’s so painful. It’s like, how do you publicly share this? Our love is really public, but here’s a moment that things have changed.”\u003c/p>\n\u003cfigure id=\"attachment_13903246\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903246\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman gazes pensively into the distance.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/003_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After a year of grieving and healing while concerts were canceled during pandemic restrictions, St. Juste is ready to write her next chapter. On Sept. 17, she released her self-produced first single, “scar,” from her forthcoming EP, \u003cem>behind my eyes\u003c/em>. She began writing the EP’s four tracks during a residency at the Oakland music incubator Zoo Labs, which gave her the resources and space to process this huge life shift through music.\u003c/p>\n\u003cp>“I want to practice sharing who I am in a bigger way,” she says. “Now is that time. All the pieces are falling into place. And I think I needed this big transformation to actually kick me into gear so that I could develop myself as a songwriter and producer.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=603708048/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>In “scar,” a quiet hum grounds the downtempo track in a self-reflective mood that stands apart from The Seshen’s big, propulsive electropop. Snappy snares and soaring synths underscore St. Juste’s optimism about the terrifying, yet ultimately gratifying, process of self-discovery. After a cathartic crescendo of layered vocals, a moment of calm acceptance arrives: “It’s OK, let your heart break,” she repeats to herself in a half-whisper, like a mantra.\u003c/p>\n\u003cfigure id=\"attachment_13903247\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903247\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/018_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste from The Seshen poses for a portrait at her home in Oakland on Sept. 15, 2021. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s accepting the realities of it, and the pain of it, and the beauty of it,” she says. “This is what it means to love, this is what it means to exist, this is what it means to grow: it’s to feel the growing pains of it all, to feel the discomfort of it all. But what you find in your own scar tissue is a beautiful world of all those experiences, and it’s what makes us who we are.”\u003c/p>\n\u003cp>St. Juste and Ehara are still close, and they haven’t slowed down on songwriting or performing with The Seshen. “As difficult as everything has been, we’re both really committed to the friendship because that’s been the basis of our relationship from the beginning,” Ehara says.\u003c/p>\n\u003cp>The expansive band, which also includes drummer Chris Thalmann, keyboard and synth player Mahesh Rao, percussionist Mirza Kopelman and sequencer Kumar Butler, is getting ready to embark on a Northwestern tour next week that concludes with a \u003ca href=\"https://www.ticketweb.com/event/the-seshen-the-new-parish-tickets/11206455?camefrom=CFC_ANOTHERPLANET_web&brand=anotherplanet\" target=\"_blank\" rel=\"noopener noreferrer\">hometown show at the New Parish\u003c/a> in Oakland on Nov. 19.\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/lR7AmjLCnWk'\n title='//www.youtube.com/embed/lR7AmjLCnWk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And St. Juste is pursuing other creative endeavors. She’s releasing \u003cem>behind my eyes \u003c/em>on \u003ca href=\"https://7000coils.com/Info\" target=\"_blank\" rel=\"noopener noreferrer\">7000COILS\u003c/a>, the new, queer- and Black-focused label she co-founded with her new partner, the DJ \u003ca href=\"https://soundcloud.com/privateselecta\" target=\"_blank\" rel=\"noopener noreferrer\">KKINGBOO\u003c/a>. She’s also creating a sound art piece for the experimental music festival \u003ca href=\"https://soundwavesf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Soundwave NEXT: Translocality\u003c/a>, which commissioned a variety of artists to compose location-specific works. Listeners will be able to hear the pieces at different Bay Area landmarks in late October via an app.\u003c/p>\n\u003cp>St. Juste takes a lot of solo walks near bodies of water to gather her thoughts. “I have this really deep connection to the power of water, the stories water holds, the way it moves in our lives. It’s a place I go to grieve and to celebrate,” she says, noting water’s role in her ancestors’ passage from West Africa to Haiti, where her parents are from.\u003c/p>\n\u003cp>Her piece for Translocality explores the history of the one of the places she frequents: Sutro Baths, the ruins near San Francisco’s Ocean Beach. In her research, she learned about an unsung civil rights hero, a Black man named \u003ca href=\"https://www.nps.gov/goga/learn/historyculture/john-harris-civil-rights.htm\" target=\"_blank\" rel=\"noopener noreferrer\">John Harris\u003c/a>, who in 1897 sued Adolph Sutro for discrimination when he was denied access to the baths. Harris’ lawsuit helped reinforce a new California law that granted equal access to public spaces, and set a precedent for desegregation.\u003c/p>\n\u003cfigure id=\"attachment_13903245\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903245\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg\" alt=\"A woman smiles in a garden.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-2048x1366.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/005_KQED_LalinStJuste_09152021-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lalin St. Juste. \u003ccite>(Beth LaBerge/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’m hoping to create some discomfort and some sense of dissonance. I think that’s what we need in order to confront these memories—not even just memories. These are current things that are happening,” St. Juste says of the piece. “Black lives are at threat every single day. … You’re fighting for your space, fighting for your voice, fighting for a right to exist. And in a place like San Francisco, where the demographics have changed so much, and the Black population is so little, I have to explore these things.”\u003c/p>\n\u003cp>Taking an unflinching look at those hard truths, and finding a way to create beauty from them, is key to not only St. Juste’s creative practice, but her way of living. As she says, “All these are steps in the direction of me fulfilling more of my destiny in terms of being more out in every possible way, loud in every possible way.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Notebook: A Month Into R. Kelly's Trial, Here's What it's Been Like in the Courtroom",
"headTitle": "Notebook: A Month Into R. Kelly’s Trial, Here’s What it’s Been Like in the Courtroom | KQED",
"content": "\u003cp>\u003cem>Editor’s note: This report includes allegations of sexual and physical abuse.\u003c/em>\u003c/p>\n\u003cp>The federal trial against \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> in New York is now almost at the end of its fourth week of testimony. Dozens of witnesses for the prosecution, including 11 alleged victims, have appeared on the stand in this case, in which the R&B superstar stands accused of running a criminal enterprise not unlike the mob. In this case, the government says, the purpose of that enterprise was to “prey upon young women and teenagers” and lure them into sexual relationships.\u003c/p>\n\u003cp>[aside postid='arts_13900892']When jurors were selected early last month, Judge Ann Donnelly told them that the trial would take about a full month after testimony began on Aug. 18. We’re almost at that point already now, and the prosecution is still laying out its argument. We don’t know how many more witnesses the government expects to call, who the defense team is going to put forward, or whether Kelly himself is going to take the stand.\u003c/p>\n\u003cp>It seems exceedingly unlikely, however, that the trial will wrap up in the next few days. And that’s without considering Kelly’s second scheduled federal trial, to take place in Chicago at some future time. There, Kelly will face separate charges of child pornography and obstruction of justice. Kelly has pleaded not guilty to all charges across both federal indictments.\u003c/p>\n\u003cp>I’ve attended the trial in Brooklyn on many days. It’s been a strange experience so far, even by the standards of high-profile celebrity cases. Because of COVID protocols, journalists and the public have been assigned to overflow courtrooms, to watch the proceedings via video and audio feeds. Every trial day, hours before the court even opens, R. Kelly supporters line up to snag hotly coveted seats in the overflow areas; multiple \u003ca href=\"https://twitter.com/vicbekiempis/status/1430136654916997143?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">disputes\u003c/a> over seats and places in line have precipitated the intervention of U.S. marshals and local police. After court ended on Sept. 3, the NYPD \u003ca href=\"https://twitter.com/emilyepalmer/status/1433842112810860544?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> one male Kelly supporter who, according to police, was accused of sexually harassing another supporter.\u003c/p>\n\u003ch3>“Is that a weird shadow?”\u003c/h3>\n\u003cp>In the meantime, we journalists covering the trial spend our days peering at tiny figures rendered so small onscreen that even the sketch artists seated in the front row of our overflow courtroom have had considerable difficulty discerning participants’ basic features. (“Is she wearing glasses?” “Does he have a shaved head, or is that just a weird shadow?”) We can’t see the jurors at all, because—again, due to coronavirus protocols—they are seated not in the traditional jury box, but instead spaced out in the gallery, where public observers usually sit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result, we in the media have no idea how jurors are reacting to the testimony they’re hearing. Is anyone snoozing through long stretches while experts are describing the particulars of cell phone data? When alleged victims burst into tears on the stand, as several have, is anyone in the jury viscerally responding? Are jurors taking notes, or just letting information wash over them? When the defense team brings up the names of Kelly’s former peers and colleagues—for example, the late singer Whitney Houston, whose name has been raised repeatedly—do they seem star-struck?\u003c/p>\n\u003cp>[aside postid='arts_13901400']None of those kinds of reactions will determine their eventual judgment of innocence or guilt, of course. But body language could provide insights into how they’re feeling at any given time.\u003c/p>\n\u003ch3>Not following the “rules”\u003c/h3>\n\u003cp>Day in and day out, testimony from witnesses—both those named in the indictment and some who are alleged victims of \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">“uncharged crimes”\u003c/a> purportedly committed by Kelly—has rung similarly throughout, and much of it has been very difficult to listen to. Six alleged victims described being abused by Kelly while they were minors. Women have detailed being forced into unwanted sexual encounters, sometimes with other people, including strangers. Women have recounted alleged episodes of intense physical and sexual abuse for breaking one of his many “rules.” Women have stated that Kelly had lied to them by claiming he had no STDs, and finding out after the fact that he had given them herpes.\u003c/p>\n\u003cp>Both women and \u003ca href=\"https://www.vulture.com/2021/09/r-kelly-trial-week-3-recap-accuser-testimony-aaliyah-marriage.html\" target=\"_blank\" rel=\"noopener noreferrer\">men\u003c/a>, who were minors or still teenagers when they met Kelly, have said that either Kelly or one of his associates slipped them his phone number after seeing him somewhere—at a show, at a mall, at a McDonald’s—and wound up as one of his sexual partners. One woman said on the stand that Kelly made her have sex with another man as punishment for breaking his rules, and also forced her to have an abortion. Another described being \u003ca href=\"https://www.buzzfeednews.com/article/juliareinstein/r-kelly-trial-victim-imprisoned-drugged-raped\" target=\"_blank\" rel=\"noopener noreferrer\">raped\u003c/a> backstage at one of the singer’s shows, soon after meeting Kelly.\u003c/p>\n\u003cp>Still another, “Angela,” a former back-up dancer for Kelly and a back-up singer for Kelly’s late protégée, Aaliyah, said in testimony Monday that she witnessed Kelly appearing to perform oral sex on Aaliyah when the singer was just 13 or 14 years old. “Angela” appeared in the docuseries \u003cem>Surviving R. Kelly\u003c/em>, but did not make accusations of her own there. On the stand, however, she said that she, too, was sexually abused by Kelly.\u003c/p>\n\u003ch3>“Zombieish”\u003c/h3>\n\u003cp>Also on Monday, a man who went by “Alex” in court, but who also was referred to in other testimony by the nickname “Nephew,” recounted being directed by Kelly to have sex with “countless” young women, as well as with Kelly himself, while Kelly recorded them all on video. Alex said he was not allowed to talk to the women or to learn their names. He flatly described the women’s demeanor during their sexual encounters as “zombieish.” Alex also said that he himself was “brainwashed” by Kelly. When asked by a prosecutor, “Why did you do what the defendant told you to do?” Alex hung his head and said, “I actually don’t even know.”\u003c/p>\n\u003cp>[aside postid='pop_109968']Two experts recently told \u003ca href=\"https://www.insider.com/cult-experts-why-r-kelly-accusers-stayed-despite-alleged-abuse-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Insider\u003c/em>\u003c/a> that Kelly’s alleged behavior fits that of a cult leader. According to Rick Ross, executive director of the Cult Education Institute, “The women that are under his control, or have been under his control, they’re not functioning independently. He’s engendered dependency upon himself to make value judgments, to critically think, to analyze things—it’s incapacitated these women from being able to think for themselves.”\u003c/p>\n\u003cp>In contrast, the defense team has alternately sought to characterize the women as \u003ca href=\"https://apnews.com/article/entertainment-music-arts-and-entertainment-r-kelly-bd42a092620ac9d159a8e6e8e9824e62\" target=\"_blank\" rel=\"noopener noreferrer\">“groupies\u003c/a>,” or argued that Kelly treated them lavishly, providing them with gifts, trips and spending sprees, while always opening doors for them and standing if they entered a room.\u003c/p>\n\u003ch3>“Was it MSG?”\u003c/h3>\n\u003cp>Defense lawyer Devereaux Cannick has repeatedly asked women on the stand \u003ca href=\"https://www.insider.com/r-kelly-lawyer-twerking-sex-crimes-trial-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">if they twerked\u003c/a> at Kelly’s shows or in his presence, as if dancing suggestively meant that they deserved alleged abuse. Cannick also tried to discredit the allegations of one woman, “Sonja,” who believes that she was drugged and sexually assaulted at Kelly’s home after going there to interview him for a Utah radio station. In her testimony, she said that she’d eaten a few bites of Chinese food shortly before she fell asleep. “Was it MSG?” Cannick asked her during cross-examination, implying that she’d gotten sick because she’d ingested monosodium glutamate, a common amino acid present in everything from tomatoes to Cool Ranch Doritos. (Activists say that anti-MSG sentiments are more about \u003ca href=\"https://www.cnn.com/2020/01/18/asia/chinese-restaurant-syndrome-msg-intl-hnk-scli/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">racism\u003c/a> than about science.)\u003c/p>\n\u003cp>Kelly has a team of four lawyers, two of whom have never argued a federal trial before—and it often shows. Just during the defense’s opening statement, for example, Judge Donnelly interrupted defense lawyer Nicole Blank Becker to ask for a sidebar, or sustained objections against her, more than half a dozen times. My media colleagues who are full-time court reporters, who also are covering the Kelly trial, tell me this is very unusual, especially in such a high-profile case.\u003c/p>\n\u003cp>On the other hand, the defense has pointed out inconsistencies between what one witness said on the stand during the trial and statements she had made earlier. Another woman brought forward by the prosecution as a former girlfriend of Kelly’s clearly did not want to testify; what she said on the stand didn’t fit certain patterns laid out by other female witnesses, which served the defense’s argument well.\u003c/p>\n\u003ch3>“It’s a bit misleading to call him a co-lyricist”\u003c/h3>\n\u003cp>Meanwhile, outside of court, R. Kelly received a songwriting credit on Drake’s new album, \u003cem>Certified Lover Boy\u003c/em>, which dropped earlier this month. The project has earned Drake a \u003ca href=\"https://www.billboard.com/articles/news/9629040/drake-hot-100-history-way-2-sexy-number-one\" target=\"_blank\" rel=\"noopener noreferrer\">historic place\u003c/a> on the \u003cem>Billboard \u003c/em>charts, with nine out of the top 10 songs on the Hot 100. Drake’s “TSU”—currently charting at No. 9—incorporates material from a song released by R. Kelly in 1998 called “Half on a Baby.” The Drake song includes a sample from a track on which Houston DJ OG Ron C raps over an orchestral passage from the Kelly song.\u003c/p>\n\u003cp>[aside postid='pop_108417']In a recent Instagram comment, longtime Drake producer and collaborator \u003ca href=\"https://variety.com/2021/music/news/drake-r-kelly-songwriting-tsu-certified-lover-boy-sample-1235057256/\" target=\"_blank\" rel=\"noopener noreferrer\">Noah “40” Shebib wrote\u003c/a>: “It [the R. Kelly sample] has no significance no lyrics are present, r Kelly’s voice isn’t even present but if we wanted to use Ron c talking we were forced to license it. Doesn’t sit well with me let me just say that. And I’m not here to defend drakes lyrics, but I thought I would clear up that there is no actual r Kelly present and it’s a bit misleading to call him a co lyricist.” Still, having worked in the business as long as Drake and Shebib have, they surely must know how credits are parceled out for samples—and it’s hard to imagine Drake and his collaborators wouldn’t have foreseen any \u003ca href=\"https://www.google.com/search?rlz=1C1GCEJ_enUS883US883&sxsrf=AOaemvKH0VzX-5W7TyHAKr9rVyZGkMpPTw:1631042539096&q=drake+r.+kelly+tsu&tbm=nws&source=univ&tbo=u&sa=X&ved=2ahUKEwiDrJ_5yu3yAhWgGVkFHa1vC_wQt8YBegQIAhAG&biw=1280&bih=577\" target=\"_blank\" rel=\"noopener noreferrer\">blowback\u003c/a>.\u003c/p>\n\u003cp>It’s equally hard to fathom that they didn’t realize the optics of utilizing an R. Kelly-related sample in this particular moment in time—and that they didn’t recognize that scandal sells. After \u003cem>Surviving R. Kelly \u003c/em>first aired, streams of R. Kelly’s music \u003ca href=\"https://www.goodmorningamerica.com/culture/video/kellys-music-sales-reportedly-spike-docuseries-60207069\" target=\"_blank\" rel=\"noopener noreferrer\">surged\u003c/a>, even though he had been \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener noreferrer\">removed\u003c/a> from Spotify’s playlists the preceding year. Just as Aaliyah’s name and the story of her marriage to Kelly at age 15 was coming up in court testimony, her uncle Barry Hankerson—who had managed both her and Kelly, and who owns the rights to much of her material—began to \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">release\u003c/a> many of her recordings to streaming services for the first time, to the dismay of Aaliyah’s estate, including \u003ca href=\"https://variety.com/2021/music/news/aaliyah-estate-manager-battle-hankerson-1235035097/\" target=\"_blank\" rel=\"noopener noreferrer\">her mother\u003c/a>.\u003c/p>\n\u003ch3>“It was dues time”\u003c/h3>\n\u003cp>On Monday, a weeping “Angela” gave testimony about her own alleged abuse and that of Aaliyah. During one tour stop in 1992 or 1993 in Washington, D.C., Angela said, she and a group of other teenaged girls, including Aaliyah, were instructed by Kelly to stay at the hotel while he and his male associates hit the town. Hungry, the girls went to a nearby 7-Eleven for food. While outside, they ran into Kelly, who was enraged. The punishment for their supposed infraction, Angela said, was to “put out” and have sex with him.\u003c/p>\n\u003cp>“It was dues time,” she explained. Angela said that on this occasion she refused him, and suggested to Kelly that she would call her mother and let her family know what was going on. Kelly allegedly relented, saying he was “just joking.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Aaliyah billboards have \u003ca href=\"https://www.newyorker.com/news/news-desk/the-focus-finally-turns-to-aaliyah-in-r-kellys-trial\" target=\"_blank\" rel=\"noopener noreferrer\">sprouted up\u003c/a> around Manhattan in the past few weeks, hailing the arrival of her albums on streaming services. Often, just minutes after I leave court, I pass underneath a giant version of her towering over Canal Street, full of such promise, fire and swagger. Some days, it’s been hard even to glance up at her, given the testimony that we’ve heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Notebook%3A+A+Month+Into+R.+Kelly%27s+Trial%2C+Here%27s+What+It%27s+Been+Like+In+The+Courtroom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This report includes allegations of sexual and physical abuse.\u003c/em>\u003c/p>\n\u003cp>The federal trial against \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> in New York is now almost at the end of its fourth week of testimony. Dozens of witnesses for the prosecution, including 11 alleged victims, have appeared on the stand in this case, in which the R&B superstar stands accused of running a criminal enterprise not unlike the mob. In this case, the government says, the purpose of that enterprise was to “prey upon young women and teenagers” and lure them into sexual relationships.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When jurors were selected early last month, Judge Ann Donnelly told them that the trial would take about a full month after testimony began on Aug. 18. We’re almost at that point already now, and the prosecution is still laying out its argument. We don’t know how many more witnesses the government expects to call, who the defense team is going to put forward, or whether Kelly himself is going to take the stand.\u003c/p>\n\u003cp>It seems exceedingly unlikely, however, that the trial will wrap up in the next few days. And that’s without considering Kelly’s second scheduled federal trial, to take place in Chicago at some future time. There, Kelly will face separate charges of child pornography and obstruction of justice. Kelly has pleaded not guilty to all charges across both federal indictments.\u003c/p>\n\u003cp>I’ve attended the trial in Brooklyn on many days. It’s been a strange experience so far, even by the standards of high-profile celebrity cases. Because of COVID protocols, journalists and the public have been assigned to overflow courtrooms, to watch the proceedings via video and audio feeds. Every trial day, hours before the court even opens, R. Kelly supporters line up to snag hotly coveted seats in the overflow areas; multiple \u003ca href=\"https://twitter.com/vicbekiempis/status/1430136654916997143?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">disputes\u003c/a> over seats and places in line have precipitated the intervention of U.S. marshals and local police. After court ended on Sept. 3, the NYPD \u003ca href=\"https://twitter.com/emilyepalmer/status/1433842112810860544?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> one male Kelly supporter who, according to police, was accused of sexually harassing another supporter.\u003c/p>\n\u003ch3>“Is that a weird shadow?”\u003c/h3>\n\u003cp>In the meantime, we journalists covering the trial spend our days peering at tiny figures rendered so small onscreen that even the sketch artists seated in the front row of our overflow courtroom have had considerable difficulty discerning participants’ basic features. (“Is she wearing glasses?” “Does he have a shaved head, or is that just a weird shadow?”) We can’t see the jurors at all, because—again, due to coronavirus protocols—they are seated not in the traditional jury box, but instead spaced out in the gallery, where public observers usually sit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a result, we in the media have no idea how jurors are reacting to the testimony they’re hearing. Is anyone snoozing through long stretches while experts are describing the particulars of cell phone data? When alleged victims burst into tears on the stand, as several have, is anyone in the jury viscerally responding? Are jurors taking notes, or just letting information wash over them? When the defense team brings up the names of Kelly’s former peers and colleagues—for example, the late singer Whitney Houston, whose name has been raised repeatedly—do they seem star-struck?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None of those kinds of reactions will determine their eventual judgment of innocence or guilt, of course. But body language could provide insights into how they’re feeling at any given time.\u003c/p>\n\u003ch3>Not following the “rules”\u003c/h3>\n\u003cp>Day in and day out, testimony from witnesses—both those named in the indictment and some who are alleged victims of \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">“uncharged crimes”\u003c/a> purportedly committed by Kelly—has rung similarly throughout, and much of it has been very difficult to listen to. Six alleged victims described being abused by Kelly while they were minors. Women have detailed being forced into unwanted sexual encounters, sometimes with other people, including strangers. Women have recounted alleged episodes of intense physical and sexual abuse for breaking one of his many “rules.” Women have stated that Kelly had lied to them by claiming he had no STDs, and finding out after the fact that he had given them herpes.\u003c/p>\n\u003cp>Both women and \u003ca href=\"https://www.vulture.com/2021/09/r-kelly-trial-week-3-recap-accuser-testimony-aaliyah-marriage.html\" target=\"_blank\" rel=\"noopener noreferrer\">men\u003c/a>, who were minors or still teenagers when they met Kelly, have said that either Kelly or one of his associates slipped them his phone number after seeing him somewhere—at a show, at a mall, at a McDonald’s—and wound up as one of his sexual partners. One woman said on the stand that Kelly made her have sex with another man as punishment for breaking his rules, and also forced her to have an abortion. Another described being \u003ca href=\"https://www.buzzfeednews.com/article/juliareinstein/r-kelly-trial-victim-imprisoned-drugged-raped\" target=\"_blank\" rel=\"noopener noreferrer\">raped\u003c/a> backstage at one of the singer’s shows, soon after meeting Kelly.\u003c/p>\n\u003cp>Still another, “Angela,” a former back-up dancer for Kelly and a back-up singer for Kelly’s late protégée, Aaliyah, said in testimony Monday that she witnessed Kelly appearing to perform oral sex on Aaliyah when the singer was just 13 or 14 years old. “Angela” appeared in the docuseries \u003cem>Surviving R. Kelly\u003c/em>, but did not make accusations of her own there. On the stand, however, she said that she, too, was sexually abused by Kelly.\u003c/p>\n\u003ch3>“Zombieish”\u003c/h3>\n\u003cp>Also on Monday, a man who went by “Alex” in court, but who also was referred to in other testimony by the nickname “Nephew,” recounted being directed by Kelly to have sex with “countless” young women, as well as with Kelly himself, while Kelly recorded them all on video. Alex said he was not allowed to talk to the women or to learn their names. He flatly described the women’s demeanor during their sexual encounters as “zombieish.” Alex also said that he himself was “brainwashed” by Kelly. When asked by a prosecutor, “Why did you do what the defendant told you to do?” Alex hung his head and said, “I actually don’t even know.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Two experts recently told \u003ca href=\"https://www.insider.com/cult-experts-why-r-kelly-accusers-stayed-despite-alleged-abuse-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Insider\u003c/em>\u003c/a> that Kelly’s alleged behavior fits that of a cult leader. According to Rick Ross, executive director of the Cult Education Institute, “The women that are under his control, or have been under his control, they’re not functioning independently. He’s engendered dependency upon himself to make value judgments, to critically think, to analyze things—it’s incapacitated these women from being able to think for themselves.”\u003c/p>\n\u003cp>In contrast, the defense team has alternately sought to characterize the women as \u003ca href=\"https://apnews.com/article/entertainment-music-arts-and-entertainment-r-kelly-bd42a092620ac9d159a8e6e8e9824e62\" target=\"_blank\" rel=\"noopener noreferrer\">“groupies\u003c/a>,” or argued that Kelly treated them lavishly, providing them with gifts, trips and spending sprees, while always opening doors for them and standing if they entered a room.\u003c/p>\n\u003ch3>“Was it MSG?”\u003c/h3>\n\u003cp>Defense lawyer Devereaux Cannick has repeatedly asked women on the stand \u003ca href=\"https://www.insider.com/r-kelly-lawyer-twerking-sex-crimes-trial-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">if they twerked\u003c/a> at Kelly’s shows or in his presence, as if dancing suggestively meant that they deserved alleged abuse. Cannick also tried to discredit the allegations of one woman, “Sonja,” who believes that she was drugged and sexually assaulted at Kelly’s home after going there to interview him for a Utah radio station. In her testimony, she said that she’d eaten a few bites of Chinese food shortly before she fell asleep. “Was it MSG?” Cannick asked her during cross-examination, implying that she’d gotten sick because she’d ingested monosodium glutamate, a common amino acid present in everything from tomatoes to Cool Ranch Doritos. (Activists say that anti-MSG sentiments are more about \u003ca href=\"https://www.cnn.com/2020/01/18/asia/chinese-restaurant-syndrome-msg-intl-hnk-scli/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">racism\u003c/a> than about science.)\u003c/p>\n\u003cp>Kelly has a team of four lawyers, two of whom have never argued a federal trial before—and it often shows. Just during the defense’s opening statement, for example, Judge Donnelly interrupted defense lawyer Nicole Blank Becker to ask for a sidebar, or sustained objections against her, more than half a dozen times. My media colleagues who are full-time court reporters, who also are covering the Kelly trial, tell me this is very unusual, especially in such a high-profile case.\u003c/p>\n\u003cp>On the other hand, the defense has pointed out inconsistencies between what one witness said on the stand during the trial and statements she had made earlier. Another woman brought forward by the prosecution as a former girlfriend of Kelly’s clearly did not want to testify; what she said on the stand didn’t fit certain patterns laid out by other female witnesses, which served the defense’s argument well.\u003c/p>\n\u003ch3>“It’s a bit misleading to call him a co-lyricist”\u003c/h3>\n\u003cp>Meanwhile, outside of court, R. Kelly received a songwriting credit on Drake’s new album, \u003cem>Certified Lover Boy\u003c/em>, which dropped earlier this month. The project has earned Drake a \u003ca href=\"https://www.billboard.com/articles/news/9629040/drake-hot-100-history-way-2-sexy-number-one\" target=\"_blank\" rel=\"noopener noreferrer\">historic place\u003c/a> on the \u003cem>Billboard \u003c/em>charts, with nine out of the top 10 songs on the Hot 100. Drake’s “TSU”—currently charting at No. 9—incorporates material from a song released by R. Kelly in 1998 called “Half on a Baby.” The Drake song includes a sample from a track on which Houston DJ OG Ron C raps over an orchestral passage from the Kelly song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a recent Instagram comment, longtime Drake producer and collaborator \u003ca href=\"https://variety.com/2021/music/news/drake-r-kelly-songwriting-tsu-certified-lover-boy-sample-1235057256/\" target=\"_blank\" rel=\"noopener noreferrer\">Noah “40” Shebib wrote\u003c/a>: “It [the R. Kelly sample] has no significance no lyrics are present, r Kelly’s voice isn’t even present but if we wanted to use Ron c talking we were forced to license it. Doesn’t sit well with me let me just say that. And I’m not here to defend drakes lyrics, but I thought I would clear up that there is no actual r Kelly present and it’s a bit misleading to call him a co lyricist.” Still, having worked in the business as long as Drake and Shebib have, they surely must know how credits are parceled out for samples—and it’s hard to imagine Drake and his collaborators wouldn’t have foreseen any \u003ca href=\"https://www.google.com/search?rlz=1C1GCEJ_enUS883US883&sxsrf=AOaemvKH0VzX-5W7TyHAKr9rVyZGkMpPTw:1631042539096&q=drake+r.+kelly+tsu&tbm=nws&source=univ&tbo=u&sa=X&ved=2ahUKEwiDrJ_5yu3yAhWgGVkFHa1vC_wQt8YBegQIAhAG&biw=1280&bih=577\" target=\"_blank\" rel=\"noopener noreferrer\">blowback\u003c/a>.\u003c/p>\n\u003cp>It’s equally hard to fathom that they didn’t realize the optics of utilizing an R. Kelly-related sample in this particular moment in time—and that they didn’t recognize that scandal sells. After \u003cem>Surviving R. Kelly \u003c/em>first aired, streams of R. Kelly’s music \u003ca href=\"https://www.goodmorningamerica.com/culture/video/kellys-music-sales-reportedly-spike-docuseries-60207069\" target=\"_blank\" rel=\"noopener noreferrer\">surged\u003c/a>, even though he had been \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener noreferrer\">removed\u003c/a> from Spotify’s playlists the preceding year. Just as Aaliyah’s name and the story of her marriage to Kelly at age 15 was coming up in court testimony, her uncle Barry Hankerson—who had managed both her and Kelly, and who owns the rights to much of her material—began to \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">release\u003c/a> many of her recordings to streaming services for the first time, to the dismay of Aaliyah’s estate, including \u003ca href=\"https://variety.com/2021/music/news/aaliyah-estate-manager-battle-hankerson-1235035097/\" target=\"_blank\" rel=\"noopener noreferrer\">her mother\u003c/a>.\u003c/p>\n\u003ch3>“It was dues time”\u003c/h3>\n\u003cp>On Monday, a weeping “Angela” gave testimony about her own alleged abuse and that of Aaliyah. During one tour stop in 1992 or 1993 in Washington, D.C., Angela said, she and a group of other teenaged girls, including Aaliyah, were instructed by Kelly to stay at the hotel while he and his male associates hit the town. Hungry, the girls went to a nearby 7-Eleven for food. While outside, they ran into Kelly, who was enraged. The punishment for their supposed infraction, Angela said, was to “put out” and have sex with him.\u003c/p>\n\u003cp>“It was dues time,” she explained. Angela said that on this occasion she refused him, and suggested to Kelly that she would call her mother and let her family know what was going on. Kelly allegedly relented, saying he was “just joking.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aaliyah billboards have \u003ca href=\"https://www.newyorker.com/news/news-desk/the-focus-finally-turns-to-aaliyah-in-r-kellys-trial\" target=\"_blank\" rel=\"noopener noreferrer\">sprouted up\u003c/a> around Manhattan in the past few weeks, hailing the arrival of her albums on streaming services. Often, just minutes after I leave court, I pass underneath a giant version of her towering over Canal Street, full of such promise, fire and swagger. Some days, it’s been hard even to glance up at her, given the testimony that we’ve heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Notebook%3A+A+Month+Into+R.+Kelly%27s+Trial%2C+Here%27s+What+It%27s+Been+Like+In+The+Courtroom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Watch: Rick Astley Performs The Smiths’ ‘This Charming Man’ Better Than Morrissey",
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"content": "\u003cp>For years now, Bay Area music fans have been wrestling with The Morrissey Problem. This philosophical quandary is best described as the state of being desirous of listening to music by Morrissey and The Smiths, while simultaneously feeling thoroughly repelled by the singer’s poor treatment of his own fans. In recent years, the condition has been further exacerbated by Morrissey’s perplexing (and often deeply offensive) personal viewpoints.\u003c/p>\n\u003cp>The Morrissey Problem has been taunting the Bay Area for almost a decade now. It first took hold between December 2011 and April 2013 when the singer failed to show up to concerts fans were looking forward to at the Fox Theater, Davies Symphony Hall (twice), the Regency Ballroom, \u003cem>and\u003c/em> the Warfield.\u003c/p>\n\u003cp>[aside postid='pop_97306']Then, in 2018, Morrissey made things even worse by \u003ca href=\"https://www.kqed.org/pop/103129/morrissey-completes-transition-into-your-most-racist-uncle\" target=\"_blank\" rel=\"noopener noreferrer\">giving an interview\u003c/a> to his own website in which he expressed a variety of opinions best described as abhorrent. These included assertions that Hitler was leftwing, all halal meat is made by supporters of ISIS, and that political correctness was preventing people of color from being arrested for crimes they had committed (???).\u003c/p>\n\u003cp>It should come as some relief then that this week a remedy to The Morrissey Problem finally presented itself. It arrived via footage from a Sept. 13 show at London’s Kentish Town Forum, in which an impassioned rendition of Smiths’ classic “This Charming Man” was performed. The vocals were on point, the pompadour was in place, the audience sang along, and the mood was positively cathartic. How did this miracle happen, you ask? The answer—*triple checks notes*—is Rick Astley.\u003c/p>\n\u003cp>Yup. Rickrolling, “Never Gonna Give You Up,” scourge of YouTube, Rick Astley. But before you balk, just take a look at this footage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XluAp8yEhZ8\u003c/p>\n\u003cp>Nailed it!\u003c/p>\n\u003cp>Astley joined Blossoms at the end of their headlining set at the 2,300-person venue to perform both “This Charming Man” and “Panic.” It was a small taster of what’s to come next month when Astley and the English indie pop quintet join forces for two full sets of Smiths covers. The first will take place in Morrissey’s hometown, Manchester, at the Albert Hall on Oct. 8. The following night, they’ll be back at the Forum in London.\u003c/p>\n\u003cp>Blossoms also released a sneak preview on their YouTube channel:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gO2grvC9fdM\u003c/p>\n\u003cp>Needless to say, the internet was very pleased with this development.\u003c/p>\n\u003cp>https://twitter.com/LauraJaneGrace/status/1438128561949396993\u003c/p>\n\u003cp>https://twitter.com/stuartdredge/status/1438086260971741191\u003c/p>\n\u003cp>https://twitter.com/JGoldsbie/status/1438152751695937543\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The campaign to get a Rick Astley-fronted Smiths tour to California starts now.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For years now, Bay Area music fans have been wrestling with The Morrissey Problem. This philosophical quandary is best described as the state of being desirous of listening to music by Morrissey and The Smiths, while simultaneously feeling thoroughly repelled by the singer’s poor treatment of his own fans. In recent years, the condition has been further exacerbated by Morrissey’s perplexing (and often deeply offensive) personal viewpoints.\u003c/p>\n\u003cp>The Morrissey Problem has been taunting the Bay Area for almost a decade now. It first took hold between December 2011 and April 2013 when the singer failed to show up to concerts fans were looking forward to at the Fox Theater, Davies Symphony Hall (twice), the Regency Ballroom, \u003cem>and\u003c/em> the Warfield.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Then, in 2018, Morrissey made things even worse by \u003ca href=\"https://www.kqed.org/pop/103129/morrissey-completes-transition-into-your-most-racist-uncle\" target=\"_blank\" rel=\"noopener noreferrer\">giving an interview\u003c/a> to his own website in which he expressed a variety of opinions best described as abhorrent. These included assertions that Hitler was leftwing, all halal meat is made by supporters of ISIS, and that political correctness was preventing people of color from being arrested for crimes they had committed (???).\u003c/p>\n\u003cp>It should come as some relief then that this week a remedy to The Morrissey Problem finally presented itself. It arrived via footage from a Sept. 13 show at London’s Kentish Town Forum, in which an impassioned rendition of Smiths’ classic “This Charming Man” was performed. The vocals were on point, the pompadour was in place, the audience sang along, and the mood was positively cathartic. How did this miracle happen, you ask? The answer—*triple checks notes*—is Rick Astley.\u003c/p>\n\u003cp>Yup. Rickrolling, “Never Gonna Give You Up,” scourge of YouTube, Rick Astley. But before you balk, just take a look at this footage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>The campaign to get a Rick Astley-fronted Smiths tour to California starts now.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "10-years-of-soy-raka-a-look-back-with-panamanian-hip-hop-duo-los-rakas",
"title": "10 Years of 'Soy Raka': A Look Back With Panamanian Hip-Hop Duo Los Rakas",
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"headTitle": "10 Years of ‘Soy Raka’: A Look Back With Panamanian Hip-Hop Duo Los Rakas | KQED",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> Los Rakas banner hung above the crowd last Friday night as the Grammy-nominated duo took the stage at the New Parish. It had been two years since Raka Dun and Raka Rich last performed in Oakland, and they were ready for the hometown love.\u003c/p>\n\u003cp>The show celebrated the 10-year anniversary of the release of Los Rakas’ first project, \u003ca href=\"https://losrakas.bandcamp.com/album/chancletas-y-camisetas-bordada\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Chancletas Y Camisetas Bordada\u003c/i>\u003c/a>, which features the anthem “\u003ca href=\"https://www.youtube.com/watch?v=iHsncI2j2fk\" target=\"_blank\" rel=\"noopener noreferrer\">Soy Raka\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13902918\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC02432-800x535.jpg\" alt=\"Raka Rich wears a turquoise jogging suit and a hat as he performs in front of a crowd at New Parish in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich performs at the New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Rakas were joined onstage with performances from \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas,\u003c/a> who celebrated a birthday over the weekend; \u003ca href=\"https://www.instagram.com/cocopeila/\" target=\"_blank\" rel=\"noopener noreferrer\">Coco Peila\u003c/a>, who recently “\u003ca href=\"https://www.youtube.com/watch?v=uIx_7KJV_1Y\" target=\"_blank\" rel=\"noopener noreferrer\">Pretty Girls\u003c/a>“; and \u003ca href=\"https://www.instagram.com/allhailtheqing/\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a>, who was joined by members of the \u003ca href=\"https://www.instagram.com/putangclanofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">Pu-Tang Clan\u003c/a>.\u003c/p>\n\u003cp>There were also a bunch of folks in the crowd who’ve followed \u003ca href=\"https://www.instagram.com/losrakas/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a> since before their debut EP. I’m one of them. After meeting Dun and Rico in 2004 through the nonprofit Youth Movement Records, I’ve followed their career, captured photos of them, and watched them grow.\u003c/p>\n\u003cp>The two hungry young creatives I met almost two decades ago, who stood out as Oakland-based Afro-Latino hip-hop artists, have grown to leverage their identity and become widely accepted and appreciated in the Bay Area and beyond. Now in their mid-30s, the hip-hop veterans are even seeing their influence on a new generation coming up.\u003c/p>\n\u003cfigure id=\"attachment_13902919\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/IMG_4114-800x600.jpg\" alt=\"Raka Dun and Do D.A.T. pose for a photo during a performance at SF State (circa 2005). \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Dun and Do D.A.T. pose for a photo during a performance at SF State, circa 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>os Rakas’ story goes further back than the early 2000s. It starts with their family’s roots in Panama, and involves the support of the artistic community of the greater Oakland-Bay Area. Along the way, they’ve been featured on the soundtrack to \u003ca href=\"https://www.ea.com/games/fifa/news/fifa-14-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">FIFA 14\u003c/a>, appeared on the popular podcast \u003ci>Loud\u003c/i>, had multiple songs reach the top iTunes charts, \u003ca href=\"https://www.kqed.org/arts/11546388/culture-cue-los-rakas-what-does-it-mean-to-bring-the-raka-party-to-the-white-house\" rel=\"noopener noreferrer\" target=\"_blank\">performed at the White House\u003c/a>, and met Mýa on the red carpet for the Grammys—a career highlight for Rico, who watched her videos on the California Music Channel as a kid. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before traveling the world and letting audiences know “Soy Raka,” they got their start in music working under the tutelage of two late Bay Area luminaries. \u003c/p>\n\u003cfigure id=\"attachment_13902920\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC04535-800x532.jpg\" alt=\"Raka Rich performing at the Life is Living festival in West Oakland (circa 2013). \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich performs at the Life is Living festival in West Oakland, circa 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You remember who was the first artist who gave us a chance in the Bay Area?” Dun asks Rico during a three-way phone call a few weeks ago.\u003c/p>\n\u003cp>“The Jacka,” says Rico, citing a studio session which led to the track “\u003ca href=\"https://www.youtube.com/watch?v=3ldBrEyTn9M\" target=\"_blank\" rel=\"noopener noreferrer\">Gangsta\u003c/a>.” \u003c/p>\n\u003cp>Raka Dun says to think back a little further. “It was Zion-I.”\u003c/p>\n\u003cp>A lot of artists embraced Los Rakas in their early days, despite being somewhat of an anomaly—Black men who speak Spanish as their first language. But it was Zion-I, Dun says, who put them front and center. \u003c/p>\n\u003cp>“Every time Zion-I would perform,” says Raka Dun, “they’d throw us on the stage at the end to freestyle. A lot of people were recognizing us because of that. Zion-I, Steve, Zumbi was our first big collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13902921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC01816-800x532.jpg\" alt=\"The late Baba Zumbi of Zion-I with Raka Rich and Raka Dun at a video shoot for 'Human Being,' in 2012. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late Baba Zumbi of Zion-I with Raka Rich and Raka Dun at a video shoot for ‘Human Being’ in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Rakas’ first tour was with \u003ca href=\"https://www.instagram.com/thegrouch/\">The Grouch\u003c/a>, \u003ca href=\"https://www.instagram.com/brotheraliisblind/\">Brother Ali\u003c/a>, and \u003ca href=\"https://www.instagram.com/therealeligh/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Eligh\u003c/a>. They soon learned that tour time wasn’t a party—it was work. And their job wasn’t just performing, it was getting to know people and selling merchandise.\u003c/p>\n\u003cp>Now, their logo is arguably more popular than their music. “Sometimes people would miss our shows because we were the opener,” says Raka Dun. “But they’d buy the merch.” \u003c/p>\n\u003cp>The duo’s logo was partially inspired by the \u003ca href=\"https://uproxx.com/music/hieroglyphics-logo-underground-hip-hop/\" rel=\"noopener noreferrer\" target=\"_blank\">Hiero logo\u003c/a>, which they saw everywhere. To develop it, they met with a guy named Daniel Walker at \u003ca href=\"http://filthydripped.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filthy Dripped\u003c/a> in Berkeley and worked through various iterations, ultimately incorporating Oakland, Panama and a little bit of Mexico. \u003c/p>\n\u003cfigure id=\"attachment_13902922\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC02374-800x535.jpg\" alt=\"A fan flicks a lighter during Raka Dun's performance at the New Parish on Friday evening. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan flicks a lighter during Raka Dun’s performance at the New Parish on Sept. 10, 2021. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rico suggested adding the smile to cancel the stereotype about Rakas being from the hood and being angry,” says Dun. Just like their name reclaims the term “Raka” (short for “\u003ca href=\"https://www.kqed.org/arts/11546388/culture-cue-los-rakas-what-does-it-mean-to-bring-the-raka-party-to-the-white-house\" target=\"_blank\" rel=\"noopener noreferrer\">Rakataka\u003c/a>,” a derogatory term for someone from the ghetto), the duo wanted to work the same energy into their logo. “Just because you’re from the ghetto doesn’t mean that you’re always angry,” says Rico. \u003c/p>\n\u003cp>Inside the character’s huge smile is one tiny gold tooth that symbolizes a gigantic cultural connection. \u003c/p>\n\u003cfigure id=\"attachment_13902975\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/losrakaslogo-160x141.jpg\" alt=\"\" width=\"160\" height=\"141\" class=\"size-thumbnail wp-image-13902975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/losrakaslogo-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/losrakaslogo.jpg 700w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Los Rakas’ logo.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a Panamanian thing,” says Dun of the singular gold tooth. “My mom had one, my dad had one, Rico’s mom… Rico’s dad had eight!” he says with a laugh, before Rico picks up where Dun left off. “My grandpa had one, my grandma had one, my great grandmother had two, like Turk, from Cash Money.”\u003c/p>\n\u003cp>When the duo met Tupac’s brother, Mopreme Shakur, he told them that he got his singular gold tooth in Panama. As West Coast American rap fans from the Latin American country, their minds were blown. \u003c/p>\n\u003cp>Reflecting life in the Bay Area during the early years of the 21st century, the group added glasses without the lenses as a nod to Mac Dre. And the final addition: a hat with the ear flaps. \u003c/p>\n\u003cp>“We chose that because it was this Mexican program called \u003ca href=\"https://www.imdb.com/title/tt0229889/\" target=\"_blank\" rel=\"noopener noreferrer\">El Chavo Del Ocho\u003c/a>,” says Rico, noting how the main character would don similar headwear. “So when I came out here to the states and I saw those hats, I’d cop them every time.” When Rico and Dun went back to Panama to promote their single “Mi Barrio,” everyone asked him about the hat, so it was looped in the image of Los Rakas.\u003c/p>\n\u003cfigure id=\"attachment_13902923\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/IMG_4115-800x600.jpg\" alt=\"Raka Rich (center in the grey hoodie) stands with a number of young artists outside of East Oakland's Youth Uprising (circa 2005). \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich (at center, in the grey hoodie) stands with a number of young artists outside of East Oakland’s Youth Uprising, circa 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n many ways the logo speaks to Los Rakas’ balanced identity while beating the pavement and hitting stages with bilingual lyrics about both politics and partying—and performing in front of crowds who largely only speak English. \u003c/p>\n\u003cp>On a recent episode of \u003ca href=\"https://www.kqed.org/forum/2010101885060/loud-podcast-highlights-the-history-of-reggaeton\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Forum\u003c/a>, the duo discussed the popularity of reggaeton and its origins rooted in the children of Jamaican laborers working on the Panama Canal. They also mentioned that English speaking crowds in the states take to their music despite the language barrier, with the prevailing sentiment being “I don’t know what they’re saying, but it sounds good.” \u003c/p>\n\u003cp>Rico tells me that he’s proud of that. After all, he and Dun, blood cousins born in Panama who moved to the states separately during their adolescence, grew up listening to all kinds of music in languages they didn’t speak, too.\u003c/p>\n\u003cfigure id=\"attachment_13902924\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-160x249.jpg\" alt=\"The Los Rakas medallion sits on Raka Duns white shirt as he performs at the Life Is Living Festival in West Oakland circa 2013)\" width=\"160\" height=\"249\" class=\"size-thumbnail wp-image-13902924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-800x1247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-1020x1590.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-768x1197.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-986x1536.jpg 986w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-1314x2048.jpg 1314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389.jpg 1388w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Raka Dun performs at the Life Is Living Festival in West Oakland, circa 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they started on this musical journey, Rico says Oakland’s hip-hop community wasn’t feeling Spanish music. Raka Dun says they had to adapt, especially because they were working with the likes of The Jacka, J. Stalin, and Zumbi from Zion-I.\u003c/p>\n\u003cp>Plus, being in the Bay, they weren’t getting too many reggaeton beats; this, again, was in the thick of the Hyphy era. “We had to hop on whatever we could hop on,” says Rico. “That’s how we became \u003ci>Los Rakas\u003c/i>.” The combination of Panamanian influence and Bay Area energy made them unique. And it resonated with people. \u003c/p>\n\u003cp>“We’d have people that’d come up to us, rap the whole verse, and be like, ‘I don’t even speak Spanish. I’m learning Spanish through your music,’” says Rico.\u003c/p>\n\u003cp>A few weeks ago the group got \u003ca href=\"https://twitter.com/LosRakas/status/1423347834133237762/photo/1\">a message\u003c/a> from a fan who said he used to watch YouTube videos of them as a kid. Over a decade later he was rejoicing in the fact that they’re still rocking. \u003c/p>\n\u003cp>“The tweet, it makes me feel good, man,” says Dun. “That’s what we do it for. That’s the type of message that keeps us motivated. This dude saying that we changed his life, he’s giving us the flowers. We do this first of all because we love it. And then it’s for the people, we want to make sure we give the people good music just like our favorite artists gave us timeless music. And sometimes this shit gets hard. We’re artists who don’t have the numbers, we got the respect, we’ve influenced lots of artists, but we don’t have millions of streams on our music, so stuff like that keeps us really motivated. We’re getting to the people.” \u003c/p>\n\u003cp>Rico adds that they see the success of similar music today, and they know they played a significant part in pioneering the sound that’s popular right now. “To see how far it’s gotten, it’s bittersweet,” says Rico, thinking about how the pioneers of rap aren’t living how they should be living, given what they’ve done for the culture. “We been out here for 16 years. Grinding.”\u003c/p>\n\u003cp>And the grind doesn’t stop. Now it’s time to cultivate the next generation. \u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=VxXSOxEV49s\">https://www.youtube.com/watch?v=VxXSOxEV49s\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the time since their 2019 album, \u003cem>\u003ca href=\"https://soundcloud.com/losrakas/sets/manes-de-negocio-1\" target=\"_blank\" rel=\"noopener noreferrer\">Manes De Negocio\u003c/a>, \u003c/em>the duo have released a series of solo tracks. The list includes Raka Dun’s “\u003ca href=\"https://www.youtube.com/watch?v=WbtnB57D5Lg&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">Como Yo\u003c/a>” and Raka Rich’s “Comuna 13,” which features an 18 year-old emcee named \u003ca href=\"https://www.instagram.com/el_jonky_/\" target=\"_blank\" rel=\"noopener noreferrer\">El Jonky\u003c/a>, who Rico met during a recent trip to Colombia. “I went out there on a two-week trip, and ended up staying three months,” he says.\u003c/p>\n\u003cp>Rico says he was hooked by the food and the vibes, and wasn’t looking to do any music. But after meeting El Jonky and his crew, he saw something familiar in the young artist.\u003c/p>\n\u003cp>“He was hungry. He reminded me of a lil Dun-Dun back when he was with the Black Lion Crew,” he says, referencing Raka Dun’s early days as an artist. After hearing El Jonky rap, Rico followed him on social media and eventually hit him up to stop by the studio. It was a big move for both parties—as Rico points out, studio time in the poverty-stricken community is a rarity.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And in a way, after 17 years, working with El Jonky proved to be a full-circle moment. To be able to make that happen for a younger version of themselves shows Los Rakas’ status as young OGs in the game—giving back to the African diaspora, like Panama and Oakland gave to them.\u003c/p>\n\n",
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"excerpt": "Los Rakas didn't always fit with prevailing trends, but the Bay Area embraced their cultural differences. ",
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"title": "10 Years of 'Soy Raka': A Look Back With Panamanian Hip-Hop Duo Los Rakas | KQED",
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"headline": "10 Years of 'Soy Raka': A Look Back With Panamanian Hip-Hop Duo Los Rakas",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">A\u003c/span> Los Rakas banner hung above the crowd last Friday night as the Grammy-nominated duo took the stage at the New Parish. It had been two years since Raka Dun and Raka Rich last performed in Oakland, and they were ready for the hometown love.\u003c/p>\n\u003cp>The show celebrated the 10-year anniversary of the release of Los Rakas’ first project, \u003ca href=\"https://losrakas.bandcamp.com/album/chancletas-y-camisetas-bordada\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>Chancletas Y Camisetas Bordada\u003c/i>\u003c/a>, which features the anthem “\u003ca href=\"https://www.youtube.com/watch?v=iHsncI2j2fk\" target=\"_blank\" rel=\"noopener noreferrer\">Soy Raka\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13902918\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902918\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC02432-800x535.jpg\" alt=\"Raka Rich wears a turquoise jogging suit and a hat as he performs in front of a crowd at New Parish in Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02432.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich performs at the New Parish in Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Rakas were joined onstage with performances from \u003ca href=\"https://www.instagram.com/babygas/\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Gas,\u003c/a> who celebrated a birthday over the weekend; \u003ca href=\"https://www.instagram.com/cocopeila/\" target=\"_blank\" rel=\"noopener noreferrer\">Coco Peila\u003c/a>, who recently “\u003ca href=\"https://www.youtube.com/watch?v=uIx_7KJV_1Y\" target=\"_blank\" rel=\"noopener noreferrer\">Pretty Girls\u003c/a>“; and \u003ca href=\"https://www.instagram.com/allhailtheqing/\" target=\"_blank\" rel=\"noopener noreferrer\">Qing Qi\u003c/a>, who was joined by members of the \u003ca href=\"https://www.instagram.com/putangclanofficial/\" target=\"_blank\" rel=\"noopener noreferrer\">Pu-Tang Clan\u003c/a>.\u003c/p>\n\u003cp>There were also a bunch of folks in the crowd who’ve followed \u003ca href=\"https://www.instagram.com/losrakas/\" target=\"_blank\" rel=\"noopener noreferrer\">Los Rakas\u003c/a> since before their debut EP. I’m one of them. After meeting Dun and Rico in 2004 through the nonprofit Youth Movement Records, I’ve followed their career, captured photos of them, and watched them grow.\u003c/p>\n\u003cp>The two hungry young creatives I met almost two decades ago, who stood out as Oakland-based Afro-Latino hip-hop artists, have grown to leverage their identity and become widely accepted and appreciated in the Bay Area and beyond. Now in their mid-30s, the hip-hop veterans are even seeing their influence on a new generation coming up.\u003c/p>\n\u003cfigure id=\"attachment_13902919\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902919\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/IMG_4114-800x600.jpg\" alt=\"Raka Dun and Do D.A.T. pose for a photo during a performance at SF State (circa 2005). \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4114-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Dun and Do D.A.T. pose for a photo during a performance at SF State, circa 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">L\u003c/span>os Rakas’ story goes further back than the early 2000s. It starts with their family’s roots in Panama, and involves the support of the artistic community of the greater Oakland-Bay Area. Along the way, they’ve been featured on the soundtrack to \u003ca href=\"https://www.ea.com/games/fifa/news/fifa-14-soundtrack\" target=\"_blank\" rel=\"noopener noreferrer\">FIFA 14\u003c/a>, appeared on the popular podcast \u003ci>Loud\u003c/i>, had multiple songs reach the top iTunes charts, \u003ca href=\"https://www.kqed.org/arts/11546388/culture-cue-los-rakas-what-does-it-mean-to-bring-the-raka-party-to-the-white-house\" rel=\"noopener noreferrer\" target=\"_blank\">performed at the White House\u003c/a>, and met Mýa on the red carpet for the Grammys—a career highlight for Rico, who watched her videos on the California Music Channel as a kid. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before traveling the world and letting audiences know “Soy Raka,” they got their start in music working under the tutelage of two late Bay Area luminaries. \u003c/p>\n\u003cfigure id=\"attachment_13902920\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902920\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC04535-800x532.jpg\" alt=\"Raka Rich performing at the Life is Living festival in West Oakland (circa 2013). \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04535-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich performs at the Life is Living festival in West Oakland, circa 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“You remember who was the first artist who gave us a chance in the Bay Area?” Dun asks Rico during a three-way phone call a few weeks ago.\u003c/p>\n\u003cp>“The Jacka,” says Rico, citing a studio session which led to the track “\u003ca href=\"https://www.youtube.com/watch?v=3ldBrEyTn9M\" target=\"_blank\" rel=\"noopener noreferrer\">Gangsta\u003c/a>.” \u003c/p>\n\u003cp>Raka Dun says to think back a little further. “It was Zion-I.”\u003c/p>\n\u003cp>A lot of artists embraced Los Rakas in their early days, despite being somewhat of an anomaly—Black men who speak Spanish as their first language. But it was Zion-I, Dun says, who put them front and center. \u003c/p>\n\u003cp>“Every time Zion-I would perform,” says Raka Dun, “they’d throw us on the stage at the end to freestyle. A lot of people were recognizing us because of that. Zion-I, Steve, Zumbi was our first big collaboration.”\u003c/p>\n\u003cfigure id=\"attachment_13902921\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902921\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC01816-800x532.jpg\" alt=\"The late Baba Zumbi of Zion-I with Raka Rich and Raka Dun at a video shoot for 'Human Being,' in 2012. \" width=\"800\" height=\"532\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1536x1022.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-2048x1363.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC01816-1920x1278.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The late Baba Zumbi of Zion-I with Raka Rich and Raka Dun at a video shoot for ‘Human Being’ in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Rakas’ first tour was with \u003ca href=\"https://www.instagram.com/thegrouch/\">The Grouch\u003c/a>, \u003ca href=\"https://www.instagram.com/brotheraliisblind/\">Brother Ali\u003c/a>, and \u003ca href=\"https://www.instagram.com/therealeligh/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Eligh\u003c/a>. They soon learned that tour time wasn’t a party—it was work. And their job wasn’t just performing, it was getting to know people and selling merchandise.\u003c/p>\n\u003cp>Now, their logo is arguably more popular than their music. “Sometimes people would miss our shows because we were the opener,” says Raka Dun. “But they’d buy the merch.” \u003c/p>\n\u003cp>The duo’s logo was partially inspired by the \u003ca href=\"https://uproxx.com/music/hieroglyphics-logo-underground-hip-hop/\" rel=\"noopener noreferrer\" target=\"_blank\">Hiero logo\u003c/a>, which they saw everywhere. To develop it, they met with a guy named Daniel Walker at \u003ca href=\"http://filthydripped.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Filthy Dripped\u003c/a> in Berkeley and worked through various iterations, ultimately incorporating Oakland, Panama and a little bit of Mexico. \u003c/p>\n\u003cfigure id=\"attachment_13902922\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902922\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC02374-800x535.jpg\" alt=\"A fan flicks a lighter during Raka Dun's performance at the New Parish on Friday evening. \" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC02374.jpg 1616w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A fan flicks a lighter during Raka Dun’s performance at the New Parish on Sept. 10, 2021. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Rico suggested adding the smile to cancel the stereotype about Rakas being from the hood and being angry,” says Dun. Just like their name reclaims the term “Raka” (short for “\u003ca href=\"https://www.kqed.org/arts/11546388/culture-cue-los-rakas-what-does-it-mean-to-bring-the-raka-party-to-the-white-house\" target=\"_blank\" rel=\"noopener noreferrer\">Rakataka\u003c/a>,” a derogatory term for someone from the ghetto), the duo wanted to work the same energy into their logo. “Just because you’re from the ghetto doesn’t mean that you’re always angry,” says Rico. \u003c/p>\n\u003cp>Inside the character’s huge smile is one tiny gold tooth that symbolizes a gigantic cultural connection. \u003c/p>\n\u003cfigure id=\"attachment_13902975\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/losrakaslogo-160x141.jpg\" alt=\"\" width=\"160\" height=\"141\" class=\"size-thumbnail wp-image-13902975\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/losrakaslogo-160x141.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/losrakaslogo.jpg 700w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Los Rakas’ logo.\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s a Panamanian thing,” says Dun of the singular gold tooth. “My mom had one, my dad had one, Rico’s mom… Rico’s dad had eight!” he says with a laugh, before Rico picks up where Dun left off. “My grandpa had one, my grandma had one, my great grandmother had two, like Turk, from Cash Money.”\u003c/p>\n\u003cp>When the duo met Tupac’s brother, Mopreme Shakur, he told them that he got his singular gold tooth in Panama. As West Coast American rap fans from the Latin American country, their minds were blown. \u003c/p>\n\u003cp>Reflecting life in the Bay Area during the early years of the 21st century, the group added glasses without the lenses as a nod to Mac Dre. And the final addition: a hat with the ear flaps. \u003c/p>\n\u003cp>“We chose that because it was this Mexican program called \u003ca href=\"https://www.imdb.com/title/tt0229889/\" target=\"_blank\" rel=\"noopener noreferrer\">El Chavo Del Ocho\u003c/a>,” says Rico, noting how the main character would don similar headwear. “So when I came out here to the states and I saw those hats, I’d cop them every time.” When Rico and Dun went back to Panama to promote their single “Mi Barrio,” everyone asked him about the hat, so it was looped in the image of Los Rakas.\u003c/p>\n\u003cfigure id=\"attachment_13902923\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/IMG_4115-800x600.jpg\" alt=\"Raka Rich (center in the grey hoodie) stands with a number of young artists outside of East Oakland's Youth Uprising (circa 2005). \" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/IMG_4115-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raka Rich (at center, in the grey hoodie) stands with a number of young artists outside of East Oakland’s Youth Uprising, circa 2005. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n many ways the logo speaks to Los Rakas’ balanced identity while beating the pavement and hitting stages with bilingual lyrics about both politics and partying—and performing in front of crowds who largely only speak English. \u003c/p>\n\u003cp>On a recent episode of \u003ca href=\"https://www.kqed.org/forum/2010101885060/loud-podcast-highlights-the-history-of-reggaeton\" target=\"_blank\" rel=\"noopener noreferrer\">KQED Forum\u003c/a>, the duo discussed the popularity of reggaeton and its origins rooted in the children of Jamaican laborers working on the Panama Canal. They also mentioned that English speaking crowds in the states take to their music despite the language barrier, with the prevailing sentiment being “I don’t know what they’re saying, but it sounds good.” \u003c/p>\n\u003cp>Rico tells me that he’s proud of that. After all, he and Dun, blood cousins born in Panama who moved to the states separately during their adolescence, grew up listening to all kinds of music in languages they didn’t speak, too.\u003c/p>\n\u003cfigure id=\"attachment_13902924\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-160x249.jpg\" alt=\"The Los Rakas medallion sits on Raka Duns white shirt as he performs at the Life Is Living Festival in West Oakland circa 2013)\" width=\"160\" height=\"249\" class=\"size-thumbnail wp-image-13902924\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-160x249.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-800x1247.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-1020x1590.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-768x1197.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-986x1536.jpg 986w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389-1314x2048.jpg 1314w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/DSC04508-scaled-e1631554228389.jpg 1388w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Raka Dun performs at the Life Is Living Festival in West Oakland, circa 2013. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When they started on this musical journey, Rico says Oakland’s hip-hop community wasn’t feeling Spanish music. Raka Dun says they had to adapt, especially because they were working with the likes of The Jacka, J. Stalin, and Zumbi from Zion-I.\u003c/p>\n\u003cp>Plus, being in the Bay, they weren’t getting too many reggaeton beats; this, again, was in the thick of the Hyphy era. “We had to hop on whatever we could hop on,” says Rico. “That’s how we became \u003ci>Los Rakas\u003c/i>.” The combination of Panamanian influence and Bay Area energy made them unique. And it resonated with people. \u003c/p>\n\u003cp>“We’d have people that’d come up to us, rap the whole verse, and be like, ‘I don’t even speak Spanish. I’m learning Spanish through your music,’” says Rico.\u003c/p>\n\u003cp>A few weeks ago the group got \u003ca href=\"https://twitter.com/LosRakas/status/1423347834133237762/photo/1\">a message\u003c/a> from a fan who said he used to watch YouTube videos of them as a kid. Over a decade later he was rejoicing in the fact that they’re still rocking. \u003c/p>\n\u003cp>“The tweet, it makes me feel good, man,” says Dun. “That’s what we do it for. That’s the type of message that keeps us motivated. This dude saying that we changed his life, he’s giving us the flowers. We do this first of all because we love it. And then it’s for the people, we want to make sure we give the people good music just like our favorite artists gave us timeless music. And sometimes this shit gets hard. We’re artists who don’t have the numbers, we got the respect, we’ve influenced lots of artists, but we don’t have millions of streams on our music, so stuff like that keeps us really motivated. We’re getting to the people.” \u003c/p>\n\u003cp>Rico adds that they see the success of similar music today, and they know they played a significant part in pioneering the sound that’s popular right now. “To see how far it’s gotten, it’s bittersweet,” says Rico, thinking about how the pioneers of rap aren’t living how they should be living, given what they’ve done for the culture. “We been out here for 16 years. Grinding.”\u003c/p>\n\u003cp>And the grind doesn’t stop. Now it’s time to cultivate the next generation. \u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=VxXSOxEV49s\">https://www.youtube.com/watch?v=VxXSOxEV49s\u003c/a>\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n the time since their 2019 album, \u003cem>\u003ca href=\"https://soundcloud.com/losrakas/sets/manes-de-negocio-1\" target=\"_blank\" rel=\"noopener noreferrer\">Manes De Negocio\u003c/a>, \u003c/em>the duo have released a series of solo tracks. The list includes Raka Dun’s “\u003ca href=\"https://www.youtube.com/watch?v=WbtnB57D5Lg&feature=emb_title\" target=\"_blank\" rel=\"noopener noreferrer\">Como Yo\u003c/a>” and Raka Rich’s “Comuna 13,” which features an 18 year-old emcee named \u003ca href=\"https://www.instagram.com/el_jonky_/\" target=\"_blank\" rel=\"noopener noreferrer\">El Jonky\u003c/a>, who Rico met during a recent trip to Colombia. “I went out there on a two-week trip, and ended up staying three months,” he says.\u003c/p>\n\u003cp>Rico says he was hooked by the food and the vibes, and wasn’t looking to do any music. But after meeting El Jonky and his crew, he saw something familiar in the young artist.\u003c/p>\n\u003cp>“He was hungry. He reminded me of a lil Dun-Dun back when he was with the Black Lion Crew,” he says, referencing Raka Dun’s early days as an artist. After hearing El Jonky rap, Rico followed him on social media and eventually hit him up to stop by the studio. It was a big move for both parties—as Rico points out, studio time in the poverty-stricken community is a rarity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
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