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"title": "13 Years After the Last R. Kelly Trial, the Culture Has Changed",
"headTitle": "13 Years After the Last R. Kelly Trial, the Culture Has Changed | KQED",
"content": "\u003cp>\u003cem>Editor’s note: This essay includes allegations of sexual assault and physical abuse.\u003c/em>\u003c/p>\n\u003cp>On Wednesday, testimony is scheduled to begin in a Brooklyn courthouse in the \u003ca href=\"https://www.npr.org/2021/08/09/1022231076/r-kelly-abuse-charges-trial-aaliyah-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">first of two federal trials\u003c/a> against singer, songwriter and producer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>. Across two sets of indictments in New York and Illinois, the one-time R&B king is accused of abusing 11 girls and women over more than two decades; making child pornography; making hush-money payments to silence alleged victims; and building a \u003ca href=\"https://www.justice.gov/usao-edny/pr/r-kelly-charged-racketeering-including-predicate-acts-coercing-and-transporting-minor\" target=\"_blank\" rel=\"noopener noreferrer\">criminal enterprise\u003c/a> specifically to “prey upon young women and teenagers.”\u003c/p>\n\u003cp>[aside postid='pop_104682']Additionally, the New York prosecutors want to admit what they say is \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">evidence\u003c/a> that Kelly sexually and physically abused girls and women as far back as 1991, sexually abused a boy, and committed bribery. Kelly has pleaded not guilty to all charges, and has consistently denied accusations that he abused anyone.\u003c/p>\n\u003cp>Often, when I’ve told people that I’m covering the New York trial, they have been confused. Allegations have swirled around Kelly for \u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\">over 25 years now\u003c/a>, and so they ask me: Wasn’t he arrested years ago? Yes: he was arrested most recently in July 2019, and he’s remained in custody for the two years since, awaiting trial. But they may also be thinking of his first big trial in 2008—and those accusations, and that trial, figure into some of the current charges.\u003c/p>\n\u003cp>In 2002, in his hometown of Chicago, Kelly was indicted on numerous child pornography charges after a notorious sex tape circulated: it purportedly showed the singer having sex with and urinating on a female whom prosecutors said was about 14 years old at the time. A full six years later, Kelly went to trial and was acquitted of all charges. The young woman who was thought to be the girl on the tape and her parents refused to testify.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That 2008 trial figures heavily into some of the current Illinois charges, which include accusations that Kelly and members of his circle intimidated the girl and her father, and persuaded them to lie to both police and a grand jury. Their subsequent refusal to testify, despite \u003ca href=\"https://www.chicagotribune.com/news/ct-xpm-2008-06-14-0806140185-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">14 other witnesses\u003c/a> identifying the girl, seems to have swayed many jurors to acquit Kelly. (That same woman, now in her thirties, said in 2019 that she was \u003ca href=\"https://www.nytimes.com/2019/07/16/arts/music/r-kelly-sexual-assault-tape.html\" target=\"_blank\" rel=\"noopener noreferrer\">cooperating\u003c/a> with federal investigators.)\u003c/p>\n\u003cp>Back then, it seemed like much of the pop culture conversation was primarily about Kelly and his alleged predilections and behaviors, and not so much about anyone who may have been hurt. In certain ways, the culture has shifted since Kelly last stood on trial. Many fans today seem far less willing to overlook what they perceive as problematic content or context in an artist’s work—whether it’s related to racism, sexism, unfair power dynamics or \u003ca href=\"https://www.kqed.org/arts/13900624/the-music-industry-is-holding-dababy-accountable\" target=\"_blank\" rel=\"noopener noreferrer\">homophobia\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_109568']The intervening 13 years have also seen dogged, tenacious reporting on Kelly, including \u003ca href=\"https://www.npr.org/2019/06/04/729310654/in-soulless-a-journalist-takes-on-r-kelly-and-the-business-that-made-him-a-star\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Soulless: The Case Against R. Kelly\u003c/em>\u003c/a>\u003cem>, \u003c/em>a book by former \u003cem>Chicago Sun-Times\u003c/em> journalist and music critic \u003ca href=\"http://jimdero.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jim DeRogatis\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/02/20/695083431/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-s-supported-him\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>\u003cem>,\u003c/em> a six-part docuseries helmed by \u003ca href=\"https://www.dreamhampton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">dream hampton\u003c/a> that aired on Lifetime. Both were released in 2019, in the midst of the #MeToo movement.\u003c/p>\n\u003cp>In the early days of #MeToo, many prominent accusers were \u003ca href=\"https://www.npr.org/2020/01/22/798222176/the-harvey-weinstein-trial-a-brief-timeline-of-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">white women\u003c/a>. But the Kelly-related projects explicitly centered the mostly Black girls and women who allegedly were harmed.\u003c/p>\n\u003cp>As those projects were being developed, a \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\" target=\"_blank\" rel=\"noopener noreferrer\">#MuteRKelly\u003c/a> movement—founded by two Black women, Kenyette Barnes and Oronike Odeleye—gathered steam in an effort to pressure large entertainment companies to sever their ties with Kelly. In writing about #MuteRKelly, \u003cem>Washington Post\u003c/em> columnist Christine Emba \u003ca href=\"https://www.washingtonpost.com/opinions/black-women-deserve-better-will-2019-be-the-year-of-change/2019/01/09\" target=\"_blank\" rel=\"noopener noreferrer\">cited\u003c/a> a 1962 speech by Malcolm X: “The most disrespected person in America is the Black woman. The most unprotected person in America is the Black woman. The most neglected person in America is the Black woman.”\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.buzzfeednews.com/article/jimderogatis/jerhonda-pace-r-kelly-me-too-tarana-burke#.vc8K1olGo\" target=\"_blank\" rel=\"noopener noreferrer\">interview \u003c/a>Barnes gave to DeRogatis for BuzzFeed News in March 2018, she asserted: “We don’t give a damn about Black girls. If R. Kelly was white, every civil rights leader would be marching in every street in this country. If the girls were white, every feminist group would be coming out enraged in droves of pussy hats to march against him. The bottom line is that R. Kelly and his victims are the perfect storm of people we don’t care about. We protect problematic Black men in the Black community, and we discard Black girls in all communities. Essentially, he is the greatest example of a predator in that he went after the most vulnerable that no one cares about.”\u003c/p>\n\u003cp>A few months later, though, Kelly’s management called #MuteRKelly “a public lynching,” noting that “since America was born, Black men and women have been lynched for having sex or for being accused of it.” At the time, #MeToo founder and activist Tarana Burke \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">told me\u003c/a>, “The reality of lynching in America is so, so painful and so real. This is not a public lynching. This is a call for public accountability.” (Moreover, in many cases Kelly’s accusers have said that they were underage girls, not women, when they began sexual contact with him.)\u003c/p>\n\u003cp>[aside postid='pop_108417']“We have seen 24 years of allegations leveled against R. Kelly, and he has gone unscathed,” Burke continued in that 2018 conversation. “What we are looking for, in our community and out, is some accountability from the corporations that support this person who has a 24-year history of sexual violence perpetrated against Black and brown girls around the country.” (At the end of that year, Burke was one of the victims of a gun threat called into an advance screening of \u003cem>Surviving R. Kelly\u003c/em> in New York; Kelly’s former manager, Donnell Russell, has been \u003ca href=\"https://www.npr.org/2020/08/14/902514816/r-kellys-former-manager-charged-with-gun-threat-to-surviving-r-kelly-screening\" target=\"_blank\" rel=\"noopener noreferrer\">charged\u003c/a> with making that threat. His case is ongoing.)\u003c/p>\n\u003cp>To a large extent, #MuteRKelly came to fruition, albeit years after Kelly’s commercial and creative peak, and sometimes in highly qualified ways. In May 2018, for example, Spotify \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610051559/starting-with-r-kelly-spotify-pulls-artists-from-playlists-for-hateful-conduct\" target=\"_blank\" rel=\"noopener noreferrer\">dropped\u003c/a> Kelly from its playlists, the way that \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\" target=\"_blank\" rel=\"noopener noreferrer\">many listeners\u003c/a> use the service, rather than seeking out particular artists or songs. If you actively search for Kelly’s music on Spotify, however, it’s still there, as are the songs he wrote and/or produced for other artists, including Celine Dion, Janet Jackson, Ludacris, Lil Wayne, Ciara, Missy Elliott and another artist some listeners consider problematic: Michael Jackson.\u003c/p>\n\u003cp>There’s been one notable exception: Much of the music by Kelly’s protégée Aaliyah—whom he married in 1994, when she was 15 years old and he was 27—is not on Spotify or other streaming services at all. But in an interesting bit of timing, Barry Hankerson, Aaliyah’s uncle and the former manager of both artists, \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> just days before the Kelly trial began that he is making her recording catalog available to streaming services. The New York prosecutors refer to Aaliyah in their indictment as “Jane Doe #1,” for whom they say Kelly and associates bribed a public official to create a fake ID before their marriage.\u003c/p>\n\u003cp>In Jan. 2019, Kelly’s longtime record label RCA and its parent company, Sony Music Entertainment, \u003ca href=\"https://www.npr.org/2019/01/18/686641970/r-kelly-has-been-dropped-by-rca-records-billboard-reports\" target=\"_blank\" rel=\"noopener noreferrer\">dropped him\u003c/a> from their artist roster after \u003ca href=\"https://www.npr.org/2019/01/16/685912752/the-muterkelly-movement-takes-its-protest-to-the-steps-of-his-record-label\" target=\"_blank\" rel=\"noopener noreferrer\">pressure mounted\u003c/a> from #MuteRKelly. But that decision, apparently made in the wake of \u003cem>Surviving R. Kelly\u003c/em> airing, came 16 years after his last big chart hit, 2003’s “Ignition (Remix).” Furthermore, RCA and Sony never publicly acknowledged having dropped Kelly.\u003c/p>\n\u003cp>Long before the most recent wave of accusations and reporting, Black and brown voices were calling for a reckoning. Nearly two decades before \u003cem>Surviving R. Kelly,\u003c/em> longtime \u003cem>Chicago Sun-Times \u003c/em>columnist Mary Mitchell wrote many pieces asking why the alleged victims were being dismissed or ignored, and why so many Chicagoans were so eager to \u003ca href=\"https://chicago.suntimes.com/2002/8/8/22613656/r-kelly-2002-trial-fans-rally-cook-county-chicago-sun-times-mary-mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">side with Kelly\u003c/a>.\u003c/p>\n\u003cp>Still, many fans adored him. Quite a few fellow artists brushed aside the allegations and continued to work with him. And comedians like \u003ca href=\"https://www.youtube.com/watch?v=eafRE74JGZ8\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Chappelle\u003c/a> joked about the alleged Kelly tape and its contents.\u003c/p>\n\u003cp>In the aftermath of the debut airing of \u003cem>Surviving R. Kelly,\u003c/em> then-\u003cem>New York Times \u003c/em>culture editor (and now \u003ca href=\"https://www.npr.org/people/912788259/aisha-harris\" target=\"_blank\" rel=\"noopener noreferrer\">NPR colleague\u003c/a>) Aisha Harris wrote about how the allegations against Kelly became pop-culture\u003ca href=\"https://www.nytimes.com/2019/01/06/arts/television/surviving-r-kelly-dave-chappelle.html\" target=\"_blank\" rel=\"noopener noreferrer\"> joke fodder\u003c/a>: “For years,” she wrote, “those who laughed at Kelly were able to ignore the charges against him.”\u003c/p>\n\u003cp>[aside postid='pop_109631']In retrospect, that particular spin cycle is reminiscent of what happened to Britney Spears \u003ca href=\"https://www.npr.org/2021/06/25/1009859700/opinion-britney-is-the-latest-victim-of-the-industry-machine\" target=\"_blank\" rel=\"noopener noreferrer\">in the same era\u003c/a>. (She was one of R. Kelly’s labelmates at Jive and then RCA, and Kelly wrote and produced her song “Outrageous,” released in 2004.) Spears’ public struggles, which became little more than a joke and grist for the 24/7 grind of gossip blogs and cable channels vying for eyeballs, happened nearly simultaneously with Kelly’s Chicago trial. The girl at the center of that trial, like Spears, largely became a punchline.\u003c/p>\n\u003cp>Several of the women who have accused Kelly of sexual, physical and/or psychological abuse say that when they met him, they, too, like that girl allegedly featured on the infamous tape, were teenagers attempting to become professional musicians, and hoped that the king of R&B would help them chart their own musical careers.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the music industry, this is a familiar story. Young men strive to make it in the tough, unforgiving music industry; if they succeed, it’s often at least partly through the help of older male mentors. Young women striving to make it in the tough, unforgiving music industry might also seek the help of older male mentors; after all, there are still \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/annenberg-inclusion-initiatives-annual-report-popular-music-reveals-little\" target=\"_blank\" rel=\"noopener noreferrer\">far more\u003c/a> successful men in the business than women. But sometimes, rather than being given guidance or opportunity, they instead are cultivated as sexual conquests—and those dreams fade away.\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=Opinion%3A+13+Years+After+The+Last+R.+Kelly+Trial%2C+The+Culture+Has+Changed&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 essay includes allegations of sexual assault and physical abuse.\u003c/em>\u003c/p>\n\u003cp>On Wednesday, testimony is scheduled to begin in a Brooklyn courthouse in the \u003ca href=\"https://www.npr.org/2021/08/09/1022231076/r-kelly-abuse-charges-trial-aaliyah-timeline\" target=\"_blank\" rel=\"noopener noreferrer\">first of two federal trials\u003c/a> against singer, songwriter and producer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a>. Across two sets of indictments in New York and Illinois, the one-time R&B king is accused of abusing 11 girls and women over more than two decades; making child pornography; making hush-money payments to silence alleged victims; and building a \u003ca href=\"https://www.justice.gov/usao-edny/pr/r-kelly-charged-racketeering-including-predicate-acts-coercing-and-transporting-minor\" target=\"_blank\" rel=\"noopener noreferrer\">criminal enterprise\u003c/a> specifically to “prey upon young women and teenagers.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Additionally, the New York prosecutors want to admit what they say is \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">evidence\u003c/a> that Kelly sexually and physically abused girls and women as far back as 1991, sexually abused a boy, and committed bribery. Kelly has pleaded not guilty to all charges, and has consistently denied accusations that he abused anyone.\u003c/p>\n\u003cp>Often, when I’ve told people that I’m covering the New York trial, they have been confused. Allegations have swirled around Kelly for \u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history\" target=\"_blank\" rel=\"noopener noreferrer\">over 25 years now\u003c/a>, and so they ask me: Wasn’t he arrested years ago? Yes: he was arrested most recently in July 2019, and he’s remained in custody for the two years since, awaiting trial. But they may also be thinking of his first big trial in 2008—and those accusations, and that trial, figure into some of the current charges.\u003c/p>\n\u003cp>In 2002, in his hometown of Chicago, Kelly was indicted on numerous child pornography charges after a notorious sex tape circulated: it purportedly showed the singer having sex with and urinating on a female whom prosecutors said was about 14 years old at the time. A full six years later, Kelly went to trial and was acquitted of all charges. The young woman who was thought to be the girl on the tape and her parents refused to testify.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That 2008 trial figures heavily into some of the current Illinois charges, which include accusations that Kelly and members of his circle intimidated the girl and her father, and persuaded them to lie to both police and a grand jury. Their subsequent refusal to testify, despite \u003ca href=\"https://www.chicagotribune.com/news/ct-xpm-2008-06-14-0806140185-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">14 other witnesses\u003c/a> identifying the girl, seems to have swayed many jurors to acquit Kelly. (That same woman, now in her thirties, said in 2019 that she was \u003ca href=\"https://www.nytimes.com/2019/07/16/arts/music/r-kelly-sexual-assault-tape.html\" target=\"_blank\" rel=\"noopener noreferrer\">cooperating\u003c/a> with federal investigators.)\u003c/p>\n\u003cp>Back then, it seemed like much of the pop culture conversation was primarily about Kelly and his alleged predilections and behaviors, and not so much about anyone who may have been hurt. In certain ways, the culture has shifted since Kelly last stood on trial. Many fans today seem far less willing to overlook what they perceive as problematic content or context in an artist’s work—whether it’s related to racism, sexism, unfair power dynamics or \u003ca href=\"https://www.kqed.org/arts/13900624/the-music-industry-is-holding-dababy-accountable\" target=\"_blank\" rel=\"noopener noreferrer\">homophobia\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The intervening 13 years have also seen dogged, tenacious reporting on Kelly, including \u003ca href=\"https://www.npr.org/2019/06/04/729310654/in-soulless-a-journalist-takes-on-r-kelly-and-the-business-that-made-him-a-star\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Soulless: The Case Against R. Kelly\u003c/em>\u003c/a>\u003cem>, \u003c/em>a book by former \u003cem>Chicago Sun-Times\u003c/em> journalist and music critic \u003ca href=\"http://jimdero.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Jim DeRogatis\u003c/a>, and \u003ca href=\"https://www.npr.org/2019/02/20/695083431/surviving-r-kelly-producer-dream-hampton-takes-on-ecosystem-that-s-supported-him\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>\u003cem>,\u003c/em> a six-part docuseries helmed by \u003ca href=\"https://www.dreamhampton.com/\" target=\"_blank\" rel=\"noopener noreferrer\">dream hampton\u003c/a> that aired on Lifetime. Both were released in 2019, in the midst of the #MeToo movement.\u003c/p>\n\u003cp>In the early days of #MeToo, many prominent accusers were \u003ca href=\"https://www.npr.org/2020/01/22/798222176/the-harvey-weinstein-trial-a-brief-timeline-of-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">white women\u003c/a>. But the Kelly-related projects explicitly centered the mostly Black girls and women who allegedly were harmed.\u003c/p>\n\u003cp>As those projects were being developed, a \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\" target=\"_blank\" rel=\"noopener noreferrer\">#MuteRKelly\u003c/a> movement—founded by two Black women, Kenyette Barnes and Oronike Odeleye—gathered steam in an effort to pressure large entertainment companies to sever their ties with Kelly. In writing about #MuteRKelly, \u003cem>Washington Post\u003c/em> columnist Christine Emba \u003ca href=\"https://www.washingtonpost.com/opinions/black-women-deserve-better-will-2019-be-the-year-of-change/2019/01/09\" target=\"_blank\" rel=\"noopener noreferrer\">cited\u003c/a> a 1962 speech by Malcolm X: “The most disrespected person in America is the Black woman. The most unprotected person in America is the Black woman. The most neglected person in America is the Black woman.”\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.buzzfeednews.com/article/jimderogatis/jerhonda-pace-r-kelly-me-too-tarana-burke#.vc8K1olGo\" target=\"_blank\" rel=\"noopener noreferrer\">interview \u003c/a>Barnes gave to DeRogatis for BuzzFeed News in March 2018, she asserted: “We don’t give a damn about Black girls. If R. Kelly was white, every civil rights leader would be marching in every street in this country. If the girls were white, every feminist group would be coming out enraged in droves of pussy hats to march against him. The bottom line is that R. Kelly and his victims are the perfect storm of people we don’t care about. We protect problematic Black men in the Black community, and we discard Black girls in all communities. Essentially, he is the greatest example of a predator in that he went after the most vulnerable that no one cares about.”\u003c/p>\n\u003cp>A few months later, though, Kelly’s management called #MuteRKelly “a public lynching,” noting that “since America was born, Black men and women have been lynched for having sex or for being accused of it.” At the time, #MeToo founder and activist Tarana Burke \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">told me\u003c/a>, “The reality of lynching in America is so, so painful and so real. This is not a public lynching. This is a call for public accountability.” (Moreover, in many cases Kelly’s accusers have said that they were underage girls, not women, when they began sexual contact with him.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We have seen 24 years of allegations leveled against R. Kelly, and he has gone unscathed,” Burke continued in that 2018 conversation. “What we are looking for, in our community and out, is some accountability from the corporations that support this person who has a 24-year history of sexual violence perpetrated against Black and brown girls around the country.” (At the end of that year, Burke was one of the victims of a gun threat called into an advance screening of \u003cem>Surviving R. Kelly\u003c/em> in New York; Kelly’s former manager, Donnell Russell, has been \u003ca href=\"https://www.npr.org/2020/08/14/902514816/r-kellys-former-manager-charged-with-gun-threat-to-surviving-r-kelly-screening\" target=\"_blank\" rel=\"noopener noreferrer\">charged\u003c/a> with making that threat. His case is ongoing.)\u003c/p>\n\u003cp>To a large extent, #MuteRKelly came to fruition, albeit years after Kelly’s commercial and creative peak, and sometimes in highly qualified ways. In May 2018, for example, Spotify \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/10/610051559/starting-with-r-kelly-spotify-pulls-artists-from-playlists-for-hateful-conduct\" target=\"_blank\" rel=\"noopener noreferrer\">dropped\u003c/a> Kelly from its playlists, the way that \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\" target=\"_blank\" rel=\"noopener noreferrer\">many listeners\u003c/a> use the service, rather than seeking out particular artists or songs. If you actively search for Kelly’s music on Spotify, however, it’s still there, as are the songs he wrote and/or produced for other artists, including Celine Dion, Janet Jackson, Ludacris, Lil Wayne, Ciara, Missy Elliott and another artist some listeners consider problematic: Michael Jackson.\u003c/p>\n\u003cp>There’s been one notable exception: Much of the music by Kelly’s protégée Aaliyah—whom he married in 1994, when she was 15 years old and he was 27—is not on Spotify or other streaming services at all. But in an interesting bit of timing, Barry Hankerson, Aaliyah’s uncle and the former manager of both artists, \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">announced\u003c/a> just days before the Kelly trial began that he is making her recording catalog available to streaming services. The New York prosecutors refer to Aaliyah in their indictment as “Jane Doe #1,” for whom they say Kelly and associates bribed a public official to create a fake ID before their marriage.\u003c/p>\n\u003cp>In Jan. 2019, Kelly’s longtime record label RCA and its parent company, Sony Music Entertainment, \u003ca href=\"https://www.npr.org/2019/01/18/686641970/r-kelly-has-been-dropped-by-rca-records-billboard-reports\" target=\"_blank\" rel=\"noopener noreferrer\">dropped him\u003c/a> from their artist roster after \u003ca href=\"https://www.npr.org/2019/01/16/685912752/the-muterkelly-movement-takes-its-protest-to-the-steps-of-his-record-label\" target=\"_blank\" rel=\"noopener noreferrer\">pressure mounted\u003c/a> from #MuteRKelly. But that decision, apparently made in the wake of \u003cem>Surviving R. Kelly\u003c/em> airing, came 16 years after his last big chart hit, 2003’s “Ignition (Remix).” Furthermore, RCA and Sony never publicly acknowledged having dropped Kelly.\u003c/p>\n\u003cp>Long before the most recent wave of accusations and reporting, Black and brown voices were calling for a reckoning. Nearly two decades before \u003cem>Surviving R. Kelly,\u003c/em> longtime \u003cem>Chicago Sun-Times \u003c/em>columnist Mary Mitchell wrote many pieces asking why the alleged victims were being dismissed or ignored, and why so many Chicagoans were so eager to \u003ca href=\"https://chicago.suntimes.com/2002/8/8/22613656/r-kelly-2002-trial-fans-rally-cook-county-chicago-sun-times-mary-mitchell\" target=\"_blank\" rel=\"noopener noreferrer\">side with Kelly\u003c/a>.\u003c/p>\n\u003cp>Still, many fans adored him. Quite a few fellow artists brushed aside the allegations and continued to work with him. And comedians like \u003ca href=\"https://www.youtube.com/watch?v=eafRE74JGZ8\" target=\"_blank\" rel=\"noopener noreferrer\">Dave Chappelle\u003c/a> joked about the alleged Kelly tape and its contents.\u003c/p>\n\u003cp>In the aftermath of the debut airing of \u003cem>Surviving R. Kelly,\u003c/em> then-\u003cem>New York Times \u003c/em>culture editor (and now \u003ca href=\"https://www.npr.org/people/912788259/aisha-harris\" target=\"_blank\" rel=\"noopener noreferrer\">NPR colleague\u003c/a>) Aisha Harris wrote about how the allegations against Kelly became pop-culture\u003ca href=\"https://www.nytimes.com/2019/01/06/arts/television/surviving-r-kelly-dave-chappelle.html\" target=\"_blank\" rel=\"noopener noreferrer\"> joke fodder\u003c/a>: “For years,” she wrote, “those who laughed at Kelly were able to ignore the charges against him.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In retrospect, that particular spin cycle is reminiscent of what happened to Britney Spears \u003ca href=\"https://www.npr.org/2021/06/25/1009859700/opinion-britney-is-the-latest-victim-of-the-industry-machine\" target=\"_blank\" rel=\"noopener noreferrer\">in the same era\u003c/a>. (She was one of R. Kelly’s labelmates at Jive and then RCA, and Kelly wrote and produced her song “Outrageous,” released in 2004.) Spears’ public struggles, which became little more than a joke and grist for the 24/7 grind of gossip blogs and cable channels vying for eyeballs, happened nearly simultaneously with Kelly’s Chicago trial. The girl at the center of that trial, like Spears, largely became a punchline.\u003c/p>\n\u003cp>Several of the women who have accused Kelly of sexual, physical and/or psychological abuse say that when they met him, they, too, like that girl allegedly featured on the infamous tape, were teenagers attempting to become professional musicians, and hoped that the king of R&B would help them chart their own musical careers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the music industry, this is a familiar story. Young men strive to make it in the tough, unforgiving music industry; if they succeed, it’s often at least partly through the help of older male mentors. Young women striving to make it in the tough, unforgiving music industry might also seek the help of older male mentors; after all, there are still \u003ca href=\"https://annenberg.usc.edu/news/research-and-impact/annenberg-inclusion-initiatives-annual-report-popular-music-reveals-little\" target=\"_blank\" rel=\"noopener noreferrer\">far more\u003c/a> successful men in the business than women. But sometimes, rather than being given guidance or opportunity, they instead are cultivated as sexual conquests—and those dreams fade away.\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=Opinion%3A+13+Years+After+The+Last+R.+Kelly+Trial%2C+The+Culture+Has+Changed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "McDonald's Launches a Saweetie Celebrity Meal",
"headTitle": "McDonald’s Launches a Saweetie Celebrity Meal | KQED",
"content": "\u003cp>Watch out folks: This summer may just be getting a little bit \u003cem>icy\u003c/em>.\u003c/p>\n\u003cp>Multi-platinum rapper Saweetie, who rose to fame with her hit single “Icy Girl,” is teaming up with McDonald’s to bring a little twist to her favorite menu order for her fans. Starting this week, customers across the United States can order “The Saweetie Meal,” featuring a few of the fast-food chain’s signature items—and a “Saweetie ‘N Sour” sauce.\u003c/p>\n\u003cp>https://twitter.com/Saweetie/status/1424809356063764482\u003c/p>\n\u003cp>“McDonald’s and I run deep—from growing up back in Hayward, California, all through my college days—so I had to bring my icy gang in on my all-time favorites,” Saweetie, whose real name is Diamonté Harper, said\u003ca href=\"https://www.prnewswire.com/news-releases/saweetie-taps-in-for-a-new-collab-with-mcdonalds-usa-unveiling-her-signature-order-301343969.html\" target=\"_blank\" rel=\"noopener noreferrer\"> in a news release\u003c/a>.\u003c/p>\n\u003cp>The company’s partnership with the rapper is just the latest example of major brands, from Adidas to Cadillac, reaching out to diverse consumers, as the nation continues to recover from the racial turmoil following George Floyd’s murder last summer.\u003c/p>\n\u003ch3>Saweetie’s promotion joins a variety of diverse artists\u003c/h3>\n\u003cp>Saweetie marks the first female musician, and the first African-American female musician, to have a celebrity menu collaboration with McDonald’s since the company kicked off its \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.alistair-btsmeal.html\" target=\"_blank\" rel=\"noopener noreferrer\">Famous Orders program in 2020\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Previous limited-time meals introduced by the company featured a wide variety of celebrities, including last September’s meal with rapper \u003ca href=\"https://www.npr.org/2020/09/17/913880991/mcdonalds-runs-low-on-ingredients-for-travis-scott-quarter-pounder\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Scott\u003c/a>, last October’s meal with reggaeton artist\u003ca href=\"https://www.npr.org/sections/altlatino/2018/05/24/613004703/j-balvin-wont-settle-for-anything-less-than-world-domination\" target=\"_blank\" rel=\"noopener noreferrer\"> J Balvin\u003c/a> and, most recently, this summer’s meal with the \u003ca href=\"https://www.npr.org/2021/05/27/1000786862/k-pop-group-bts-and-mcdonalds-launch-exclusive-meal-and-clothing-line\" target=\"_blank\" rel=\"noopener noreferrer\">South Korean pop band BTS\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13881731']The celebrity-inspired meals have been a hit for the fast-food chain. McDonald’s President and CEO Chris Kempczinski hinted this month that more celebrity meals may be coming, according to \u003cem>\u003ca href=\"https://www.usatoday.com/story/money/food/2021/07/29/mcdonalds-saweetie-menu-meal-celebrity-famous-orders/5409895001/\" target=\"_blank\" rel=\"noopener noreferrer\">USA Today\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In May, McDonald’s announced \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.diverse-owned-media.html\">new investments in diverse-owned media \u003c/a>content for the company in an effort to further reflect its diverse customers, workers and communities in its marketing.\u003c/p>\n\u003cp>Over the next four years, the company says it will allocate advertising dollars to diverse-owned media companies, production houses and content creators. With Black-owned properties specifically, McDonald’s says its diverse-owned media partners will increase from 2% to 5% of the company’s national advertising spending over time.\u003c/p>\n\u003ch3>Representation of diversity is on the rise among major brands\u003c/h3>\n\u003cp>In the past year, many brands and companies have become noticeably more inclusive, featuring more Black and other minorities in their ads and marketing materials as a way to take a stand against racism.\u003c/p>\n\u003cp>Following George Floyd’s murder last May, companies across the globe began issuing various calls to action—including more diversity in advertising, increased spending on diverse companies and investing a greater amount of money in minority-owned media companies—in an effort to connect with Black and brown consumers.\u003c/p>\n\u003cp>“With the uprising and the advocacy and the demands after the murder of George Floyd, really there’s been a spotlight shining on the importance of highlighting and making space for Black people, specifically Black women,” said Alfredo Del Cid, head of learning and development at Collective, a diversity, equity and inclusion consulting firm.\u003c/p>\n\u003cp>A number of major brands have struck deals with major Black celebrities in an effort to maintain and expand their consumers of color.\u003c/p>\n\u003cp>Earlier this year, Uber Eats partnered with \u003ca href=\"https://adage.com/creativity/work/simone-biles-and-jonathan-van-ness-are-duo-you-never-realized-you-needed-uber-eats-matchup-ads/2288491\" target=\"_blank\" rel=\"noopener noreferrer\">Olympian Simone Biles\u003c/a>, featuring the star gymnast in its ads and TV commercials around the time of the Tokyo Olympics.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6VKeiNjM-AM\u003c/p>\n\u003cp>\u003ca href=\"https://media.cadillac.com/media/us/en/cadillac/vehicles/ct4-v/2021.detail.html/content/Pages/news/us/en/2020/sep/0930-cadillac-technologies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac partnered with award-winning actress\u003c/a> Regina King, naming her a brand ambassador and the star for its campaign for the newest line of the Escalade SUV.\u003c/p>\n\u003cp>And \u003ca href=\"https://news.adidas.com/originals/ivy-park-rodeo--fourth-ivy-park-collection-with-beyonc-/s/2fc39fb5-18b9-45bb-a0de-045df1212125\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé partnered with Adidas\u003c/a> to launch her “Ivy Park” clothing collection.\u003c/p>\n\u003cp>“There’s all of these ways that these partnerships are coming together that influence the consumer—because the consumer is ultimately interested in trust, right?” said Christina Ferraz, founder and head consultant of marketing agency Thirty6five.\u003c/p>\n\u003cp>“That trust with the brand is what’s going to make them invest in the brand. When they see that that brand is doing what they want,” they said.\u003c/p>\n\u003ch3>In a social media world, brands are being held accountable\u003c/h3>\n\u003cp>So far in 2021, large brands are continuing their commitment to invest more of their budgets in minority-owned companies.\u003c/p>\n\u003cp>[aside postid='arts_13898881']General Motors \u003ca href=\"https://plants.gm.com/media/us/en/gm/home.detail.html/content/Pages/news/us/en/2021/apr/0423-gm.html\" target=\"_blank\" rel=\"noopener noreferrer\">announced in April\u003c/a> significant changes to its model for partnering with diverse-owned and diverse-targeted media—allocating 2% of its ad spending in Black-owned media in 2021, and 4% in 2022, with a goal of reaching 8% by 2025.\u003c/p>\n\u003cp>And in June, Coca-Cola pledged to double its ad spending with minority-owned media, saying it will be five times higher in 2021 than a year earlier, \u003ca href=\"https://www.coca-colacompany.com/press-releases/minority-owned-media-spending\" target=\"_blank\" rel=\"noopener noreferrer\">according to a news release.\u003c/a>\u003c/p>\n\u003cp>Ferraz says that in the social-media era, companies and their reputations with diverse consumers are in increasingly intense spotlight.\u003c/p>\n\u003cp>“Brands now have to be held accountable in a way that they’ve never been held accountable before,” they said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>McDonald’s is among NPR’s financial supporters.\u003c/em>\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=As+Brands+Reach+For+Diverse+Customers%2C+McDonald%27s+Launches+A+Saweetie+Celebrity+Meal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Watch out folks: This summer may just be getting a little bit \u003cem>icy\u003c/em>.\u003c/p>\n\u003cp>Multi-platinum rapper Saweetie, who rose to fame with her hit single “Icy Girl,” is teaming up with McDonald’s to bring a little twist to her favorite menu order for her fans. Starting this week, customers across the United States can order “The Saweetie Meal,” featuring a few of the fast-food chain’s signature items—and a “Saweetie ‘N Sour” sauce.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“McDonald’s and I run deep—from growing up back in Hayward, California, all through my college days—so I had to bring my icy gang in on my all-time favorites,” Saweetie, whose real name is Diamonté Harper, said\u003ca href=\"https://www.prnewswire.com/news-releases/saweetie-taps-in-for-a-new-collab-with-mcdonalds-usa-unveiling-her-signature-order-301343969.html\" target=\"_blank\" rel=\"noopener noreferrer\"> in a news release\u003c/a>.\u003c/p>\n\u003cp>The company’s partnership with the rapper is just the latest example of major brands, from Adidas to Cadillac, reaching out to diverse consumers, as the nation continues to recover from the racial turmoil following George Floyd’s murder last summer.\u003c/p>\n\u003ch3>Saweetie’s promotion joins a variety of diverse artists\u003c/h3>\n\u003cp>Saweetie marks the first female musician, and the first African-American female musician, to have a celebrity menu collaboration with McDonald’s since the company kicked off its \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.alistair-btsmeal.html\" target=\"_blank\" rel=\"noopener noreferrer\">Famous Orders program in 2020\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Previous limited-time meals introduced by the company featured a wide variety of celebrities, including last September’s meal with rapper \u003ca href=\"https://www.npr.org/2020/09/17/913880991/mcdonalds-runs-low-on-ingredients-for-travis-scott-quarter-pounder\" target=\"_blank\" rel=\"noopener noreferrer\">Travis Scott\u003c/a>, last October’s meal with reggaeton artist\u003ca href=\"https://www.npr.org/sections/altlatino/2018/05/24/613004703/j-balvin-wont-settle-for-anything-less-than-world-domination\" target=\"_blank\" rel=\"noopener noreferrer\"> J Balvin\u003c/a> and, most recently, this summer’s meal with the \u003ca href=\"https://www.npr.org/2021/05/27/1000786862/k-pop-group-bts-and-mcdonalds-launch-exclusive-meal-and-clothing-line\" target=\"_blank\" rel=\"noopener noreferrer\">South Korean pop band BTS\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The celebrity-inspired meals have been a hit for the fast-food chain. McDonald’s President and CEO Chris Kempczinski hinted this month that more celebrity meals may be coming, according to \u003cem>\u003ca href=\"https://www.usatoday.com/story/money/food/2021/07/29/mcdonalds-saweetie-menu-meal-celebrity-famous-orders/5409895001/\" target=\"_blank\" rel=\"noopener noreferrer\">USA Today\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In May, McDonald’s announced \u003ca href=\"https://corporate.mcdonalds.com/corpmcd/en-us/our-stories/article/press-releases.diverse-owned-media.html\">new investments in diverse-owned media \u003c/a>content for the company in an effort to further reflect its diverse customers, workers and communities in its marketing.\u003c/p>\n\u003cp>Over the next four years, the company says it will allocate advertising dollars to diverse-owned media companies, production houses and content creators. With Black-owned properties specifically, McDonald’s says its diverse-owned media partners will increase from 2% to 5% of the company’s national advertising spending over time.\u003c/p>\n\u003ch3>Representation of diversity is on the rise among major brands\u003c/h3>\n\u003cp>In the past year, many brands and companies have become noticeably more inclusive, featuring more Black and other minorities in their ads and marketing materials as a way to take a stand against racism.\u003c/p>\n\u003cp>Following George Floyd’s murder last May, companies across the globe began issuing various calls to action—including more diversity in advertising, increased spending on diverse companies and investing a greater amount of money in minority-owned media companies—in an effort to connect with Black and brown consumers.\u003c/p>\n\u003cp>“With the uprising and the advocacy and the demands after the murder of George Floyd, really there’s been a spotlight shining on the importance of highlighting and making space for Black people, specifically Black women,” said Alfredo Del Cid, head of learning and development at Collective, a diversity, equity and inclusion consulting firm.\u003c/p>\n\u003cp>A number of major brands have struck deals with major Black celebrities in an effort to maintain and expand their consumers of color.\u003c/p>\n\u003cp>Earlier this year, Uber Eats partnered with \u003ca href=\"https://adage.com/creativity/work/simone-biles-and-jonathan-van-ness-are-duo-you-never-realized-you-needed-uber-eats-matchup-ads/2288491\" target=\"_blank\" rel=\"noopener noreferrer\">Olympian Simone Biles\u003c/a>, featuring the star gymnast in its ads and TV commercials around the time of the Tokyo Olympics.\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/6VKeiNjM-AM'\n title='//www.youtube.com/embed/6VKeiNjM-AM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://media.cadillac.com/media/us/en/cadillac/vehicles/ct4-v/2021.detail.html/content/Pages/news/us/en/2020/sep/0930-cadillac-technologies.html\" target=\"_blank\" rel=\"noopener noreferrer\">Cadillac partnered with award-winning actress\u003c/a> Regina King, naming her a brand ambassador and the star for its campaign for the newest line of the Escalade SUV.\u003c/p>\n\u003cp>And \u003ca href=\"https://news.adidas.com/originals/ivy-park-rodeo--fourth-ivy-park-collection-with-beyonc-/s/2fc39fb5-18b9-45bb-a0de-045df1212125\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé partnered with Adidas\u003c/a> to launch her “Ivy Park” clothing collection.\u003c/p>\n\u003cp>“There’s all of these ways that these partnerships are coming together that influence the consumer—because the consumer is ultimately interested in trust, right?” said Christina Ferraz, founder and head consultant of marketing agency Thirty6five.\u003c/p>\n\u003cp>“That trust with the brand is what’s going to make them invest in the brand. When they see that that brand is doing what they want,” they said.\u003c/p>\n\u003ch3>In a social media world, brands are being held accountable\u003c/h3>\n\u003cp>So far in 2021, large brands are continuing their commitment to invest more of their budgets in minority-owned companies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>General Motors \u003ca href=\"https://plants.gm.com/media/us/en/gm/home.detail.html/content/Pages/news/us/en/2021/apr/0423-gm.html\" target=\"_blank\" rel=\"noopener noreferrer\">announced in April\u003c/a> significant changes to its model for partnering with diverse-owned and diverse-targeted media—allocating 2% of its ad spending in Black-owned media in 2021, and 4% in 2022, with a goal of reaching 8% by 2025.\u003c/p>\n\u003cp>And in June, Coca-Cola pledged to double its ad spending with minority-owned media, saying it will be five times higher in 2021 than a year earlier, \u003ca href=\"https://www.coca-colacompany.com/press-releases/minority-owned-media-spending\" target=\"_blank\" rel=\"noopener noreferrer\">according to a news release.\u003c/a>\u003c/p>\n\u003cp>Ferraz says that in the social-media era, companies and their reputations with diverse consumers are in increasingly intense spotlight.\u003c/p>\n\u003cp>“Brands now have to be held accountable in a way that they’ve never been held accountable before,” they said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>McDonald’s is among NPR’s financial supporters.\u003c/em>\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=As+Brands+Reach+For+Diverse+Customers%2C+McDonald%27s+Launches+A+Saweetie+Celebrity+Meal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "baba-zumbi-zion-i-dies",
"title": "Steve 'Zumbi' Gaines, Prolific Bay Area MC from Zion I, Dies at Age 49",
"publishDate": 1628910441,
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"headTitle": "Steve ‘Zumbi’ Gaines, Prolific Bay Area MC from Zion I, Dies at Age 49 | KQED",
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"content": "\u003cp>\u003cem>This story has been updated. Zumbi’s death has been \u003ca href=\"https://www.kqed.org/arts/13901531/lawyers-investigate-death-of-steve-zumbi-gaines-zion-i-mc\">investigated as a homicide\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Steve Gaines, the MC known as Baba Zumbi from Bay Area hip-hop group Zion I, has died. KQED spoke with Zumbi’s family and confirmed his death on Friday afternoon.\u003c/p>\n\u003cp>The family shared a statement with KQED Friday evening:\u003c/p>\n\u003cp>\u003cem>It is with utter disbelief and great sadness that the Gaines family shares the news of the passing of Steve “Zumbi” Gaines on Friday, August 13, 2021. Gaines, 49 and the MC of the critically acclaimed hip-hop group Zion I, passed away at Alta Bates Hospital today in the early morning from unknown causes. The family requests privacy in this very challenging time while they await further details.\u003c/em>\u003c/p>\n\u003cp>[aside postID='arts_13962689']\u003cem>Steve is survived by three sons, his mother and his brother. He was working on a Zion I reunion tour with longtime producer and collaborator, Amp Live, to honor the legacy of their musical endeavors for their fans.\u003c/em>\u003c/p>\n\u003cp>Neither Zumbi’s family nor his publicist addressed early reports that he died from complications related to COVID, as initially told to KQED by close friends. Zumbi was said to be hesitant about receiving the COVID vaccine.\u003c/p>\n\u003cp>Earlier Friday, the Los Angeles hip-hop collective Project Blowed \u003ca href=\"https://www.instagram.com/p/CSig6tTrDyH/\" rel=\"noopener noreferrer\" target=\"_blank\">posted a statement\u003c/a> from DJ True Justice, a touring DJ for Zion I, saying that Zumbi had been recovering from COVID when “he had a severe asthma attack and his heart stopped. He died in the hospital. They were unable to revive him.” \u003c/p>\n\u003cp>[aside postID='arts_13936095']But Berkeley police, who responded to a physical altercation between a patient and hospital staff shortly after 5am on Friday, are now investigating Zumbi’s death. A spokesperson for the Berkeley Police Department \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Police-investigating-death-of-well-known-Bay-Area-16388574.php\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that the involved patient was eventually pinned down by hospital security. The spokesperson added that, upon arrival, officers began handcuffing the patient when they determined that he needed immediate medical assistance.\u003c/p>\n\u003cp>Police and hospital staff performed livesaving measures, but the patient was unresponsive and pronounced dead at the scene, the spokesperson said. Police dispatch recordings reviewed by KQED identify the patient as Steven Gaines. \u003c/p>\n\u003cfigure id=\"attachment_13901318\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1020x1427.jpg\" alt=\"Baba Zumbi of Zion I in 2012. \" width=\"640\" height=\"895\" class=\"size-large wp-image-13901318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1020x1427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1098x1536.jpg 1098w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical.jpg 1372w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Baba Zumbi of Zion I in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zumbi began releasing music under the Zion I name in 2000 together with DJ and producer Amp Live. Over the next decade and a half, the group released nine full-length albums, plus several mixtapes and collaborations. Amp Live left Zion I in 2015, but the two had reunited this year for an anniversary tour together, scheduled for October. \u003c/p>\n\u003cp>Zumbi was known for weaving a spiritual approach into hip-hop, reflected in his searching, mystical lyrics, and in the title of Zion I’s debut album \u003cem>Mind Over Matter\u003c/em>, which \u003cem>The Source\u003c/em> nominated for Independent Album of the Year in 2000.\u003c/p>\n\u003cp>[aside postID='pop_28324']Yet Zumbi also understood the streets, as evidenced by \u003cem>Heroes in the City of Dope\u003c/em>, Zion I’s hoodwise 2006 collaboration with The Grouch. Stridently creative and uncomfortable in any box, Zumbi strove for blending different musical styles, notably on the widely varied 2008 album \u003cem>The Take Over\u003c/em>.\u003c/p>\n\u003cp>Zumbi was no stranger to the social issues in his music. In 2016, he became a victim of the Bay Area’s housing crisis when he was evicted from his Oakland home, and \u003ca href=\"https://www.kqed.org/pop/28324/on-zion-is-tech-a-housing-crisis-turns-personal\" rel=\"noopener noreferrer\" target=\"_blank\">filmed the video for the song “Tech $” inside his house\u003c/a> as his family packed up belongings into moving boxes. \u003c/p>\n\u003cp>“I wrote the song out of frustration with trying to find something affordable and being abruptly introduced to skyrocketing rent prices and hordes of people eager to pay,” he told KQED at the time. \u003c/p>\n\u003cfigure id=\"attachment_13901317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-800x500.jpg\" alt=\"Zumbi of Zion I performs at the video shoot for 'Human Being,' in 2012.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13901317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Zumbi of Zion I performs at the video shoot for ‘Human Being,’ in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two years later, while wrestling with the deaths of his father, his grandmother and a close friend, Zumbi \u003ca href=\"https://eastbayexpress.com/the-reawakening-of-zion-is-baba-zumbi-2-1/\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>East Bay Express\u003c/em>\u003c/a> that he found strength in tai chi and inspiration from his family, including his three kids. In the recording studio, he said, he’d had an epiphany that his deceased loved ones were there in spirit, supporting him. “Now I can never deny the fact that I know that the spirit world is always present,” he said, “and I always have to acknowledge it from here on out.\u003c/p>\n\u003cp>Zumbi loved the Bay Area so much that he wrote an ode to the region, “\u003ca href=\"https://www.youtube.com/watch?v=DMmZuKUzeXE\" rel=\"noopener noreferrer\" target=\"_blank\">The Bay\u003c/a>,” and he performed with, collaborated with, and recorded with countless other Bay Area musicians up until his death. In April, he released “\u003ca href=\"https://www.youtube.com/watch?v=KKzKKxnWX5w\" rel=\"noopener noreferrer\" target=\"_blank\">Try & Try\u003c/a>,” a collaboration with Fantastic Negrito, and over the past summer had played shows with Mac Mall, San Quinn and Equipto.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KKzKKxnWX5w\u003c/p>\n\u003cp>A prolific live performer who toured regularly, Zumbi had also performed with Shock G from Digital Underground, upon whose death Zumbi \u003ca href=\"https://www.instagram.com/p/CN_WWgwLmu1/\" rel=\"noopener noreferrer\" target=\"_blank\">wrote\u003c/a>: “hip-hop is getting rocked left and right… tears stream down my face as I write this.”\u003c/p>\n\u003cp>In an Instagram post after the death of Biz Markie last month, Zumbi sounded a more somber tone.\u003c/p>\n\u003cp>“Feels like an entire generation is leaving us as of late,” he wrote.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw contributed reporting.\u003c/em>\u003c/p>\n",
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"title": "Steve 'Zumbi' Gaines, Prolific Bay Area MC from Zion I, Dies at Age 49 | KQED",
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"headline": "Steve 'Zumbi' Gaines, Prolific Bay Area MC from Zion I, Dies at Age 49",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story has been updated. Zumbi’s death has been \u003ca href=\"https://www.kqed.org/arts/13901531/lawyers-investigate-death-of-steve-zumbi-gaines-zion-i-mc\">investigated as a homicide\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>Steve Gaines, the MC known as Baba Zumbi from Bay Area hip-hop group Zion I, has died. KQED spoke with Zumbi’s family and confirmed his death on Friday afternoon.\u003c/p>\n\u003cp>The family shared a statement with KQED Friday evening:\u003c/p>\n\u003cp>\u003cem>It is with utter disbelief and great sadness that the Gaines family shares the news of the passing of Steve “Zumbi” Gaines on Friday, August 13, 2021. Gaines, 49 and the MC of the critically acclaimed hip-hop group Zion I, passed away at Alta Bates Hospital today in the early morning from unknown causes. The family requests privacy in this very challenging time while they await further details.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Steve is survived by three sons, his mother and his brother. He was working on a Zion I reunion tour with longtime producer and collaborator, Amp Live, to honor the legacy of their musical endeavors for their fans.\u003c/em>\u003c/p>\n\u003cp>Neither Zumbi’s family nor his publicist addressed early reports that he died from complications related to COVID, as initially told to KQED by close friends. Zumbi was said to be hesitant about receiving the COVID vaccine.\u003c/p>\n\u003cp>Earlier Friday, the Los Angeles hip-hop collective Project Blowed \u003ca href=\"https://www.instagram.com/p/CSig6tTrDyH/\" rel=\"noopener noreferrer\" target=\"_blank\">posted a statement\u003c/a> from DJ True Justice, a touring DJ for Zion I, saying that Zumbi had been recovering from COVID when “he had a severe asthma attack and his heart stopped. He died in the hospital. They were unable to revive him.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Berkeley police, who responded to a physical altercation between a patient and hospital staff shortly after 5am on Friday, are now investigating Zumbi’s death. A spokesperson for the Berkeley Police Department \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Police-investigating-death-of-well-known-Bay-Area-16388574.php\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that the involved patient was eventually pinned down by hospital security. The spokesperson added that, upon arrival, officers began handcuffing the patient when they determined that he needed immediate medical assistance.\u003c/p>\n\u003cp>Police and hospital staff performed livesaving measures, but the patient was unresponsive and pronounced dead at the scene, the spokesperson said. Police dispatch recordings reviewed by KQED identify the patient as Steven Gaines. \u003c/p>\n\u003cfigure id=\"attachment_13901318\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1020x1427.jpg\" alt=\"Baba Zumbi of Zion I in 2012. \" width=\"640\" height=\"895\" class=\"size-large wp-image-13901318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1020x1427.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-800x1120.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-160x224.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-768x1075.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical-1098x1536.jpg 1098w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zumbi.WEB_.Vertical.jpg 1372w\" sizes=\"auto, (max-width: 640px) 100vw, 640px\" />\u003cfigcaption class=\"wp-caption-text\">Baba Zumbi of Zion I in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Zumbi began releasing music under the Zion I name in 2000 together with DJ and producer Amp Live. Over the next decade and a half, the group released nine full-length albums, plus several mixtapes and collaborations. Amp Live left Zion I in 2015, but the two had reunited this year for an anniversary tour together, scheduled for October. \u003c/p>\n\u003cp>Zumbi was known for weaving a spiritual approach into hip-hop, reflected in his searching, mystical lyrics, and in the title of Zion I’s debut album \u003cem>Mind Over Matter\u003c/em>, which \u003cem>The Source\u003c/em> nominated for Independent Album of the Year in 2000.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yet Zumbi also understood the streets, as evidenced by \u003cem>Heroes in the City of Dope\u003c/em>, Zion I’s hoodwise 2006 collaboration with The Grouch. Stridently creative and uncomfortable in any box, Zumbi strove for blending different musical styles, notably on the widely varied 2008 album \u003cem>The Take Over\u003c/em>.\u003c/p>\n\u003cp>Zumbi was no stranger to the social issues in his music. In 2016, he became a victim of the Bay Area’s housing crisis when he was evicted from his Oakland home, and \u003ca href=\"https://www.kqed.org/pop/28324/on-zion-is-tech-a-housing-crisis-turns-personal\" rel=\"noopener noreferrer\" target=\"_blank\">filmed the video for the song “Tech $” inside his house\u003c/a> as his family packed up belongings into moving boxes. \u003c/p>\n\u003cp>“I wrote the song out of frustration with trying to find something affordable and being abruptly introduced to skyrocketing rent prices and hordes of people eager to pay,” he told KQED at the time. \u003c/p>\n\u003cfigure id=\"attachment_13901317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-800x500.jpg\" alt=\"Zumbi of Zion I performs at the video shoot for 'Human Being,' in 2012.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13901317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_-1536x960.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/08/Zunbi.Videoshoot.Horiz_.jpg 1920w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\" />\u003cfigcaption class=\"wp-caption-text\">Zumbi of Zion I performs at the video shoot for ‘Human Being,’ in 2012. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two years later, while wrestling with the deaths of his father, his grandmother and a close friend, Zumbi \u003ca href=\"https://eastbayexpress.com/the-reawakening-of-zion-is-baba-zumbi-2-1/\" rel=\"noopener noreferrer\" target=\"_blank\">told the \u003cem>East Bay Express\u003c/em>\u003c/a> that he found strength in tai chi and inspiration from his family, including his three kids. In the recording studio, he said, he’d had an epiphany that his deceased loved ones were there in spirit, supporting him. “Now I can never deny the fact that I know that the spirit world is always present,” he said, “and I always have to acknowledge it from here on out.\u003c/p>\n\u003cp>Zumbi loved the Bay Area so much that he wrote an ode to the region, “\u003ca href=\"https://www.youtube.com/watch?v=DMmZuKUzeXE\" rel=\"noopener noreferrer\" target=\"_blank\">The Bay\u003c/a>,” and he performed with, collaborated with, and recorded with countless other Bay Area musicians up until his death. In April, he released “\u003ca href=\"https://www.youtube.com/watch?v=KKzKKxnWX5w\" rel=\"noopener noreferrer\" target=\"_blank\">Try & Try\u003c/a>,” a collaboration with Fantastic Negrito, and over the past summer had played shows with Mac Mall, San Quinn and Equipto.\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/KKzKKxnWX5w'\n title='//www.youtube.com/embed/KKzKKxnWX5w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A prolific live performer who toured regularly, Zumbi had also performed with Shock G from Digital Underground, upon whose death Zumbi \u003ca href=\"https://www.instagram.com/p/CN_WWgwLmu1/\" rel=\"noopener noreferrer\" target=\"_blank\">wrote\u003c/a>: “hip-hop is getting rocked left and right… tears stream down my face as I write this.”\u003c/p>\n\u003cp>In an Instagram post after the death of Biz Markie last month, Zumbi sounded a more somber tone.\u003c/p>\n\u003cp>“Feels like an entire generation is leaving us as of late,” he wrote.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" class=\"aligncenter size-full wp-image-12904247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"auto, (max-width: 400px) 100vw, 400px\" />\u003c/p>\n\u003cp>\u003cem>Pendarvis Harshaw contributed reporting.\u003c/em>\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Nanci Griffith, Beloved Folk Singer-Songwriter, Dies at 68",
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"content": "\u003cp>Nanci Griffith, the Grammy-winning folk singer-songwriter from Texas whose literary songs like “Love at the Five and Dime” celebrated the South, has died. She was 68.\u003c/p>\n\u003cp>Her management company, Gold Mountain Entertainment, said Griffith died Friday but did not provide a cause of death.\u003c/p>\n\u003cp>“It was Nanci’s wish that no further formal statement or press release happen for a week following her passing,” Gold Mountain Entertainment said in a statement.\u003c/p>\n\u003cp>Griffith worked closely with other folk singers, helping the early careers of artists like Lyle Lovett and Emmylou Harris. She had a high-pitched voice, and her singing was effortlessly smooth with a twangy Texas accent as she sang about Dust Bowl farmers and empty Woolworth general stores.\u003c/p>\n\u003cp>Griffith was also known for her recording of “From a Distance,” which would later become a well-known Bette Midler tune. The song appeared on Griffith’s first major label release, “Lone Star State of Mind” in 1987.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Her 1993 album “Other Voices, Other Rooms,” earned a Grammy for best contemporary folk album. Named after a Truman Capote novel, the album features Griffith singing with Harris, John Prine, Arlo Guthrie and Guy Clark on classic folk songs.\u003c/p>\n\u003cp>In 2008, Griffith won the Lifetime Achievement Trailblazer Award from the Americana Music Association.\u003c/p>\n\u003cp>Country singer Suzy Bogguss, who had a Top 10 hit with Griffith’s song “Outbound Plane,” posted a remembrance to her friend on Instagram.\u003c/p>\n\u003cp>“I feel blessed to have many memories of our times together along with most everything she ever recorded. I’m going to spend the day reveling in the articulate masterful legacy she’s left us,” Bogguss wrote.\u003c/p>\n\u003cp>Darius Rucker called Griffith one of his idols and why he moved to Nashville.\u003c/p>\n\u003cp>“Singing with her was my favorite things to do,” he wrote on Twitter.\u003c/p>\n\u003cp>Keeping in line with the tradition of folk music, Griffith often wrote social commentary into her songs, such as the anti-racist ode “It’s a Hard Life Wherever You Go,” and the economic impact on rural farmers in the 1980s on “Trouble in the Fields.”\u003c/p>\n\u003cp>“I wrote it because my family were farmers in West Texas during the Great Depression,” Griffith told the Los Angeles Times in a 1990 interview. “It was written basically as a show of support for my generation of farmers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Griffith gained many fans in Ireland and Northern Ireland, where she would often tour.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nanci Griffith, the Grammy-winning folk singer-songwriter from Texas whose literary songs like “Love at the Five and Dime” celebrated the South, has died. She was 68.\u003c/p>\n\u003cp>Her management company, Gold Mountain Entertainment, said Griffith died Friday but did not provide a cause of death.\u003c/p>\n\u003cp>“It was Nanci’s wish that no further formal statement or press release happen for a week following her passing,” Gold Mountain Entertainment said in a statement.\u003c/p>\n\u003cp>Griffith worked closely with other folk singers, helping the early careers of artists like Lyle Lovett and Emmylou Harris. She had a high-pitched voice, and her singing was effortlessly smooth with a twangy Texas accent as she sang about Dust Bowl farmers and empty Woolworth general stores.\u003c/p>\n\u003cp>Griffith was also known for her recording of “From a Distance,” which would later become a well-known Bette Midler tune. The song appeared on Griffith’s first major label release, “Lone Star State of Mind” in 1987.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Her 1993 album “Other Voices, Other Rooms,” earned a Grammy for best contemporary folk album. Named after a Truman Capote novel, the album features Griffith singing with Harris, John Prine, Arlo Guthrie and Guy Clark on classic folk songs.\u003c/p>\n\u003cp>In 2008, Griffith won the Lifetime Achievement Trailblazer Award from the Americana Music Association.\u003c/p>\n\u003cp>Country singer Suzy Bogguss, who had a Top 10 hit with Griffith’s song “Outbound Plane,” posted a remembrance to her friend on Instagram.\u003c/p>\n\u003cp>“I feel blessed to have many memories of our times together along with most everything she ever recorded. I’m going to spend the day reveling in the articulate masterful legacy she’s left us,” Bogguss wrote.\u003c/p>\n\u003cp>Darius Rucker called Griffith one of his idols and why he moved to Nashville.\u003c/p>\n\u003cp>“Singing with her was my favorite things to do,” he wrote on Twitter.\u003c/p>\n\u003cp>Keeping in line with the tradition of folk music, Griffith often wrote social commentary into her songs, such as the anti-racist ode “It’s a Hard Life Wherever You Go,” and the economic impact on rural farmers in the 1980s on “Trouble in the Fields.”\u003c/p>\n\u003cp>“I wrote it because my family were farmers in West Texas during the Great Depression,” Griffith told the Los Angeles Times in a 1990 interview. “It was written basically as a show of support for my generation of farmers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Griffith gained many fans in Ireland and Northern Ireland, where she would often tour.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Aretha Franklin Biopic Pays Proper 'Respect' to the Queen of Soul",
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"content": "\u003cp>The average musical biopic—and most of them are pretty average—follows a predictable arc: the troubled childhood marked by flashes of genius; the record deals and hit album montages; the marriages torn apart by affairs, addiction and the ravages of fame. Even when these clichés are drawn from real life, it’s disappointing to see great artists reduced to formulas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\" target=\"_blank\" rel=\"noopener noreferrer\">Aretha Franklin\u003c/a> was one of our greatest artists, and \u003cem>Respect\u003c/em>, the new movie about her early years, doesn’t entirely avoid those biopic conventions. But there’s real intelligence and feeling in it all the same.\u003c/p>\n\u003cp>[aside postid='arts_13867229']This is the first feature from director Liesl Tommy and screenwriter Tracey Scott Wilson, both of whom have worked for many years in theater and television, and they seem to know that even well-worn notes can sound newly resonant in the right hands. That’s one of the lessons of Franklin’s own career: \u003cem>Respect\u003c/em> of course draws its title from an Otis Redding song that Franklin brilliantly made her own.\u003c/p>\n\u003cp>Like Diana Ross as Billie Holiday in \u003cem>Lady Sings the Blues—\u003c/em>or more recently, \u003ca href=\"https://www.npr.org/2019/09/26/764746668/ren-e-zellweger-on-playing-late-judy-garland-a-different-kind-of-triumph\" target=\"_blank\" rel=\"noopener noreferrer\">Renée Zellweger\u003c/a> as Judy Garland in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judy\u003c/em>\u003c/a>—star \u003ca href=\"https://www.npr.org/artists/100407553/jennifer-hudson\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Hudson\u003c/a> doesn’t try to mimic her real-life subject so much as channel her spirit. The illusion doesn’t always take hold; notably, the actor seems less evocative of Franklin than Cynthia Erivo was in the recent miniseries \u003ca href=\"https://www.npr.org/2021/03/19/979056315/national-geographic-honors-aretha-franklin-in-new-miniseries\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Genius: Aretha\u003c/em>\u003c/a>\u003cem>. \u003c/em>But Hudson is a vocal powerhouse, and her musical performances are frequently electrifying in what’s easily her most significant role since her Oscar-winning debut 15 years ago in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6631528\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dreamgirls\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qTtxoz3OIlU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hudson and the filmmakers mean to show us a still-unformed Aretha, who doesn’t yet possess the strong artistic identity and business savvy that will define her reign as the Queen of Soul. We first meet her in 1952 Detroit as a 10-year-old nicely played by Skye Dakota Turner, already wowing churches and house parties with her singing talent. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7030749\" target=\"_blank\" rel=\"noopener noreferrer\">Forest Whitaker\u003c/a> is her father, the influential Baptist minister and civil rights activist C.L. Franklin, who exercises a heavy hand over his daughter’s future music career. But Aretha is even more profoundly shaped by her mother, the gospel singer Barbara Franklin, warmly played by \u003ca href=\"https://www.npr.org/artists/15396807/audra-mcdonald\" target=\"_blank\" rel=\"noopener noreferrer\">Audra McDonald\u003c/a>. Barbara dies soon after we meet her, but not before warning the young Aretha never to let her father or any other man exploit her talent, which is a gift from God.\u003c/p>\n\u003cp>\u003cem>Respect\u003c/em> has a good grasp of the tightly interwoven forces—family, religion, activism and music—that shaped Aretha and sometimes threatened to tear her apart. Aretha tries to flee her father’s control by marrying Ted White, played by Marlon Wayans, who becomes her manager. But it soon becomes clear that she’s merely exchanged one domineering man for another. Meanwhile, her musical versatility—there’s nothing she can’t sing — ironically proves something of an obstacle at first. She’s not certain what kind of artist she wants to be.\u003c/p>\n\u003cp>[aside postid='arts_13858541']That changes when she signs with Atlantic Records and joins forces with the legendary producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93625915\" target=\"_blank\" rel=\"noopener noreferrer\">Jerry Wexler\u003c/a>—a terrific \u003ca href=\"https://www.kqed.org/arts/13886679/watch-marc-maron-having-the-same-existential-crises-as-you-only-funnier\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Maron\u003c/a>—who in 1966 sends her to record with a scrappy but first-rate band in Muscle Shoals, Ala. \u003cem>Respect\u003c/em> surges to life in these sequences: It’s a thrill to watch the often soft-spoken, deferential Aretha seize control of her recording sessions, tweaking the arrangement on her first big hit, “I Never Loved a Man (the Way I Love You),” and building a strong rapport with her collaborators. We recognize her brilliance as not just a singer but also an impromptu songwriter.\u003c/p>\n\u003cp>By the time Aretha is singing immortal tunes like “(You Make Me Feel like a) Natural Woman,” she’s also mustered the courage to leave her abusive husband. From there, the movie becomes more uneven and overwrought, as Aretha’s alcoholism threatens to torpedo her career and family life.\u003c/p>\n\u003cp>Some of these scenes feel rushed, and they expose other cracks in the storytelling: We spend a lot of time with Aretha’s sisters, both also singers, but her four sons are only partly glimpsed. The movie is also vague in its sense of Aretha as a political figure, apart from brief scenes in which we see her singing at the funeral of the Rev. Martin Luther King Jr. and defending Angela Davis after her arrest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The road is bumpy, but the film’s final destination is moving. \u003cem>Respect\u003c/em> climaxes with perhaps Franklin’s finest achievement, her landmark 1972 album, \u003cem>Amazing Grace, \u003c/em>presented here as not just her return to her gospel roots but also her recommitment to God. It’s a lovely sequence that made me want to revisit the electrifying documentary \u003ca href=\"https://www.npr.org/2019/04/07/710247560/aretha-franklins-amazing-grace-gets-la-premiere-in-the-church-where-it-took-plac\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which was filmed during those recording sessions, and which is easily the greatest Aretha Franklin movie ever. As even decent musical biopics remind us, there ain’t nothing like the real thing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha+Franklin+Biopic+Pays+Proper+%27Respect%27+To+The+Queen+Of+Soul+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The average musical biopic—and most of them are pretty average—follows a predictable arc: the troubled childhood marked by flashes of genius; the record deals and hit album montages; the marriages torn apart by affairs, addiction and the ravages of fame. Even when these clichés are drawn from real life, it’s disappointing to see great artists reduced to formulas.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\" target=\"_blank\" rel=\"noopener noreferrer\">Aretha Franklin\u003c/a> was one of our greatest artists, and \u003cem>Respect\u003c/em>, the new movie about her early years, doesn’t entirely avoid those biopic conventions. But there’s real intelligence and feeling in it all the same.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is the first feature from director Liesl Tommy and screenwriter Tracey Scott Wilson, both of whom have worked for many years in theater and television, and they seem to know that even well-worn notes can sound newly resonant in the right hands. That’s one of the lessons of Franklin’s own career: \u003cem>Respect\u003c/em> of course draws its title from an Otis Redding song that Franklin brilliantly made her own.\u003c/p>\n\u003cp>Like Diana Ross as Billie Holiday in \u003cem>Lady Sings the Blues—\u003c/em>or more recently, \u003ca href=\"https://www.npr.org/2019/09/26/764746668/ren-e-zellweger-on-playing-late-judy-garland-a-different-kind-of-triumph\" target=\"_blank\" rel=\"noopener noreferrer\">Renée Zellweger\u003c/a> as Judy Garland in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Judy\u003c/em>\u003c/a>—star \u003ca href=\"https://www.npr.org/artists/100407553/jennifer-hudson\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Hudson\u003c/a> doesn’t try to mimic her real-life subject so much as channel her spirit. The illusion doesn’t always take hold; notably, the actor seems less evocative of Franklin than Cynthia Erivo was in the recent miniseries \u003ca href=\"https://www.npr.org/2021/03/19/979056315/national-geographic-honors-aretha-franklin-in-new-miniseries\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Genius: Aretha\u003c/em>\u003c/a>\u003cem>. \u003c/em>But Hudson is a vocal powerhouse, and her musical performances are frequently electrifying in what’s easily her most significant role since her Oscar-winning debut 15 years ago in \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6631528\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dreamgirls\u003c/em>\u003c/a>.\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/qTtxoz3OIlU'\n title='//www.youtube.com/embed/qTtxoz3OIlU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hudson and the filmmakers mean to show us a still-unformed Aretha, who doesn’t yet possess the strong artistic identity and business savvy that will define her reign as the Queen of Soul. We first meet her in 1952 Detroit as a 10-year-old nicely played by Skye Dakota Turner, already wowing churches and house parties with her singing talent. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=7030749\" target=\"_blank\" rel=\"noopener noreferrer\">Forest Whitaker\u003c/a> is her father, the influential Baptist minister and civil rights activist C.L. Franklin, who exercises a heavy hand over his daughter’s future music career. But Aretha is even more profoundly shaped by her mother, the gospel singer Barbara Franklin, warmly played by \u003ca href=\"https://www.npr.org/artists/15396807/audra-mcdonald\" target=\"_blank\" rel=\"noopener noreferrer\">Audra McDonald\u003c/a>. Barbara dies soon after we meet her, but not before warning the young Aretha never to let her father or any other man exploit her talent, which is a gift from God.\u003c/p>\n\u003cp>\u003cem>Respect\u003c/em> has a good grasp of the tightly interwoven forces—family, religion, activism and music—that shaped Aretha and sometimes threatened to tear her apart. Aretha tries to flee her father’s control by marrying Ted White, played by Marlon Wayans, who becomes her manager. But it soon becomes clear that she’s merely exchanged one domineering man for another. Meanwhile, her musical versatility—there’s nothing she can’t sing — ironically proves something of an obstacle at first. She’s not certain what kind of artist she wants to be.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That changes when she signs with Atlantic Records and joins forces with the legendary producer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93625915\" target=\"_blank\" rel=\"noopener noreferrer\">Jerry Wexler\u003c/a>—a terrific \u003ca href=\"https://www.kqed.org/arts/13886679/watch-marc-maron-having-the-same-existential-crises-as-you-only-funnier\" target=\"_blank\" rel=\"noopener noreferrer\">Marc Maron\u003c/a>—who in 1966 sends her to record with a scrappy but first-rate band in Muscle Shoals, Ala. \u003cem>Respect\u003c/em> surges to life in these sequences: It’s a thrill to watch the often soft-spoken, deferential Aretha seize control of her recording sessions, tweaking the arrangement on her first big hit, “I Never Loved a Man (the Way I Love You),” and building a strong rapport with her collaborators. We recognize her brilliance as not just a singer but also an impromptu songwriter.\u003c/p>\n\u003cp>By the time Aretha is singing immortal tunes like “(You Make Me Feel like a) Natural Woman,” she’s also mustered the courage to leave her abusive husband. From there, the movie becomes more uneven and overwrought, as Aretha’s alcoholism threatens to torpedo her career and family life.\u003c/p>\n\u003cp>Some of these scenes feel rushed, and they expose other cracks in the storytelling: We spend a lot of time with Aretha’s sisters, both also singers, but her four sons are only partly glimpsed. The movie is also vague in its sense of Aretha as a political figure, apart from brief scenes in which we see her singing at the funeral of the Rev. Martin Luther King Jr. and defending Angela Davis after her arrest.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The road is bumpy, but the film’s final destination is moving. \u003cem>Respect\u003c/em> climaxes with perhaps Franklin’s finest achievement, her landmark 1972 album, \u003cem>Amazing Grace, \u003c/em>presented here as not just her return to her gospel roots but also her recommitment to God. It’s a lovely sequence that made me want to revisit the electrifying documentary \u003ca href=\"https://www.npr.org/2019/04/07/710247560/aretha-franklins-amazing-grace-gets-la-premiere-in-the-church-where-it-took-plac\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Amazing Grace\u003c/em>\u003c/a>, which was filmed during those recording sessions, and which is easily the greatest Aretha Franklin movie ever. As even decent musical biopics remind us, there ain’t nothing like the real thing.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Aretha+Franklin+Biopic+Pays+Proper+%27Respect%27+To+The+Queen+Of+Soul+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The San Jose Jazz Summer Fest returns smaller and safer this weekend, Aug. 13–15, after pulling the plug on last year’s event due to the pandemic.\u003c/p>\n\u003cp>The long-running jazz festival has shrunk its physical scope if not its musical one, reducing 2019’s 14 stages to six, three of them outdoors and three indoors.\u003c/p>\n\u003cp>The diverse range of headliners on the main stage at Plaza de César Chávez includes Prince protégé Judith Hill, Oakland-born soul singer Goapele, and Chicago rap legend Common, whose appearance reflects the festival’s increasing embrace of hip-hop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2AChGszRGwI\u003c/p>\n\u003cp>Among the notable smaller venues is the Montgomery Theater, which will host two tribute performances: one for Doug Carn and another for Chick Corea. The work of organist Carn has experienced a revival thanks to his foundational contribution to the freshly popular 1970s spiritual jazz movement. Carn himself demonstrates his mastery of the jazz organ this weekend while jamming with a cast of Bay Area luminaries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13886749']Jazz fusion pioneer Corea passed away in March. San Jose Jazz’s in-house band the SJZ Collective will play a selection of Corea’s works in celebration of the 23-time Grammy Award winner’s long and eventful career.\u003c/p>\n\u003cp>Around the corner and a few blocks away from festival grounds is the Latin Tropical stage, formerly known as the Salsa stage, access to which will be free to the public. Notable performers include Bay Area Cuban music classicists Septeto Los Amigos, the all-female salsa band Las Chikas and timba specialists Rumbankete.\u003c/p>\n\u003cp>In light of the spread of the Delta variant of the coronavirus, the festival is taking several precautions including mask requirements for all indoor venues, proof of vaccination or negative COVID test for entry and limited seating for indoor concerts.\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>\n\u003cp>\u003cem>San Jose Jazz Summer Fest runs Aug. 13–15. \u003ca href=\"https://summerfest.sanjosejazz.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The San Jose Jazz Summer Fest returns smaller and safer this weekend, Aug. 13–15, after pulling the plug on last year’s event due to the pandemic.\u003c/p>\n\u003cp>The long-running jazz festival has shrunk its physical scope if not its musical one, reducing 2019’s 14 stages to six, three of them outdoors and three indoors.\u003c/p>\n\u003cp>The diverse range of headliners on the main stage at Plaza de César Chávez includes Prince protégé Judith Hill, Oakland-born soul singer Goapele, and Chicago rap legend Common, whose appearance reflects the festival’s increasing embrace of hip-hop.\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/2AChGszRGwI'\n title='//www.youtube.com/embed/2AChGszRGwI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Among the notable smaller venues is the Montgomery Theater, which will host two tribute performances: one for Doug Carn and another for Chick Corea. The work of organist Carn has experienced a revival thanks to his foundational contribution to the freshly popular 1970s spiritual jazz movement. Carn himself demonstrates his mastery of the jazz organ this weekend while jamming with a cast of Bay Area luminaries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jazz fusion pioneer Corea passed away in March. San Jose Jazz’s in-house band the SJZ Collective will play a selection of Corea’s works in celebration of the 23-time Grammy Award winner’s long and eventful career.\u003c/p>\n\u003cp>Around the corner and a few blocks away from festival grounds is the Latin Tropical stage, formerly known as the Salsa stage, access to which will be free to the public. Notable performers include Bay Area Cuban music classicists Septeto Los Amigos, the all-female salsa band Las Chikas and timba specialists Rumbankete.\u003c/p>\n\u003cp>In light of the spread of the Delta variant of the coronavirus, the festival is taking several precautions including mask requirements for all indoor venues, proof of vaccination or negative COVID test for entry and limited seating for indoor concerts.\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>\n\u003cp>\u003cem>San Jose Jazz Summer Fest runs Aug. 13–15. \u003ca href=\"https://summerfest.sanjosejazz.org/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Update (Aug. 12, 2021, 10:32 pm PT):\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Britney Spears’ father said in a court filing Thursday that he is planning to step down from the conservatorship that has controlled her life and money for 13 years, but his departure is not imminent.\u003c/em>\u003c/p>\n\u003cp>\u003cem>James Spears filed legal documents saying he will step down after several lingering issues are resolved. The document gives no timetable for his resignation from his role helping oversee his daughter’s finances. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Those matters include the next judicial review of the pop singer’s finances, which has been delayed by months of public and legal wrangling over James Spears’ role and the legitimacy of the conservatorship.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Britney Spears’ father agreed Thursday to step down from the conservatorship that has controlled her life and money for 13 years, according to reports.\u003c/p>\n\u003cp>[aside postid='arts_13899436']Several outlets including celebrity website TMZ and CNN reported that James Spears filed legal documents saying that while there are no grounds for his removal, he will step down. The decision comes after months of public and legal wrangling by his daughter and, in recent weeks, her new attorney.\u003c/p>\n\u003cp>The documents say that he is “the unremitting target of unjustified attacks” but “he does not believe that a public battle with his daughter over his continuing service as her conservator would be in her best interests.”\u003c/p>\n\u003cp>The filing says James Spears will fight the petition to force him out, but will work with the court and Britney Spears’ attorney Matthew Rosengart to “prepare for an orderly transition to a new conservator.”\u003c/p>\n\u003cp>“We are pleased that Mr. Spears and his lawyer have today conceded in a filing that he must be removed,” Rosengart said in a statement. “It is vindication for Britney.”\u003c/p>\n\u003cp>For most of the existence of the conservatorship, which was established in 2008, James Spears oversaw his daughter’s personal affairs and money. In 2019, he stepped down as the so-called conservator of her person, and maintained control of her finances.\u003c/p>\n\u003cp>[aside postid='arts_13899317']He was nevertheless the target of much of his daughter’s ire in a pair of speeches before the court in June and July, in which she called the conservatorship “abusive.” Spears in her June remarks said she had been required to use an intrauterine device for birth control, take medications against her will and prevented from getting married, having another child or even riding in her boyfriend’s car unsupervised.\u003c/p>\n\u003cp>“This conservatorship is doing me way more harm than good,” the 39-year-old Spears said at the time. “I deserve to have a life.”\u003c/p>\n\u003cp>James Spears was fighting to remain in control in court filings as recently as last week.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update (Aug. 12, 2021, 10:32 pm PT):\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Britney Spears’ father said in a court filing Thursday that he is planning to step down from the conservatorship that has controlled her life and money for 13 years, but his departure is not imminent.\u003c/em>\u003c/p>\n\u003cp>\u003cem>James Spears filed legal documents saying he will step down after several lingering issues are resolved. The document gives no timetable for his resignation from his role helping oversee his daughter’s finances. \u003c/em>\u003c/p>\n\u003cp>\u003cem>Those matters include the next judicial review of the pop singer’s finances, which has been delayed by months of public and legal wrangling over James Spears’ role and the legitimacy of the conservatorship.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A few years ago, the Chicago composer Angel Bat Dawid began recording pieces of music using her phone’s built-in memo function. Those home recordings, featuring her multitracked voice, keyboards and clarinet, became \u003cem>The Oracle\u003c/em>, an album almost frightening in its intimacy. The atmosphere picked up by the small microphone on Dawid’s phone gave the album a lo-fi yet close personal ambiance, as if eavesdropping on someone’s private moments. \u003c/p>\n\u003cp>[aside hero='https://media.npr.org/assets/img/2021/04/05/photo-by-rhizomes-films-6-9daf387924c35e86e4ab1f32b90e5faa338cb99d-s800-c85.webp' link1='https://www.npr.org/2021/04/05/984421378/play-it-forward-angel-bat-dawid-knows-how-to-deliver-emotion-through-song,NPR: Angel Bat Dawid Knows How To Deliver Emotion Through Song' target=\"_blank\"]Dawid returned the next year with a live recording featuring her band, The Brotherhood, and the tone is demonstrably different; it opens with a loud exploration of Sun Ra’s “Enlightenment,” with horns and drums on full blast. And yet the album’s most mesmerizing moments remain two slow, intimate songs from \u003cem>The Oracle\u003c/em>, both pedal-point evocations of Blackness: “\u003ca href=\"https://www.youtube.com/watch?v=tfOCJy0ZthU\" rel=\"noopener noreferrer\" target=\"_blank\">What Shall I Tell My Children Who Are Black\u003c/a>” and the afrofuturist mantra “\u003ca href=\"https://www.youtube.com/watch?v=XlzdrPkbNbw\" rel=\"noopener noreferrer\" target=\"_blank\">We Are Starzz\u003c/a>.” \u003c/p>\n\u003cp>At Saturday’s show in San Francisco, Dawid performs solo, bringing along material from her recent \u003cem>Hush Harbor Mixtape Vol. 1 Doxology\u003c/em>, a series of songs dedicated to Escrava Anastacia, the enslaved African woman venerated as a saint in Brazil. It’s a rare chance to see a star of Chicago’s new jazz avant-garde on the West Coast, and it’s sure to be unforgettable. \u003c/p>\n\u003cp>\u003cem>Angel Bat Dawid performs Saturday, Aug. 14, at the Lab in San Francisco. \u003ca href=\"https://www.thelab.org/projects/2021/8/14/angel-bat-dawid\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Dawid returned the next year with a live recording featuring her band, The Brotherhood, and the tone is demonstrably different; it opens with a loud exploration of Sun Ra’s “Enlightenment,” with horns and drums on full blast. And yet the album’s most mesmerizing moments remain two slow, intimate songs from \u003cem>The Oracle\u003c/em>, both pedal-point evocations of Blackness: “\u003ca href=\"https://www.youtube.com/watch?v=tfOCJy0ZthU\" rel=\"noopener noreferrer\" target=\"_blank\">What Shall I Tell My Children Who Are Black\u003c/a>” and the afrofuturist mantra “\u003ca href=\"https://www.youtube.com/watch?v=XlzdrPkbNbw\" rel=\"noopener noreferrer\" target=\"_blank\">We Are Starzz\u003c/a>.” \u003c/p>\n\u003cp>At Saturday’s show in San Francisco, Dawid performs solo, bringing along material from her recent \u003cem>Hush Harbor Mixtape Vol. 1 Doxology\u003c/em>, a series of songs dedicated to Escrava Anastacia, the enslaved African woman venerated as a saint in Brazil. It’s a rare chance to see a star of Chicago’s new jazz avant-garde on the West Coast, and it’s sure to be unforgettable. \u003c/p>\n\u003cp>\u003cem>Angel Bat Dawid performs Saturday, Aug. 14, at the Lab in San Francisco. \u003ca href=\"https://www.thelab.org/projects/2021/8/14/angel-bat-dawid\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cem>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In July, \u003ca href=\"https://www.destroydestroyboys.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Destroy Boys\u003c/a> released “\u003ca href=\"https://www.youtube.com/watch?v=o_jFJDMTWFc\" target=\"_blank\" rel=\"noopener noreferrer\">Drink\u003c/a>“—a single that seamlessly combined sparkling guitar pop with an undercurrent of impending doom. The track was about the struggle of breaking alcoholic cycles, but its incumbent anxiety was the perfect soundtrack for anyone suffering from reopening jitters.\u003c/p>\n\u003cp>The trio—vocalist/guitarist Alexia Roditis, guitarist Violet Mayugba and drummer Narsai Malik—has been excellent at reading the zeitgeist and reflecting it right back, ever since they came together in Sacramento back in 2015. And these three college-aged kids—now based in Oakland and San Francisco—have never been shy about venting. That much has been apparent since their 2017 debut album, \u003cem>Sorry Mom\u003c/em>. (Check out “\u003ca href=\"https://www.youtube.com/watch?v=TbngYdFIxTc\" target=\"_blank\" rel=\"noopener noreferrer\">I Threw Glass at My Friend’s Eyes and Now I’m on Probation\u003c/a>” for evidence. The song, about dealing with romantic attention from an older man, was written when Roditis was still in high school.)\u003c/p>\n\u003cp>Now, Destroy Boys is back with their second single in less than two months. “Locker Room Bully” is a defiant, riot grrrl-inspired, proverbial middle finger that offers a swift takedown to petty-minded interlopers. The accompanying video takes the song’s themes about social media toxicity and transforms them into a literal witch hunt, unfolding against a gloomy San Francisco backdrop.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DgXuGzWPgOM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The single is another taste of what’s to come from Destroy Boys’ third album, \u003ca href=\"https://hopelessrecords.myshopify.com/collections/destroy-boys/products/deboohomgb-lp\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Open Mouth, Open Heart\u003c/em>\u003c/a>—out on Oct. 8, via \u003ca href=\"https://www.hopelessrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Hopeless Records\u003c/a>. The band is \u003ca href=\"https://www.destroydestroyboys.com/tour\" target=\"_blank\" rel=\"noopener noreferrer\">touring\u003c/a> across the US throughout August and September.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Welcome to Pass the Aux, where every week we feature new music by Bay Area artists. Check out past entries and submit a song for future coverage \u003ca href=\"https://www.kqed.org/arts/tag/pass-the-aux\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>In July, \u003ca href=\"https://www.destroydestroyboys.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Destroy Boys\u003c/a> released “\u003ca href=\"https://www.youtube.com/watch?v=o_jFJDMTWFc\" target=\"_blank\" rel=\"noopener noreferrer\">Drink\u003c/a>“—a single that seamlessly combined sparkling guitar pop with an undercurrent of impending doom. The track was about the struggle of breaking alcoholic cycles, but its incumbent anxiety was the perfect soundtrack for anyone suffering from reopening jitters.\u003c/p>\n\u003cp>The trio—vocalist/guitarist Alexia Roditis, guitarist Violet Mayugba and drummer Narsai Malik—has been excellent at reading the zeitgeist and reflecting it right back, ever since they came together in Sacramento back in 2015. And these three college-aged kids—now based in Oakland and San Francisco—have never been shy about venting. That much has been apparent since their 2017 debut album, \u003cem>Sorry Mom\u003c/em>. (Check out “\u003ca href=\"https://www.youtube.com/watch?v=TbngYdFIxTc\" target=\"_blank\" rel=\"noopener noreferrer\">I Threw Glass at My Friend’s Eyes and Now I’m on Probation\u003c/a>” for evidence. The song, about dealing with romantic attention from an older man, was written when Roditis was still in high school.)\u003c/p>\n\u003cp>Now, Destroy Boys is back with their second single in less than two months. “Locker Room Bully” is a defiant, riot grrrl-inspired, proverbial middle finger that offers a swift takedown to petty-minded interlopers. The accompanying video takes the song’s themes about social media toxicity and transforms them into a literal witch hunt, unfolding against a gloomy San Francisco backdrop.\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/DgXuGzWPgOM'\n title='//www.youtube.com/embed/DgXuGzWPgOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Jury Selection Starts in R. Kelly Sex Trafficking Case",
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"content": "\u003cp>After several delays, the first phase of the sex trafficking trial of R&B hitmaker R. Kelly started Monday with jury selection in New York City.\u003c/p>\n\u003cp>Lingering health threats caused by the coronavirus pandemic and a shakeup of Kelly’s defense team pushed the trial into the summer, nearly two years after he was charged with abusing women and girls for nearly two decades.\u003c/p>\n\u003cp>U.S. District Judge Ann Donnelly began questioning potential jurors about whether they can keep an open mind about Kelly two years after he was charged with abusing women and girls for nearly two decades. She reminded them the defendant was presumed innocent and that they should not be influenced by anything they’ve previously heard about the case.\u003c/p>\n\u003cp>The proceeding was being conducted amid coronavirus pandemic precautions restricting the press and the public to overflow courtrooms with video feeds. Much of the time, Kelly and potential jurors weren’t clearly visible on the feeds and the audio was often faint.\u003c/p>\n\u003cp>More screening was set for Tuesday. It was unclear how long the process will take.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kelly, 54, has been locked up since he was indicted, mostly housed in a federal jail in Chicago. He was moved last month to the federal Metropolitan Detention Center in Brooklyn to face trial in a case that’s further diminished his superstar status.\u003c/p>\n\u003cp>[aside postid='pop_109568']Last week, defense attorney Deveraux Cannick told a judge that Kelly needs to be measured for new clothing because he’s \u003ca href=\"https://apnews.com/article/lifestyle-entertainment-music-health-arts-and-entertainment-4dc99d75b79a8739100f6cb45769aa3b\" target=\"_blank\" rel=\"noopener noreferrer\">gained so much weight\u003c/a> in jail. And he asked that court transcripts be provided at no cost because Kelly has been unable to work for two years, saying: “His funds are depleted.”\u003c/p>\n\u003cp>The Grammy-winning, multiplatinum-selling singer has denied any wrongdoing and pleaded not guilty to charges accusing him of leading an enterprise of managers, bodyguards and other employees who helped him recruit women and girls for sex. Federal prosecutors say the group selected victims at concerts and other venues and arranged for them to travel to see Kelly.\u003c/p>\n\u003cp>Defense lawyers have said Kelly’s alleged victims were groupies who turned up at his shows and made it known they “were dying to be with him.” They only started accusing him of abuse years later when public sentiment shifted in the #MeToo era, they said.\u003c/p>\n\u003cp>The trial had been expected to start earlier in the year. But opening statements were moved to Aug. 18 after Kelly fired his original defense team.\u003c/p>\n\u003cp>Jurors are expected to hear testimony from several of his accusers. A judge has ruled that the women will only be referred to by their first names.\u003c/p>\n\u003cp>Prosecutors also are expected to offer evidence that Kelly schemed with others to pay for a fake ID for Aaliyah, a singer on the rise at 15 years old, in a secret ceremony in 1994.\u003c/p>\n\u003cp>Aaliyah is identified as “Jane Doe #1” in court papers because she was still a minor when Kelly began a sexual relationship with her and believed she had become pregnant, the papers say.\u003c/p>\n\u003cp>[aside postid='pop_109968']“As a result, in an effort to shield himself from criminal charges related to his illegal sexual relationship with Jane Doe #1, Kelly arranged to secretly marry her to prevent her from being compelled to testify against him in the future,” the papers say.\u003c/p>\n\u003cp>Aaliyah, whose full name was Aaliyah Dana Haughton, worked with Kelly, who wrote and produced her 1994 debut album, “\u003ca href=\"https://www.kqed.org/pop/86198/the-most-creepily-problematic-sexy-songs-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">Age Ain’t Nothing But a Number.\u003c/a>” She died in a plane crash in 2001 at age 22.\u003c/p>\n\u003cp>The case is only part of the legal peril facing the singer, born Robert Sylvester Kelly. He also has pleaded not guilty to sex-related charges in Illinois and Minnesota.\u003c/p>\n\u003cp>Kelly won multiple Grammys for “I Believe I Can Fly,” a 1996 song that became an inspirational anthem played at school graduations, weddings, advertisements and elsewhere.\u003c/p>\n\u003cp>Nearly a decade later, he began releasing what eventually became 22 musical chapters of “Trapped in the Closet,” a drama that spins a tale of sexual deceit and became a cult classic.\u003c/p>\n\u003cp>But Kelly has been trailed for decades by \u003ca href=\"https://www.kqed.org/pop/109631/i-want-justice-r-kelly-accused-of-sexual-misconduct-by-2-more-women\" target=\"_blank\" rel=\"noopener noreferrer\">complaints\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/109968/on-cbs-an-indicted-r-kelly-literally-screams-his-innocence\" target=\"_blank\" rel=\"noopener noreferrer\">allegations\u003c/a> about his sexual behavior, including a 2002 child pornography case in Chicago. He was acquitted in that case in 2008.\u003c/p>\n\u003cp>Scrutiny intensified again amid the #MeToo movement in recent years, with multiple women going public with accusations against the singer. The pressure intensified with the release of the Lifetime documentary \u003cem>\u003ca href=\"https://www.kqed.org/pop/108417/lady-gaga-needs-to-talk-about-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">Surviving R. Kelly\u003c/a>\u003c/em> in 2019.\u003c/p>\n\u003cp>Criminal charges soon followed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After several delays, the first phase of the sex trafficking trial of R&B hitmaker R. Kelly started Monday with jury selection in New York City.\u003c/p>\n\u003cp>Lingering health threats caused by the coronavirus pandemic and a shakeup of Kelly’s defense team pushed the trial into the summer, nearly two years after he was charged with abusing women and girls for nearly two decades.\u003c/p>\n\u003cp>U.S. District Judge Ann Donnelly began questioning potential jurors about whether they can keep an open mind about Kelly two years after he was charged with abusing women and girls for nearly two decades. She reminded them the defendant was presumed innocent and that they should not be influenced by anything they’ve previously heard about the case.\u003c/p>\n\u003cp>The proceeding was being conducted amid coronavirus pandemic precautions restricting the press and the public to overflow courtrooms with video feeds. Much of the time, Kelly and potential jurors weren’t clearly visible on the feeds and the audio was often faint.\u003c/p>\n\u003cp>More screening was set for Tuesday. It was unclear how long the process will take.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kelly, 54, has been locked up since he was indicted, mostly housed in a federal jail in Chicago. He was moved last month to the federal Metropolitan Detention Center in Brooklyn to face trial in a case that’s further diminished his superstar status.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Last week, defense attorney Deveraux Cannick told a judge that Kelly needs to be measured for new clothing because he’s \u003ca href=\"https://apnews.com/article/lifestyle-entertainment-music-health-arts-and-entertainment-4dc99d75b79a8739100f6cb45769aa3b\" target=\"_blank\" rel=\"noopener noreferrer\">gained so much weight\u003c/a> in jail. And he asked that court transcripts be provided at no cost because Kelly has been unable to work for two years, saying: “His funds are depleted.”\u003c/p>\n\u003cp>The Grammy-winning, multiplatinum-selling singer has denied any wrongdoing and pleaded not guilty to charges accusing him of leading an enterprise of managers, bodyguards and other employees who helped him recruit women and girls for sex. Federal prosecutors say the group selected victims at concerts and other venues and arranged for them to travel to see Kelly.\u003c/p>\n\u003cp>Defense lawyers have said Kelly’s alleged victims were groupies who turned up at his shows and made it known they “were dying to be with him.” They only started accusing him of abuse years later when public sentiment shifted in the #MeToo era, they said.\u003c/p>\n\u003cp>The trial had been expected to start earlier in the year. But opening statements were moved to Aug. 18 after Kelly fired his original defense team.\u003c/p>\n\u003cp>Jurors are expected to hear testimony from several of his accusers. A judge has ruled that the women will only be referred to by their first names.\u003c/p>\n\u003cp>Prosecutors also are expected to offer evidence that Kelly schemed with others to pay for a fake ID for Aaliyah, a singer on the rise at 15 years old, in a secret ceremony in 1994.\u003c/p>\n\u003cp>Aaliyah is identified as “Jane Doe #1” in court papers because she was still a minor when Kelly began a sexual relationship with her and believed she had become pregnant, the papers say.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“As a result, in an effort to shield himself from criminal charges related to his illegal sexual relationship with Jane Doe #1, Kelly arranged to secretly marry her to prevent her from being compelled to testify against him in the future,” the papers say.\u003c/p>\n\u003cp>Aaliyah, whose full name was Aaliyah Dana Haughton, worked with Kelly, who wrote and produced her 1994 debut album, “\u003ca href=\"https://www.kqed.org/pop/86198/the-most-creepily-problematic-sexy-songs-of-the-1990s\" target=\"_blank\" rel=\"noopener noreferrer\">Age Ain’t Nothing But a Number.\u003c/a>” She died in a plane crash in 2001 at age 22.\u003c/p>\n\u003cp>The case is only part of the legal peril facing the singer, born Robert Sylvester Kelly. He also has pleaded not guilty to sex-related charges in Illinois and Minnesota.\u003c/p>\n\u003cp>Kelly won multiple Grammys for “I Believe I Can Fly,” a 1996 song that became an inspirational anthem played at school graduations, weddings, advertisements and elsewhere.\u003c/p>\n\u003cp>Nearly a decade later, he began releasing what eventually became 22 musical chapters of “Trapped in the Closet,” a drama that spins a tale of sexual deceit and became a cult classic.\u003c/p>\n\u003cp>But Kelly has been trailed for decades by \u003ca href=\"https://www.kqed.org/pop/109631/i-want-justice-r-kelly-accused-of-sexual-misconduct-by-2-more-women\" target=\"_blank\" rel=\"noopener noreferrer\">complaints\u003c/a> and \u003ca href=\"https://www.kqed.org/pop/109968/on-cbs-an-indicted-r-kelly-literally-screams-his-innocence\" target=\"_blank\" rel=\"noopener noreferrer\">allegations\u003c/a> about his sexual behavior, including a 2002 child pornography case in Chicago. He was acquitted in that case in 2008.\u003c/p>\n\u003cp>Scrutiny intensified again amid the #MeToo movement in recent years, with multiple women going public with accusations against the singer. The pressure intensified with the release of the Lifetime documentary \u003cem>\u003ca href=\"https://www.kqed.org/pop/108417/lady-gaga-needs-to-talk-about-r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">Surviving R. Kelly\u003c/a>\u003c/em> in 2019.\u003c/p>\n\u003cp>Criminal charges soon followed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2021 \u003ca href=\"https://apnews.com/\" target=\"_blank\" rel=\"noopener noreferrer\">AP\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How a Composer Puts a Horse's Movements to Music For the Tokyo Olympics",
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"content": "\u003cp>TOKYO — In equestrian dressage, horses maneuver through complicated, dance-like choreography. The animals pirouette, step high, extend their legs long, and side step to music, signaled by an expert rider.\u003c/p>\n\u003cp>Olympic teams are turning to special composers to put together music tailored to highlight the best qualities of the horse and the routine.\u003c/p>\n\u003cp>“The music side of it really brought our sport to life,” said Winnie Murphy, a spokesperson for British Equestrian. That’s particularly true for spectators who aren’t already attuned to the highly technical aspects of equestrian.\u003c/p>\n\u003cp>The Grand Prix Freestyle event, where riders can choose their own music and moves rather than go through a pre-set test, is the blockbuster event of Olympic dressage.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8V5RVZa-cbo\u003c/p>\n\u003ch3>Horses move to electronic music, disco and classical\u003c/h3>\n\u003cp>On a hot night last week, a huge range of tunes blasted through the nearly empty arena.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>U.S. rider Steffen Peters rode Suppenkasper, nicknamed Mopsi, to a bumping electronic mix. That earned him the nickname “rave horse.” Germany’s Isabell Werth looked to the majesty of Beethoven’s Ode to Joy for her performance.\u003c/p>\n\u003cp>Norway’s Carina Cassoe Kruth went for an 80s medley including “I Want To Know What Love Is” by Foreigner and “Footloose” by Kenny Loggins.\u003c/p>\n\u003cp>Kruth said she wanted to bring out her girly and fun qualities of her horse, nicknamed “Dancer,” and get the judges to tap their toes to the beat. “It’s fun to ride, and yeah, I’m actually singing a bit along in my head when I ride it.”\u003c/p>\n\u003cp>The U.K.’s Carl Hester rode his horse, En Vogue, to groovy disco music that channeled the Bee Gees.\u003c/p>\n\u003cp>“That’s a funky beat,” Hester said of the composition. “He’s got such a good rhythm himself”\u003c/p>\n\u003cp>“I didn’t want any background stuff. I wanted a beat that I could really ride to because he’s so powerful,” he added. “I loved all of that music, actually. I thought it was really, really suited to him.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K-7eyINuPD8\u003c/p>\n\u003ch3>A composer matches a horse’s routine and personality to music\u003c/h3>\n\u003cp>Tom Hunt, who composes the music for the U.K. team, is in charge of making sure the tunes suit the horses. He wrote that funky beat that Hester rode to.\u003c/p>\n\u003cp>Hunt said that years ago, music used to be more of an afterthought in dressage. “In some cases that I used to listen to, the music would just stop and something else would kick in.”\u003c/p>\n\u003cp>Now, it’s highly customized and carefully thought out.\u003c/p>\n\u003cp>The riders figure out what moves they’ll do—and then Hunt will put together a composition to fit.\u003c/p>\n\u003cp>[aside postid='arts_13900276']“The music is orchestrated and produced specifically to the transitions that the horse is doing and the tempos that the horse has,” he said. “Every horse has highlights that the rider wants to show off, and you can use the music to really enforce that. So if you have a really good extended trot, you want the extended trot music to really kick in and emphasize what’s going on.”\u003c/p>\n\u003cp>There are also things he tries to avoid—like putting really powerful music with a small, delicate horse. “It would overpower the movement of the horse,” he explained.\u003c/p>\n\u003cp>The music is especially important because it goes into a rider’s artistic score at the freestyle event.\u003c/p>\n\u003cp>Besides Hester, Hunt composed for U.K. riders Charlotte Fry (upbeat, and inspired by tropical dance music) and Charlotte Dujardin (orchestral, fun and emotive). Dujardin took the bronze medal in individual dressage in Tokyo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k2V87VPzgQg\u003c/p>\n\u003ch3>The range of acceptable music is expanding\u003c/h3>\n\u003cp>Hunt said that dressage riders have traditionally gravitated to classical and orchestral music—but that’s changing.\u003c/p>\n\u003cp>“I think there’s no question that the music that was probably preferred or considered to be dressage music has definitely evolved in the last 10, 11 years,” Hunt said. “We’re doing tropical house music and disco and all these different styles of music.”\u003c/p>\n\u003cp>Music is also becoming more tailored in other dressage competitions. For the \u003ca href=\"https://inside.fei.org/system/files/EQUESTRIAN%20MEDIA%20TOOL%20KIT_TOKYO2020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">first time\u003c/a> at the Olympics, riders could also choose their own music during the Grand Prix Special, where all athletes go through the same movements.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Riders want to push the limits of what is accepted in their sport, Hunt said—and “the sport has had to adapt to modern times.”\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=How+A+Composer+Puts+A+Horse%27s+Movements+To+Music+For+The+Tokyo+Olympics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>U.S. rider Steffen Peters rode Suppenkasper, nicknamed Mopsi, to a bumping electronic mix. That earned him the nickname “rave horse.” Germany’s Isabell Werth looked to the majesty of Beethoven’s Ode to Joy for her performance.\u003c/p>\n\u003cp>Norway’s Carina Cassoe Kruth went for an 80s medley including “I Want To Know What Love Is” by Foreigner and “Footloose” by Kenny Loggins.\u003c/p>\n\u003cp>Kruth said she wanted to bring out her girly and fun qualities of her horse, nicknamed “Dancer,” and get the judges to tap their toes to the beat. “It’s fun to ride, and yeah, I’m actually singing a bit along in my head when I ride it.”\u003c/p>\n\u003cp>The U.K.’s Carl Hester rode his horse, En Vogue, to groovy disco music that channeled the Bee Gees.\u003c/p>\n\u003cp>“That’s a funky beat,” Hester said of the composition. “He’s got such a good rhythm himself”\u003c/p>\n\u003cp>“I didn’t want any background stuff. I wanted a beat that I could really ride to because he’s so powerful,” he added. “I loved all of that music, actually. I thought it was really, really suited to him.”\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/K-7eyINuPD8'\n title='//www.youtube.com/embed/K-7eyINuPD8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A composer matches a horse’s routine and personality to music\u003c/h3>\n\u003cp>Tom Hunt, who composes the music for the U.K. team, is in charge of making sure the tunes suit the horses. He wrote that funky beat that Hester rode to.\u003c/p>\n\u003cp>Hunt said that years ago, music used to be more of an afterthought in dressage. “In some cases that I used to listen to, the music would just stop and something else would kick in.”\u003c/p>\n\u003cp>Now, it’s highly customized and carefully thought out.\u003c/p>\n\u003cp>The riders figure out what moves they’ll do—and then Hunt will put together a composition to fit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“The music is orchestrated and produced specifically to the transitions that the horse is doing and the tempos that the horse has,” he said. “Every horse has highlights that the rider wants to show off, and you can use the music to really enforce that. So if you have a really good extended trot, you want the extended trot music to really kick in and emphasize what’s going on.”\u003c/p>\n\u003cp>There are also things he tries to avoid—like putting really powerful music with a small, delicate horse. “It would overpower the movement of the horse,” he explained.\u003c/p>\n\u003cp>The music is especially important because it goes into a rider’s artistic score at the freestyle event.\u003c/p>\n\u003cp>Besides Hester, Hunt composed for U.K. riders Charlotte Fry (upbeat, and inspired by tropical dance music) and Charlotte Dujardin (orchestral, fun and emotive). Dujardin took the bronze medal in individual dressage in Tokyo.\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/k2V87VPzgQg'\n title='//www.youtube.com/embed/k2V87VPzgQg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The range of acceptable music is expanding\u003c/h3>\n\u003cp>Hunt said that dressage riders have traditionally gravitated to classical and orchestral music—but that’s changing.\u003c/p>\n\u003cp>“I think there’s no question that the music that was probably preferred or considered to be dressage music has definitely evolved in the last 10, 11 years,” Hunt said. “We’re doing tropical house music and disco and all these different styles of music.”\u003c/p>\n\u003cp>Music is also becoming more tailored in other dressage competitions. For the \u003ca href=\"https://inside.fei.org/system/files/EQUESTRIAN%20MEDIA%20TOOL%20KIT_TOKYO2020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">first time\u003c/a> at the Olympics, riders could also choose their own music during the Grand Prix Special, where all athletes go through the same movements.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Riders want to push the limits of what is accepted in their sport, Hunt said—and “the sport has had to adapt to modern times.”\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=How+A+Composer+Puts+A+Horse%27s+Movements+To+Music+For+The+Tokyo+Olympics&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "To Save Live Music, We Need to Get Vaccinated | KQED",
"content": "\u003cp>Offspring drummer Pete Parada received an \u003ca href=\"https://www.instagram.com/p/CSE_rkVnIgL/\" target=\"_blank\" rel=\"noopener noreferrer\">outpouring of support\u003c/a> earlier this week after he announced he would be unable to tour for the foreseeable future. In an emotional Instagram post, Parada said that a medical condition he has been living with since childhood—\u003ca href=\"https://www.ninds.nih.gov/Disorders/Patient-Caregiver-Education/Fact-Sheets/Guillain-Barr%C3%A9-Syndrome-Fact-Sheet\" target=\"_blank\" rel=\"noopener noreferrer\">Guillain-Barré Syndrome\u003c/a> (GBS)—prevented him from receiving a COVID-19 vaccine, and that his band now considered him “unsafe” to work with. GBS is a rare and incurable condition that causes the body’s immune system to attack its nerves.\u003c/p>\n\u003cp>“Given my personal history and the side-effect profile of these jabs,” Parada wrote, “my doctor has advised me not to get a shot at this time. Unfortunately for me (and my family—who is hoping to keep me around a bit longer), the risks far outweigh the benefits.”\u003c/p>\n\u003cp>Recent figures suggest there may an increased risk of suffering a bout of GBS after receiving the Johnson & Johnson COVID-19 vaccine. “There have been 100 preliminary reports of GBS following vaccination,” the \u003ca href=\"https://www.fda.gov/news-events/press-announcements/coronavirus-covid-19-update-july-13-2021\" target=\"_blank\" rel=\"noopener noreferrer\">FDA reports\u003c/a>, “after approximately 12.5 million doses administered.” However, there is \u003ca href=\"https://health.clevelandclinic.org/guillain-barre-syndrome-and-covid-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\">no evidence\u003c/a> that the Pfizer or Moderna vaccines carry increased risks for GBS patients.\u003c/p>\n\u003cp>https://www.instagram.com/p/CSE_rkVnIgL/\u003c/p>\n\u003cp>“Since I am unable to comply with what is increasingly becoming an industry mandate,” Parada wrote, “it has recently been decided that I am unsafe to be around, in the studio, and on tour. I mention this because you won’t be seeing me at these upcoming shows. I also want to share my story so that anyone else experiencing the agony and isolation of getting left behind right now knows they’re not entirely alone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By Wednesday, Parada’s post had been liked almost 18,000 times, and prompted comments of love, support and vaccine-related outrage. One fan wrote, “The fear, the manipulation and coercion around [vaccines] are truly what is frightening.” Five Finger Death Punch drummer Charlie Engen commented that it was “sickening you even have to explain yourself.” Bad Wolves vocalist Tommy Vext called Parada’s predicament “a fucking disgrace,” and opined that “this all feels like the beginnings of a medical apartheid.”\u003c/p>\n\u003cp>Those are strong words in a live-music landscape that is still accommodating unvaccinated people. Parada’s announcement (and the outpouring that it prompted) directly followed a weekend in which 100,000 fans a day—including the unvaccinated—descended on the Lollapalooza festival in Chicago. Ticket holders without vaccines were permitted at the event with proof of a negative COVID test.\u003c/p>\n\u003cp>https://twitter.com/lollapalooza/status/1420865743269339143\u003c/p>\n\u003cp>The weekend before, Miami’s Rolling Loud Festival attracted daily crowds of 75,000 and had zero COVID-related restrictions for entry. “Fans will have the choice, whether or not they want to be vaccinated or mask,” festival co-founder \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/miami-gardens/article252927603.html\" target=\"_blank\" rel=\"noopener noreferrer\">Tariq Cheriff told the \u003cem>Miami Herald\u003c/em>\u003c/a>. “That’s basically what we believe in. You got the choice and that’s it.”\u003c/p>\n\u003cp>[aside postID='arts_13900368,arts_13900770']While some of America’s most popular festivals—including Coachella, Burning Man and SXSW—have opted to postpone until 2022, many others are still forging ahead this year. COVID restrictions for attendees at each event vary and are at the discretion of the organizers. So, for example, while Napa’s \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> will require proof of vaccination or a negative COVID test, \u003ca href=\"https://www.sfoutsidelands.com/health-and-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> is—for the moment, at least—merely saying it “will follow the recommended health and safety guidelines put forth by the authorities.” \u003ca href=\"https://www.sterngrove.org/covid\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove\u003c/a> says it will have a reservation-only policy and a perimeter, but no requirement to show vaccine status at this time. It is unclear what restrictions will be in place for performers.\u003c/p>\n\u003cp>As for music venues, in California at least, the National Independent Venue Association (NIVA) reports that most of the music venues checking vaccine cards are also accepting negative COVID tests.\u003c/p>\n\u003cp>While Parada claimed that his decision to not get vaccinated was a medical one, he also shared clear anti-vax opinions later in his post. “I do not find it ethical or wise,” he wrote, “to allow those with the most power (government, corporations, organizations, employers) to dictate medical procedures to those with the least power.” Parada continued: “If it looks like half the population is having a shockingly different reaction to these jabs than was expected—it’s probably because their life experiences have actually been shockingly different.”\u003c/p>\n\u003cp>As the music industry scrambles to bring back live music, the very least fans and musicians should be doing before heading out to venues is getting vaccinated and/or checking their COVID status regularly with tests. Even then, an abundance of caution should still be exercised. The Netherlands’ Verknipt festival, which took place in mid-July, offers a cautionary example. The two-day outdoor festival required proof of vaccine or a negative test to enter, but still led to \u003ca href=\"https://www.cnbc.com/2021/07/15/music-festival-in-holland-leads-to-over-1000-covid-infections.html\" target=\"_blank\" rel=\"noopener noreferrer\">1,050 COVID infections\u003c/a>—5% of attendees caught the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Make no mistake, the social and personal freedoms we have successfully wrangled back in recent months are a direct result of the vaccine rollout. What most threatens those freedoms now is the highly transmissible delta variant which, data proves, vaccines protect against. (“The rate of breakthrough cases reported among those fully vaccinated is well below 1% in all reporting states,” according to the \u003ca href=\"https://www.nytimes.com/2021/08/03/well/live/covid-delta-variant-vaccine-symptoms.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>.) The larger barriers to the freedom of immunocompromised people aren’t COVID safety measures—they’re the dangers posed by a virus that spreads further and faster the less people are vaccinated.\u003c/p>\n\n",
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"excerpt": "Offspring drummer Pete Parada just sparked a conversation about vaccines and consent—but the issue is bigger than any one person.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Offspring drummer Pete Parada received an \u003ca href=\"https://www.instagram.com/p/CSE_rkVnIgL/\" target=\"_blank\" rel=\"noopener noreferrer\">outpouring of support\u003c/a> earlier this week after he announced he would be unable to tour for the foreseeable future. In an emotional Instagram post, Parada said that a medical condition he has been living with since childhood—\u003ca href=\"https://www.ninds.nih.gov/Disorders/Patient-Caregiver-Education/Fact-Sheets/Guillain-Barr%C3%A9-Syndrome-Fact-Sheet\" target=\"_blank\" rel=\"noopener noreferrer\">Guillain-Barré Syndrome\u003c/a> (GBS)—prevented him from receiving a COVID-19 vaccine, and that his band now considered him “unsafe” to work with. GBS is a rare and incurable condition that causes the body’s immune system to attack its nerves.\u003c/p>\n\u003cp>“Given my personal history and the side-effect profile of these jabs,” Parada wrote, “my doctor has advised me not to get a shot at this time. Unfortunately for me (and my family—who is hoping to keep me around a bit longer), the risks far outweigh the benefits.”\u003c/p>\n\u003cp>Recent figures suggest there may an increased risk of suffering a bout of GBS after receiving the Johnson & Johnson COVID-19 vaccine. “There have been 100 preliminary reports of GBS following vaccination,” the \u003ca href=\"https://www.fda.gov/news-events/press-announcements/coronavirus-covid-19-update-july-13-2021\" target=\"_blank\" rel=\"noopener noreferrer\">FDA reports\u003c/a>, “after approximately 12.5 million doses administered.” However, there is \u003ca href=\"https://health.clevelandclinic.org/guillain-barre-syndrome-and-covid-vaccine/\" target=\"_blank\" rel=\"noopener noreferrer\">no evidence\u003c/a> that the Pfizer or Moderna vaccines carry increased risks for GBS patients.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Since I am unable to comply with what is increasingly becoming an industry mandate,” Parada wrote, “it has recently been decided that I am unsafe to be around, in the studio, and on tour. I mention this because you won’t be seeing me at these upcoming shows. I also want to share my story so that anyone else experiencing the agony and isolation of getting left behind right now knows they’re not entirely alone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By Wednesday, Parada’s post had been liked almost 18,000 times, and prompted comments of love, support and vaccine-related outrage. One fan wrote, “The fear, the manipulation and coercion around [vaccines] are truly what is frightening.” Five Finger Death Punch drummer Charlie Engen commented that it was “sickening you even have to explain yourself.” Bad Wolves vocalist Tommy Vext called Parada’s predicament “a fucking disgrace,” and opined that “this all feels like the beginnings of a medical apartheid.”\u003c/p>\n\u003cp>Those are strong words in a live-music landscape that is still accommodating unvaccinated people. Parada’s announcement (and the outpouring that it prompted) directly followed a weekend in which 100,000 fans a day—including the unvaccinated—descended on the Lollapalooza festival in Chicago. Ticket holders without vaccines were permitted at the event with proof of a negative COVID test.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The weekend before, Miami’s Rolling Loud Festival attracted daily crowds of 75,000 and had zero COVID-related restrictions for entry. “Fans will have the choice, whether or not they want to be vaccinated or mask,” festival co-founder \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/miami-gardens/article252927603.html\" target=\"_blank\" rel=\"noopener noreferrer\">Tariq Cheriff told the \u003cem>Miami Herald\u003c/em>\u003c/a>. “That’s basically what we believe in. You got the choice and that’s it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While some of America’s most popular festivals—including Coachella, Burning Man and SXSW—have opted to postpone until 2022, many others are still forging ahead this year. COVID restrictions for attendees at each event vary and are at the discretion of the organizers. So, for example, while Napa’s \u003ca href=\"https://www.bottlerocknapavalley.com/health-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">BottleRock\u003c/a> will require proof of vaccination or a negative COVID test, \u003ca href=\"https://www.sfoutsidelands.com/health-and-safety/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a> is—for the moment, at least—merely saying it “will follow the recommended health and safety guidelines put forth by the authorities.” \u003ca href=\"https://www.sterngrove.org/covid\" target=\"_blank\" rel=\"noopener noreferrer\">Stern Grove\u003c/a> says it will have a reservation-only policy and a perimeter, but no requirement to show vaccine status at this time. It is unclear what restrictions will be in place for performers.\u003c/p>\n\u003cp>As for music venues, in California at least, the National Independent Venue Association (NIVA) reports that most of the music venues checking vaccine cards are also accepting negative COVID tests.\u003c/p>\n\u003cp>While Parada claimed that his decision to not get vaccinated was a medical one, he also shared clear anti-vax opinions later in his post. “I do not find it ethical or wise,” he wrote, “to allow those with the most power (government, corporations, organizations, employers) to dictate medical procedures to those with the least power.” Parada continued: “If it looks like half the population is having a shockingly different reaction to these jabs than was expected—it’s probably because their life experiences have actually been shockingly different.”\u003c/p>\n\u003cp>As the music industry scrambles to bring back live music, the very least fans and musicians should be doing before heading out to venues is getting vaccinated and/or checking their COVID status regularly with tests. Even then, an abundance of caution should still be exercised. The Netherlands’ Verknipt festival, which took place in mid-July, offers a cautionary example. The two-day outdoor festival required proof of vaccine or a negative test to enter, but still led to \u003ca href=\"https://www.cnbc.com/2021/07/15/music-festival-in-holland-leads-to-over-1000-covid-infections.html\" target=\"_blank\" rel=\"noopener noreferrer\">1,050 COVID infections\u003c/a>—5% of attendees caught the virus.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Make no mistake, the social and personal freedoms we have successfully wrangled back in recent months are a direct result of the vaccine rollout. What most threatens those freedoms now is the highly transmissible delta variant which, data proves, vaccines protect against. (“The rate of breakthrough cases reported among those fully vaccinated is well below 1% in all reporting states,” according to the \u003ca href=\"https://www.nytimes.com/2021/08/03/well/live/covid-delta-variant-vaccine-symptoms.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em>\u003c/a>.) The larger barriers to the freedom of immunocompromised people aren’t COVID safety measures—they’re the dangers posed by a virus that spreads further and faster the less people are vaccinated.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
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