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"title": "The Escapist Land of 'Cottagecore,' From Taylor Swift to Marie Antoinette",
"headTitle": "The Escapist Land of ‘Cottagecore,’ From Taylor Swift to Marie Antoinette | KQED",
"content": "\u003cp>The promotional black and white photos from Taylor Swift’s new album \u003cem>Folklore\u003c/em> show the pop star shedding her lipsticked glamour for an ethereal frock to frolic in the meadow.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=K-a8s8OLBSE\u003c/p>\n\u003cp>For those who’ve watched these signifiers bubble up on corners of the internet for the past few years, Swift had just introduced a \u003ca href=\"https://www.theringer.com/music/2020/7/28/21344659/taylor-swift-bon-iver-exile-folklore-isolation-album\" target=\"_blank\" rel=\"noopener noreferrer\">new aesthetic to the mainstream\u003c/a>. The packaging of the pared-down record, produced during lockdown in her Los Angeles home, epitomizes a romanticization of the rural lifestyle known as “cottagecore,” and it’s seeing a marked boom during the coronavirus pandemic.\u003c/p>\n\u003cp>Visually, cottagecore looks like this: sourdough bread starters, foraged mushrooms, open meadows, freshly picked flowers, homegrown produce, knitting, baking pies, and, yes, rustic cottages. The pastoral interpretations live on TikTok, Pinterest, and prominently on Tumblr.\u003c/p>\n\u003cp>At a time when many feel trapped and overwhelmed, cottagecore offers a wholesome, back-to-basics escape. In that way, it might be seen as the antidote of \u003ca href=\"https://www.npr.org/2020/07/19/892728595/your-doomscrolling-breeds-anxiety-here-s-how-to-stop-the-cycle\" target=\"_blank\" rel=\"noopener noreferrer\">“doomscrolling,”\u003c/a> a habit that’s intensified during today’s crises in which one scrolls through the endless feed of bad news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/CDucMupByQK/\u003c/p>\n\u003cp>“It was comfortable and soothing and kind of helped people process things,” said Amanda Brennan, the content and community associate with Tumblr who’s better known as the \u003ca href=\"https://www.washingtonpost.com/news/the-intersect/wp/2015/12/21/tumblrs-meme-librarian-has-the-best-job-on-the-internet/\" target=\"_blank\" rel=\"noopener noreferrer\">company’s “meme librarian.”\u003c/a>\u003c/p>\n\u003cp>The blogging platform saw its first use of the cottagecore hashtag in March 2014. Six years later, Tumblr has seen an increase in fascination with bucolic imagery. Between March and April of this year, the engagements with #cottagecore jumped 153%, according to Tumblr. The number of “likes” went up more than 500% in that time.\u003c/p>\n\u003cp>“It coincided with how we saw COVID-19 proliferate and more and more cases pop up in the U.S.” Brennan said. “It basically trends with when the CDC releases more data on COVID cases.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884677 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png\" alt=\"\" width=\"594\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM-160x204.png 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/p>\n\u003cp>There are subcultures within the aesthetic: \u003ca href=\"https://i-d.vice.com/en_uk/article/g5xjgj/cottagecore-aesthetic-lgbt-teens-tumblr-tik-tok\" target=\"_blank\" rel=\"noopener noreferrer\">“#cottagecorelesbians” is popular\u003c/a> among lesbians; “\u003ca href=\"https://www.pinterest.ca/ashnadhillon1998/cottagegore/\" target=\"_blank\" rel=\"noopener noreferrer\">cottagegore\u003c/a>” and “goth cottagecore” are darker versions of the same aesthetic. There are adjacent styles, too: “\u003ca href=\"https://www.instagram.com/explore/tags/grandmacore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">grandmacore\u003c/a>,” “\u003ca href=\"https://www.instagram.com/explore/tags/goblincore/\" target=\"_blank\" rel=\"noopener noreferrer\">goblincore\u003c/a>,” “\u003ca href=\"https://www.tiktok.com/tag/frogcore?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">frogcore\u003c/a>.” References to Black Lives Matter and other social justice causes are \u003ca href=\"https://cia-sunflower.tumblr.com/post/625455675678556160/source-x#notes?ref_url=https://www.npr.org/templates/story/story.php?storyId=900498227&live=1#_=_\" target=\"_blank\" rel=\"noopener noreferrer\">found in many posts\u003c/a>.\u003c/p>\n\u003cp>Evienne Yanney, a 16-year-old in California, \u003ca href=\"https://www.vox.com/the-goods/2020/8/3/21349640/cottagecore-taylor-swift-folklore-lesbian-clothes-animal-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">told Vox\u003c/a> that, as a lesbian, she found solace in Instagram’s cottagecore feeds, because “many of us aren’t really accepted in the modern world, so the thought of running away to a cottage is really, I guess, kind of soothing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884678 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png\" alt=\"\" width=\"548\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM-160x152.png 160w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003c/p>\n\u003cp>The cottagecore aesthetic has caught the attention of a small museum in Berkshire, England, because it conjures up the hands-in-the-dirt imagery of European peasants.\u003c/p>\n\u003cp>“When these aesthetics rise up you think, ‘Oh, this is all a bit new,’ ” said Joe Vaughan, digital editor of the Museum of English Rural Life. “But there is actually a longer legacy of people putting on the clothes of the poor and kind of frolicking around in it.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/TheMERL/status/1290590669157867520\" target=\"_blank\" rel=\"noopener noreferrer\">viral tweet\u003c/a> from the museum, Vaughan facetiously pinned French queen Marie Antoinette as an “icon” in the formation of cottagecore.\u003c/p>\n\u003cp>In the late 18th century, Antoinette, inspired by the naturalistic paintings of the time—something of a Tumblr board of her own—commissioned the construction of a rustic retreat in the greenery outside the Palace of Versailles, known as the Hamlet. The string of cottages gave her the feeling of escapism not far from palace grounds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884675 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-954607730_custom-e5297dc9fe7a970b09a9aa5eab1dc8b5e3d3f84d-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003c/p>\n\u003cp>The queen would play the part of a shepherdess, alongside real servants, farm workers and milkmaids, \u003ca href=\"https://twitter.com/TheMERL/status/1290590699507929088?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">according to Vaughan\u003c/a>—a “pastoral nostalgia for a simple life [that] is simply not reflective of lived experience.”\u003c/p>\n\u003cp>“When farming has been so difficult, there has been some sort of pain point in that people are going rural when the actual reality of rural existence has been a nightmare of COVID-19, like everything else,” he said.\u003c/p>\n\u003cp>His intention, he said, is not to castigate those indulging in these ideals, but rather to point out that their indulgence has precedence in history.\u003c/p>\n\u003cp>Today, Tumblr’s Brennan says cottagecore is no longer just on-screen daydreaming, but is manifested in real lifestyle changes.\u003c/p>\n\u003cp>For Dia Mowery, a 20-year-old who lives in Florida, that means sharing homemade bread with the people around her, thrifting clothes, buying local or growing her own food.\u003c/p>\n\u003cp>“Cottagecore is about embracing sustainability, community and kindness,” she said.\u003c/p>\n\u003cp>Right now Mowery, who chose to postpone college this year due to the pandemic, said, “I’m finding that a lot of mental fatigue and anxieties have left me unable to do a lot of the things I’d like to do.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But on social media, her homebound isolation is customized to evoke a sense of escape, where you’ll find old annotated books, freshly cut strawberries and vintage dresses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=The+Escapist+Land+Of+%27Cottagecore%2C%27+From+Marie+Antoinette+To+Taylor+Swift&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The promotional black and white photos from Taylor Swift’s new album \u003cem>Folklore\u003c/em> show the pop star shedding her lipsticked glamour for an ethereal frock to frolic in the meadow.\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-a8s8OLBSE'\n title='//www.youtube.com/embed/K-a8s8OLBSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For those who’ve watched these signifiers bubble up on corners of the internet for the past few years, Swift had just introduced a \u003ca href=\"https://www.theringer.com/music/2020/7/28/21344659/taylor-swift-bon-iver-exile-folklore-isolation-album\" target=\"_blank\" rel=\"noopener noreferrer\">new aesthetic to the mainstream\u003c/a>. The packaging of the pared-down record, produced during lockdown in her Los Angeles home, epitomizes a romanticization of the rural lifestyle known as “cottagecore,” and it’s seeing a marked boom during the coronavirus pandemic.\u003c/p>\n\u003cp>Visually, cottagecore looks like this: sourdough bread starters, foraged mushrooms, open meadows, freshly picked flowers, homegrown produce, knitting, baking pies, and, yes, rustic cottages. The pastoral interpretations live on TikTok, Pinterest, and prominently on Tumblr.\u003c/p>\n\u003cp>At a time when many feel trapped and overwhelmed, cottagecore offers a wholesome, back-to-basics escape. In that way, it might be seen as the antidote of \u003ca href=\"https://www.npr.org/2020/07/19/892728595/your-doomscrolling-breeds-anxiety-here-s-how-to-stop-the-cycle\" target=\"_blank\" rel=\"noopener noreferrer\">“doomscrolling,”\u003c/a> a habit that’s intensified during today’s crises in which one scrolls through the endless feed of bad news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It was comfortable and soothing and kind of helped people process things,” said Amanda Brennan, the content and community associate with Tumblr who’s better known as the \u003ca href=\"https://www.washingtonpost.com/news/the-intersect/wp/2015/12/21/tumblrs-meme-librarian-has-the-best-job-on-the-internet/\" target=\"_blank\" rel=\"noopener noreferrer\">company’s “meme librarian.”\u003c/a>\u003c/p>\n\u003cp>The blogging platform saw its first use of the cottagecore hashtag in March 2014. Six years later, Tumblr has seen an increase in fascination with bucolic imagery. Between March and April of this year, the engagements with #cottagecore jumped 153%, according to Tumblr. The number of “likes” went up more than 500% in that time.\u003c/p>\n\u003cp>“It coincided with how we saw COVID-19 proliferate and more and more cases pop up in the U.S.” Brennan said. “It basically trends with when the CDC releases more data on COVID cases.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884677 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png\" alt=\"\" width=\"594\" height=\"757\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM.png 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.47.10-PM-160x204.png 160w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003c/p>\n\u003cp>There are subcultures within the aesthetic: \u003ca href=\"https://i-d.vice.com/en_uk/article/g5xjgj/cottagecore-aesthetic-lgbt-teens-tumblr-tik-tok\" target=\"_blank\" rel=\"noopener noreferrer\">“#cottagecorelesbians” is popular\u003c/a> among lesbians; “\u003ca href=\"https://www.pinterest.ca/ashnadhillon1998/cottagegore/\" target=\"_blank\" rel=\"noopener noreferrer\">cottagegore\u003c/a>” and “goth cottagecore” are darker versions of the same aesthetic. There are adjacent styles, too: “\u003ca href=\"https://www.instagram.com/explore/tags/grandmacore/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">grandmacore\u003c/a>,” “\u003ca href=\"https://www.instagram.com/explore/tags/goblincore/\" target=\"_blank\" rel=\"noopener noreferrer\">goblincore\u003c/a>,” “\u003ca href=\"https://www.tiktok.com/tag/frogcore?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">frogcore\u003c/a>.” References to Black Lives Matter and other social justice causes are \u003ca href=\"https://cia-sunflower.tumblr.com/post/625455675678556160/source-x#notes?ref_url=https://www.npr.org/templates/story/story.php?storyId=900498227&live=1#_=_\" target=\"_blank\" rel=\"noopener noreferrer\">found in many posts\u003c/a>.\u003c/p>\n\u003cp>Evienne Yanney, a 16-year-old in California, \u003ca href=\"https://www.vox.com/the-goods/2020/8/3/21349640/cottagecore-taylor-swift-folklore-lesbian-clothes-animal-crossing\" target=\"_blank\" rel=\"noopener noreferrer\">told Vox\u003c/a> that, as a lesbian, she found solace in Instagram’s cottagecore feeds, because “many of us aren’t really accepted in the modern world, so the thought of running away to a cottage is really, I guess, kind of soothing.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13884678 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png\" alt=\"\" width=\"548\" height=\"520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM.png 548w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/08/Screen-Shot-2020-08-10-at-3.51.50-PM-160x152.png 160w\" sizes=\"(max-width: 548px) 100vw, 548px\">\u003c/p>\n\u003cp>The cottagecore aesthetic has caught the attention of a small museum in Berkshire, England, because it conjures up the hands-in-the-dirt imagery of European peasants.\u003c/p>\n\u003cp>“When these aesthetics rise up you think, ‘Oh, this is all a bit new,’ ” said Joe Vaughan, digital editor of the Museum of English Rural Life. “But there is actually a longer legacy of people putting on the clothes of the poor and kind of frolicking around in it.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/TheMERL/status/1290590669157867520\" target=\"_blank\" rel=\"noopener noreferrer\">viral tweet\u003c/a> from the museum, Vaughan facetiously pinned French queen Marie Antoinette as an “icon” in the formation of cottagecore.\u003c/p>\n\u003cp>In the late 18th century, Antoinette, inspired by the naturalistic paintings of the time—something of a Tumblr board of her own—commissioned the construction of a rustic retreat in the greenery outside the Palace of Versailles, known as the Hamlet. The string of cottages gave her the feeling of escapism not far from palace grounds.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13884675 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/08/gettyimages-954607730_custom-e5297dc9fe7a970b09a9aa5eab1dc8b5e3d3f84d-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\">\u003c/p>\n\u003cp>The queen would play the part of a shepherdess, alongside real servants, farm workers and milkmaids, \u003ca href=\"https://twitter.com/TheMERL/status/1290590699507929088?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">according to Vaughan\u003c/a>—a “pastoral nostalgia for a simple life [that] is simply not reflective of lived experience.”\u003c/p>\n\u003cp>“When farming has been so difficult, there has been some sort of pain point in that people are going rural when the actual reality of rural existence has been a nightmare of COVID-19, like everything else,” he said.\u003c/p>\n\u003cp>His intention, he said, is not to castigate those indulging in these ideals, but rather to point out that their indulgence has precedence in history.\u003c/p>\n\u003cp>Today, Tumblr’s Brennan says cottagecore is no longer just on-screen daydreaming, but is manifested in real lifestyle changes.\u003c/p>\n\u003cp>For Dia Mowery, a 20-year-old who lives in Florida, that means sharing homemade bread with the people around her, thrifting clothes, buying local or growing her own food.\u003c/p>\n\u003cp>“Cottagecore is about embracing sustainability, community and kindness,” she said.\u003c/p>\n\u003cp>Right now Mowery, who chose to postpone college this year due to the pandemic, said, “I’m finding that a lot of mental fatigue and anxieties have left me unable to do a lot of the things I’d like to do.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But on social media, her homebound isolation is customized to evoke a sense of escape, where you’ll find old annotated books, freshly cut strawberries and vintage dresses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=The+Escapist+Land+Of+%27Cottagecore%2C%27+From+Marie+Antoinette+To+Taylor+Swift&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Five months into sheltering in place, it’s clear that Instagram concerts and YouTube recaps of music festivals can never replace the feeling of getting blissfully lost in live music among a sea of strangers. But since that’s not an option right now, one artist whose vintage synthesizer sorcery is worth witnessing—even if it’s only online—is Kaitlyn Aurelia Smith.\u003c/p>\n\u003cp>On Aug. 13, the experimental musician livestreams her first-ever performance of her new album, \u003cem>The Mosaic of Transformation\u003c/em>, \u003ca href=\"https://www.outermostagency.com/stream/kaitlyn-aurelia-smith-gray-area\">online\u003c/a>. Full of bright, bubbling melodies, emotive string sections and hypnotizing, chant-like vocals, the meditative new project invites the listener to cultivate a sense of wonder in a world that currently feels so dark. It plays like stumbling upon an enchanted clearing in a forest—surprising yet full of calm, with warm, healing tones that put the listener at peace, much like the spiritual jazz of the 1960s and ’70s. Smith describes the album as a “bubble of joy.”\u003c/p>\n\u003cp>For the livestreamed concert, filmmaker and animator Sean Hellfritsch created visuals for the event, and a portion of proceeds go to the \u003ca href=\"https://www.artsbusinesscollaborative.org/asp-products/black-trans-femmes-in-the-arts-sponsored-projected_/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Trans Femmes in the Arts Collective\u003c/a>. Details \u003ca href=\"https://www.outermostagency.com/stream/kaitlyn-aurelia-smith-gray-area\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3623353059/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Five months into sheltering in place, it’s clear that Instagram concerts and YouTube recaps of music festivals can never replace the feeling of getting blissfully lost in live music among a sea of strangers. But since that’s not an option right now, one artist whose vintage synthesizer sorcery is worth witnessing—even if it’s only online—is Kaitlyn Aurelia Smith.\u003c/p>\n\u003cp>On Aug. 13, the experimental musician livestreams her first-ever performance of her new album, \u003cem>The Mosaic of Transformation\u003c/em>, \u003ca href=\"https://www.outermostagency.com/stream/kaitlyn-aurelia-smith-gray-area\">online\u003c/a>. Full of bright, bubbling melodies, emotive string sections and hypnotizing, chant-like vocals, the meditative new project invites the listener to cultivate a sense of wonder in a world that currently feels so dark. It plays like stumbling upon an enchanted clearing in a forest—surprising yet full of calm, with warm, healing tones that put the listener at peace, much like the spiritual jazz of the 1960s and ’70s. Smith describes the album as a “bubble of joy.”\u003c/p>\n\u003cp>For the livestreamed concert, filmmaker and animator Sean Hellfritsch created visuals for the event, and a portion of proceeds go to the \u003ca href=\"https://www.artsbusinesscollaborative.org/asp-products/black-trans-femmes-in-the-arts-sponsored-projected_/\" target=\"_blank\" rel=\"noopener noreferrer\">Black Trans Femmes in the Arts Collective\u003c/a>. Details \u003ca href=\"https://www.outermostagency.com/stream/kaitlyn-aurelia-smith-gray-area\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3623353059/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Beyoncé's 'Black is King' is a Sumptuous Search For Divine Identity",
"headTitle": "Beyoncé’s ‘Black is King’ is a Sumptuous Search For Divine Identity | KQED",
"content": "\u003cp>“To live without reflection for so long might make you wonder if you even truly exist.”\u003c/p>\n\u003cp>There is a lot that can be communicated through longing. That internal sense of a missing piece and yearning for completion can be all-consuming. It can change the course of your life. For most, that might be a wanting for love, or the coveting of success. But in \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé Knowles\u003c/a>‘ \u003cem>Black Is King\u003c/em>—directed by the star herself and released Friday on the streaming service Disney+—that longing is for the certainty of identity.\u003c/p>\n\u003cp>A visual companion to the album \u003ca href=\"https://open.spotify.com/album/552zi1M53PQAX5OH4FIdTx?si=OAg0qvAqRcuZG5nawSf1vQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Gift\u003c/em>\u003c/a>—itself a companion to the release of the live-action remake of Disney’s \u003cem>The Lion King\u003c/em>—\u003cem>Black Is King\u003c/em> is a retelling, of sorts, of the same story. This time though, it centers on ideas of Black belonging and regality. How has Blackness existed in the past? What does it mean in the present? How might it look in the future? In this extended metaphor, “king” is a synonym for the innate greatness that has been stolen from Black people the world over. With this project, Beyoncé seeks to restore that greatness to those of her lineage.\u003c/p>\n\u003cp>Knowles has long said she is a visual thinker, and those skills are never more apparent than when she applies them to her music. She is also a consummate collaborator, and as with \u003cem>Homecoming \u003c/em>before it, the sheer scale of this project indicates how much she is able to delegate to others in realizing her creative vision. The music of \u003cem>The Gift\u003c/em> itself draws on the legacy of afrobeat, blending the work of African artists like Burna Boy, Yemi Alade, Tiwa Savage, Nija and Shatta Wale with contributions from Black American artists like Tierra Whack, Pharrell Williams, Childish Gambino and Knowles’ husband, JAY-Z. The visuals, however, stand as a statement on their own, and extend the themes of Knowles’ other directorial outings.[aside postid='arts_11520849']\u003c/p>\n\u003cp>In \u003cem>Lemonade\u003c/em>, Knowles drew on the symbolism of water to signify rebirth and renewal in her marriage. In \u003cem>Black Is King\u003c/em>, she revisits this motif, but takes it a step further. Here, she graduates from the sea to the stars, imagining a world in which Blackness and Black people are unconstrained by the limits of the earthly world. The water becomes a liminal space—the barrier between the here and the hereafter. The shore is the doorway to true spiritual freedom.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the film’s beginning, Beyoncé launches a child in a basket onto the river, echoing the biblical story of Moses. At its end, she collects him again, reborn, renewed and given access to a new, free world after enduring the tribulations of rough waters. In \u003cem>Black Is King\u003c/em>, water is again transformative. Its mythical power is reflected in both the pain of sailing Black people across endless oceans for subjugation and its healing potential to wash away the violence of that history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=agCgvFTJeRs\u003c/p>\n\u003cp>\u003cem>Black Is King\u003c/em> is, in many ways, an exercise in wandering, searching and seeking a divine identity. In recent years, Knowles’ work has taken a sharp turn towards the politics of representation. From her self-titled album to \u003cem>Homecoming\u003c/em>, she has been exploring and examining the infinite malleability of Black cultural production. In this newest film, she makes that explicit. Using music as a conduit, she tries to be expansive in her view of the creative potential of Black people, taking time to highlight both the extremes of hyper-excellence and the divinity in the mundanity of everyday life.[aside postid='pop_111097']\u003c/p>\n\u003cp>Beyoncé has made it part of her own mission to create divine images of Black people that can be, and obviously are, widely consumed. In some ways, this is a corrective to how Black people have been depicted in the past—lazy degenerates in the U.S., poor and starving in an ill-defined Africa, largely invisible in the Caribbean. But even that deserves interrogation—the idea of a corrective presumes a white gaze. Black people have always found ways to see the beauty and sanctity in each other, so what is there to correct? It also calls into question the limits of a production like this. Beautiful as it is, how does it aid Black people to associate blackness with wealth and riches many of us \u003ca href=\"https://verysmartbrothas.theroot.com/i-hope-my-ancestors-were-goat-herders-not-kings-and-qu-1844593249?utm_medium=sharefromsite&utm_source=verysmartbrothas_twitter\" target=\"_blank\" rel=\"noopener noreferrer\">will never attain in this life\u003c/a>? But capitalist concerns aside, Beyoncé takes great pains to associate Blackness not just with literal kings and queens, but also with community, consciousness and greatness. “I see us reflected in the world’s most heavenly things,” she says. “Black is King.”\u003c/p>\n\u003cp>One of the critiques of the album in its original form was that it flattened the many distinct cultures and styles of the African continent into an easily consumable product, one that did not begin to approach a comprehensiveness of the sources it pulled from. Largely, that critique \u003ca href=\"https://www.okayplayer.com/music/beyonce-the-lion-king-the-gift-review-east-africa.html\" target=\"_blank\" rel=\"noopener noreferrer\">stands\u003c/a>. But being too ambitious is hardly a negative. In fact, the project’s preference for breadth over depth makes a kind of spiritual sense—where do you start in your quest to find your lineage when you’ve got an entire continent to scour?\u003c/p>\n\u003cp>Knowles’ longing for an explanatory myth resonates deeply in \u003cem>Black Is King\u003c/em>. Her own mother, \u003ca href=\"https://www.nytimes.com/2017/01/21/fashion/tina-knowles-lawson-beyonce-solange-matriarch.html\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Tina the Matriarch\u003c/a> has become a personified recurring theme in her work, as has her invocation of lineage. Always, Beyoncé takes pains to reach back before moving forward. But after two or three generations, who is there for her to reach back to? Who can she draw on? Whose ancestral memory can she reference? \u003cem>Black Is King\u003c/em> marries the mundane and the divine in an effort to reconnect to the forgotten ancestry of all the Black peoples across the diaspora who have been ripped from their history by the violence of slavery and colonialism.\u003c/p>\n\u003cp>Before “Already,” John Kani as Rafiki is heard in voiceover: “I know who I am, the question is who are you?” For many Black people, that question skews existential. Who are we without those who came before us? Who are we when we don’t \u003cem>know\u003c/em> who came before us? Beyoncé tries to draw a through-line from the diaspora back to the homeland that connects us, not necessarily to our roots, but to the possibilities that open up when we acknowledge that our lineage has more breadth than we can ever know. But she also asserts that we already have that knowledge within us. “Long live the king, you a king you know it.”[aside postid='pop_103388']\u003c/p>\n\u003cp>Drawing on the themes of \u003cem>The Lion King—\u003c/em>inheritance, self-identity and determination\u003cem>—\u003c/em>Knowles repurposes the story as a clarion call to Black people. “I never left you and never will,” Mufasa declares. “Remember who you are.” In her vision of Black life and prosperity, the ancestors are all around us and in each other, waiting for us to come home and reclaim them. We merely have to reach out to them. Beyoncé situates power in the body, in the skin and in hair. She creates a myth out of what can be accessed and what is left behind.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the face of possible annihilation both physical and psychic, Beyoncé holds out hope for salvation on the \u003ca href=\"https://open.spotify.com/track/15PJ40rcij5eTMSs71uRlq?si=79Ggk0kqQNCp96u7Br_6iw\" target=\"_blank\" rel=\"noopener noreferrer\">Otherside\u003c/a>. She encourages us to brave the rapids of the Nile, cross the river Jordan and find ourselves in the promised land. With \u003cem>Black Is King\u003c/em>, Beyoncé created a vision of the world she wanted to see—both as it is and as it should be. In her world, the hard day’s journey is rewarded with joy, happiness and a final connection to family, because “blood keeps the score of your blessings and trials.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Beyonc%C3%A9%27s+%27Black+Is+King%27+Is+A+Sumptuous+Search+For+Divine+Identity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“To live without reflection for so long might make you wonder if you even truly exist.”\u003c/p>\n\u003cp>There is a lot that can be communicated through longing. That internal sense of a missing piece and yearning for completion can be all-consuming. It can change the course of your life. For most, that might be a wanting for love, or the coveting of success. But in \u003ca href=\"https://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener noreferrer\">Beyoncé Knowles\u003c/a>‘ \u003cem>Black Is King\u003c/em>—directed by the star herself and released Friday on the streaming service Disney+—that longing is for the certainty of identity.\u003c/p>\n\u003cp>A visual companion to the album \u003ca href=\"https://open.spotify.com/album/552zi1M53PQAX5OH4FIdTx?si=OAg0qvAqRcuZG5nawSf1vQ\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Gift\u003c/em>\u003c/a>—itself a companion to the release of the live-action remake of Disney’s \u003cem>The Lion King\u003c/em>—\u003cem>Black Is King\u003c/em> is a retelling, of sorts, of the same story. This time though, it centers on ideas of Black belonging and regality. How has Blackness existed in the past? What does it mean in the present? How might it look in the future? In this extended metaphor, “king” is a synonym for the innate greatness that has been stolen from Black people the world over. With this project, Beyoncé seeks to restore that greatness to those of her lineage.\u003c/p>\n\u003cp>Knowles has long said she is a visual thinker, and those skills are never more apparent than when she applies them to her music. She is also a consummate collaborator, and as with \u003cem>Homecoming \u003c/em>before it, the sheer scale of this project indicates how much she is able to delegate to others in realizing her creative vision. The music of \u003cem>The Gift\u003c/em> itself draws on the legacy of afrobeat, blending the work of African artists like Burna Boy, Yemi Alade, Tiwa Savage, Nija and Shatta Wale with contributions from Black American artists like Tierra Whack, Pharrell Williams, Childish Gambino and Knowles’ husband, JAY-Z. The visuals, however, stand as a statement on their own, and extend the themes of Knowles’ other directorial outings.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In \u003cem>Lemonade\u003c/em>, Knowles drew on the symbolism of water to signify rebirth and renewal in her marriage. In \u003cem>Black Is King\u003c/em>, she revisits this motif, but takes it a step further. Here, she graduates from the sea to the stars, imagining a world in which Blackness and Black people are unconstrained by the limits of the earthly world. The water becomes a liminal space—the barrier between the here and the hereafter. The shore is the doorway to true spiritual freedom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the film’s beginning, Beyoncé launches a child in a basket onto the river, echoing the biblical story of Moses. At its end, she collects him again, reborn, renewed and given access to a new, free world after enduring the tribulations of rough waters. In \u003cem>Black Is King\u003c/em>, water is again transformative. Its mythical power is reflected in both the pain of sailing Black people across endless oceans for subjugation and its healing potential to wash away the violence of that history.\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/agCgvFTJeRs'\n title='//www.youtube.com/embed/agCgvFTJeRs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Black Is King\u003c/em> is, in many ways, an exercise in wandering, searching and seeking a divine identity. In recent years, Knowles’ work has taken a sharp turn towards the politics of representation. From her self-titled album to \u003cem>Homecoming\u003c/em>, she has been exploring and examining the infinite malleability of Black cultural production. In this newest film, she makes that explicit. Using music as a conduit, she tries to be expansive in her view of the creative potential of Black people, taking time to highlight both the extremes of hyper-excellence and the divinity in the mundanity of everyday life.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyoncé has made it part of her own mission to create divine images of Black people that can be, and obviously are, widely consumed. In some ways, this is a corrective to how Black people have been depicted in the past—lazy degenerates in the U.S., poor and starving in an ill-defined Africa, largely invisible in the Caribbean. But even that deserves interrogation—the idea of a corrective presumes a white gaze. Black people have always found ways to see the beauty and sanctity in each other, so what is there to correct? It also calls into question the limits of a production like this. Beautiful as it is, how does it aid Black people to associate blackness with wealth and riches many of us \u003ca href=\"https://verysmartbrothas.theroot.com/i-hope-my-ancestors-were-goat-herders-not-kings-and-qu-1844593249?utm_medium=sharefromsite&utm_source=verysmartbrothas_twitter\" target=\"_blank\" rel=\"noopener noreferrer\">will never attain in this life\u003c/a>? But capitalist concerns aside, Beyoncé takes great pains to associate Blackness not just with literal kings and queens, but also with community, consciousness and greatness. “I see us reflected in the world’s most heavenly things,” she says. “Black is King.”\u003c/p>\n\u003cp>One of the critiques of the album in its original form was that it flattened the many distinct cultures and styles of the African continent into an easily consumable product, one that did not begin to approach a comprehensiveness of the sources it pulled from. Largely, that critique \u003ca href=\"https://www.okayplayer.com/music/beyonce-the-lion-king-the-gift-review-east-africa.html\" target=\"_blank\" rel=\"noopener noreferrer\">stands\u003c/a>. But being too ambitious is hardly a negative. In fact, the project’s preference for breadth over depth makes a kind of spiritual sense—where do you start in your quest to find your lineage when you’ve got an entire continent to scour?\u003c/p>\n\u003cp>Knowles’ longing for an explanatory myth resonates deeply in \u003cem>Black Is King\u003c/em>. Her own mother, \u003ca href=\"https://www.nytimes.com/2017/01/21/fashion/tina-knowles-lawson-beyonce-solange-matriarch.html\" target=\"_blank\" rel=\"noopener noreferrer\">Miss Tina the Matriarch\u003c/a> has become a personified recurring theme in her work, as has her invocation of lineage. Always, Beyoncé takes pains to reach back before moving forward. But after two or three generations, who is there for her to reach back to? Who can she draw on? Whose ancestral memory can she reference? \u003cem>Black Is King\u003c/em> marries the mundane and the divine in an effort to reconnect to the forgotten ancestry of all the Black peoples across the diaspora who have been ripped from their history by the violence of slavery and colonialism.\u003c/p>\n\u003cp>Before “Already,” John Kani as Rafiki is heard in voiceover: “I know who I am, the question is who are you?” For many Black people, that question skews existential. Who are we without those who came before us? Who are we when we don’t \u003cem>know\u003c/em> who came before us? Beyoncé tries to draw a through-line from the diaspora back to the homeland that connects us, not necessarily to our roots, but to the possibilities that open up when we acknowledge that our lineage has more breadth than we can ever know. But she also asserts that we already have that knowledge within us. “Long live the king, you a king you know it.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Drawing on the themes of \u003cem>The Lion King—\u003c/em>inheritance, self-identity and determination\u003cem>—\u003c/em>Knowles repurposes the story as a clarion call to Black people. “I never left you and never will,” Mufasa declares. “Remember who you are.” In her vision of Black life and prosperity, the ancestors are all around us and in each other, waiting for us to come home and reclaim them. We merely have to reach out to them. Beyoncé situates power in the body, in the skin and in hair. She creates a myth out of what can be accessed and what is left behind.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the face of possible annihilation both physical and psychic, Beyoncé holds out hope for salvation on the \u003ca href=\"https://open.spotify.com/track/15PJ40rcij5eTMSs71uRlq?si=79Ggk0kqQNCp96u7Br_6iw\" target=\"_blank\" rel=\"noopener noreferrer\">Otherside\u003c/a>. She encourages us to brave the rapids of the Nile, cross the river Jordan and find ourselves in the promised land. With \u003cem>Black Is King\u003c/em>, Beyoncé created a vision of the world she wanted to see—both as it is and as it should be. In her world, the hard day’s journey is rewarded with joy, happiness and a final connection to family, because “blood keeps the score of your blessings and trials.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Beyonc%C3%A9%27s+%27Black+Is+King%27+Is+A+Sumptuous+Search+For+Divine+Identity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/19230778/beyonce\">Beyoncé\u003c/a>‘s highly anticipated new project,\u003cem> Black Is King\u003c/em> has arrived (on Disney+). Deemed “a celebratory memoir for the world on the Black experience” in a press release, \u003cem>Black Is King \u003c/em>includes a cast of notable and familiar faces, such Lupita Nyong’o, Kelly Rowland, Pharrell Williams and JAY-Z, and moves across the world — New York, Los Angeles, South Africa, West Africa, London and Belgium — to capture the performances of actors and dancers as they appear in varied tableaus. \u003c/p>\n\u003cp>On Instagram, Beyoncé shared that the film is meant to “celebrate the breadth and beauty of Black ancestry,” and acknowledged that its release takes on new significance in the current climate. \u003c/p>\n\u003cp>https://youtu.be/agCgvFTJeRs\u003c/p>\n\u003cp>The film is a companion to 2019’s \u003cem>The Lion King: The Gift\u003c/em>, which Beyoncé curated for Disney’s photorealistic remake of the 1994 animated classic, \u003cem>The Lion King\u003c/em>. (She also provided the voice for Nala in the film.) Produced by Beyoncé’s production company, Parkwood Entertainment, \u003cem>Black is King\u003c/em> also includes four full-length videos for the tracks “Already,” “Brown Skin Girl,” “Mood 4 Eva” and “My Power,” which was featured in the latest trailer. \u003c/p>\n\u003cp>The last time we heard from Queen Bey was with the surprise-drop of her celebratory new track, “Black Parade,” on Juneteenth. \u003ca href=\"https://www.npr.org/2020/06/20/881215617/beyonce-releases-new-song-black-parade-in-the-final-hours-of-juneteenth\">The song\u003c/a> asserts a specific connection to Blackness, and through a myriad of references, draws a link to the African diaspora that she has more recently begun to explore in her work. In the context of \u003cem>Black Is King\u003c/em>, this connection is paramount, as the film seeks to capture a global sense of Blackness, within and beyond the U.S.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Few have as much narrative-bending power as Beyoncé, who sent shockwaves through the canon with 2016’s \u003cem>Lemonade\u003c/em>. In 2018, Kiana Fitzgerald \u003ca href=\"https://www.npr.org/2018/10/12/655845639/beyonc-is-the-21st-centurys-master-of-leveling-up\">wrote for NPR\u003c/a> that “Bey’s ability to have laser-focused attention on the Black experience didn’t happen overnight: It took years for her to amass a following first. She then constructed a platform strong enough from which to make such bold statements. And since \u003cem>Lemonade\u003c/em>, Bey has continued to make a concerted effort to put Black bodies in her visuals, and call attention to the importance of Black women and Black love.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonce%27s+Visual+Ode%2C+%27Black+Is+King%2C%27+Arrives&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Two controversies broke out this week regarding accusations of anti-Black racism in classical music. One involved two high-profile international soloists, pianist Yuja Wang and violinist Leonidas Kavakos. The other features less prominent individuals—a group of academics—but it also points to the slowness of the classical music community to take up difficult conversations about race and representation.\u003c/p>\n\u003cp>But in both cases, the accusations and the rebuttals have played out speedily on social media—within a community that still relies heavily on hierarchical prestige and institutional power.\u003c/p>\n\u003cp>On Monday, an anonymous person accused Kavakos and Wang of making \u003ca href=\"https://www.instagram.com/p/CDHe0e2gNXA/\" target=\"_blank\" rel=\"noopener noreferrer\">racist remarks \u003c/a>about a Black audience member after one of their joint recitals in Michigan. The allegation was made via an Instagram account called “Orchestra Is Racist,” one of several similarly geared social media accounts that have sprung up this summer.\u003c/p>\n\u003cp>Wang is one of classical music’s few current superstars; she holds endorsement deals with leading luxury brands, including \u003ca href=\"https://www.rolex.com/world-of-rolex/every-rolex-tells-a-story/yuja-wang-rolex-watch.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rolex\u003c/a> and \u003ca href=\"https://www.rimowa.com/us/en/neverstill.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rimowa\u003c/a>. (In 2014, this reporter produced a \u003ca href=\"https://www.npr.org/2014/02/19/279059784/on-a-chilly-factory-floor-yuja-wangs-piano-sizzles\" target=\"_blank\" rel=\"noopener noreferrer\">performance video\u003c/a> with Wang for NPR Music.) Through a representative, she sent a written statement to NPR late Tuesday night that read in full:\u003c/p>\n\u003cblockquote>\u003cp>“It has come to my attention that a post has been shared on @orchestraisracist, with an anonymous report of a post-performance conversation in a car between Leonidas Kavakos and myself a couple of years ago in Michigan. I have no recollection of this conversation, but language and actions that are judgmental or discriminatory against anyone are unacceptable. The most important thing is how we treat each other, and I offer my sincerest and most humble apology, if I have ever offended anyone.\u003c/p>\n\u003cp>I have faced personal and professional criticism, discrimination, and sexism countless times throughout my life and career. I know how hurtful that can be, and would never want to contribute to a negative culture or atmosphere that disparages others. It goes completely against what I believe. It’s important to listen to the many voices speaking out right now. We have to be open with each other to allow for the opportunity to acknowledge our missteps, to forgive and to grow from these experiences.”\u003c/p>\u003c/blockquote>\n\u003cp>Within the comments section on the “Orchestra Is Racist” post, Kavakos republished a comment that he had originally made on his own \u003ca href=\"https://www.facebook.com/leonidas.kavakos.violin/photos/a.447608832086475/1517577618422919/?type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> on June 2, in the aftermath of George Floyd’s killing. He wrote in part: “If WE want to look at Humanity as an accord consisting of human lives, and attempting to create its own Harmony, the atrocious act of killing George Floyd, has destroyed that attempt. It is an act that stabs US ALL creating severe wounds, that threaten OUR Existence! If, additionally, this act is ‘justified’ by some kind of ‘life rating according to skin color,’ then I’m afraid, Humanity is suicidal.” Kavakos did not address the specific accusation made against him and Wang.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Wednesday morning, a representative for Kavakos sent another statement to NPR, which read in full: “I find accusations of any form of racism deeply upsetting and abhorrent. I will never accept any form of discrimination and I am vehement in my commitment to equal rights and inclusivity. If I have ever offended anyone by how I have previously spoken I wholeheartedly apologize to them and can assure them that any hurt caused was completely unintentional and does not reflect the person I am and my values. I welcome the current discussions that are taking place that are teaching everyone that we all have something to learn and need to listen to all voices.”\u003c/p>\n\u003cp>Meanwhile, classical music’s academic sphere is facing its own reckoning. Last November, at the annual conference for the Society for Music Theory, a Black music theorist named \u003ca href=\"http://philipewell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Philip Ewell\u003c/a> gave an \u003ca href=\"https://vimeo.com/372726003\" target=\"_blank\" rel=\"noopener noreferrer\">address\u003c/a> titled Music Theory’s White Racial Frame. As part of his presentation, Ewell argued that Heinrich Schenker, a late 19th and early 20th century theorist whose work has been foundational in the musical analysis of Western art music, was not only explicitly racist personally, but that Schenker also contended himself that his views on race and on music were indivisible. He also pointed out that his field is still overwhelmingly dominated by white academics, and that the musical material taught to students is also heavily tilted towards the work of white (and male) composers.\u003c/p>\n\u003cp>In reply, an academic journal published by the Center for Schenkerian Studies and the University of North Texas Press called the \u003cem>Journal of Schenkerian Studies\u003c/em> published \u003ca href=\"https://drive.google.com/file/d/1dTOWwlIsuiwsgAa4f1N99AlvG3-ngnmG/view\" target=\"_blank\" rel=\"noopener noreferrer\">14 non-peer-reviewed responses\u003c/a> to Ewell’s work this month, including one anonymous essay—an anomaly for an academic project. (Ewell \u003ca href=\"https://twitter.com/philewell/status/1287210043159568386?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">says\u003c/a> he was not invited to participate.)\u003c/p>\n\u003cp>In one of the essays, one of the publication’s lead editors, Timothy Jackson (a professor at UNT), accused Ewell personally—and the broader Black community—of being anti-Semitic, \u003ca href=\"https://twitter.com/pmgentry/status/1287210396068257793?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">writing\u003c/a>: “Ewell’s denunciation of Schenker and Schenkerians may be seen as part and parcel of the much broader current of Black anti-Semitism. … They currently manifest themselves in myriad ways, including the pattern of violence against Jews, the obnoxious lyrics of some hip hop songs, etc.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another rejoinder, from David Beach, a Schenker specialist at the University of Toronto, included this piece of scholarship: “My suggestion to Philip Ewell is that he stop complaining about us white guys.” In \u003ca href=\"https://meganlavengood.com/2020/07/27/journal-of-schenkerian-studies-proving-the-point/\" target=\"_blank\" rel=\"noopener noreferrer\">response\u003c/a>, many music theorists, musicologists and students have \u003ca href=\"https://twitter.com/kira_thurman/status/1287354686077575168\" target=\"_blank\" rel=\"noopener noreferrer\">denounced\u003c/a> the \u003cem>Journal of Schenkerian Studies\u003c/em> and several of the included authors, as has the \u003ca href=\"https://twitter.com/SMT_musictheory/status/1287918277667192833?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Society for Music Theory\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Classical+Music+Tries+To+Reckon+With+Racism+%E2%80%94+On+Social+Media&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two controversies broke out this week regarding accusations of anti-Black racism in classical music. One involved two high-profile international soloists, pianist Yuja Wang and violinist Leonidas Kavakos. The other features less prominent individuals—a group of academics—but it also points to the slowness of the classical music community to take up difficult conversations about race and representation.\u003c/p>\n\u003cp>But in both cases, the accusations and the rebuttals have played out speedily on social media—within a community that still relies heavily on hierarchical prestige and institutional power.\u003c/p>\n\u003cp>On Monday, an anonymous person accused Kavakos and Wang of making \u003ca href=\"https://www.instagram.com/p/CDHe0e2gNXA/\" target=\"_blank\" rel=\"noopener noreferrer\">racist remarks \u003c/a>about a Black audience member after one of their joint recitals in Michigan. The allegation was made via an Instagram account called “Orchestra Is Racist,” one of several similarly geared social media accounts that have sprung up this summer.\u003c/p>\n\u003cp>Wang is one of classical music’s few current superstars; she holds endorsement deals with leading luxury brands, including \u003ca href=\"https://www.rolex.com/world-of-rolex/every-rolex-tells-a-story/yuja-wang-rolex-watch.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rolex\u003c/a> and \u003ca href=\"https://www.rimowa.com/us/en/neverstill.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rimowa\u003c/a>. (In 2014, this reporter produced a \u003ca href=\"https://www.npr.org/2014/02/19/279059784/on-a-chilly-factory-floor-yuja-wangs-piano-sizzles\" target=\"_blank\" rel=\"noopener noreferrer\">performance video\u003c/a> with Wang for NPR Music.) Through a representative, she sent a written statement to NPR late Tuesday night that read in full:\u003c/p>\n\u003cblockquote>\u003cp>“It has come to my attention that a post has been shared on @orchestraisracist, with an anonymous report of a post-performance conversation in a car between Leonidas Kavakos and myself a couple of years ago in Michigan. I have no recollection of this conversation, but language and actions that are judgmental or discriminatory against anyone are unacceptable. The most important thing is how we treat each other, and I offer my sincerest and most humble apology, if I have ever offended anyone.\u003c/p>\n\u003cp>I have faced personal and professional criticism, discrimination, and sexism countless times throughout my life and career. I know how hurtful that can be, and would never want to contribute to a negative culture or atmosphere that disparages others. It goes completely against what I believe. It’s important to listen to the many voices speaking out right now. We have to be open with each other to allow for the opportunity to acknowledge our missteps, to forgive and to grow from these experiences.”\u003c/p>\u003c/blockquote>\n\u003cp>Within the comments section on the “Orchestra Is Racist” post, Kavakos republished a comment that he had originally made on his own \u003ca href=\"https://www.facebook.com/leonidas.kavakos.violin/photos/a.447608832086475/1517577618422919/?type=3&theater\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook page\u003c/a> on June 2, in the aftermath of George Floyd’s killing. He wrote in part: “If WE want to look at Humanity as an accord consisting of human lives, and attempting to create its own Harmony, the atrocious act of killing George Floyd, has destroyed that attempt. It is an act that stabs US ALL creating severe wounds, that threaten OUR Existence! If, additionally, this act is ‘justified’ by some kind of ‘life rating according to skin color,’ then I’m afraid, Humanity is suicidal.” Kavakos did not address the specific accusation made against him and Wang.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Wednesday morning, a representative for Kavakos sent another statement to NPR, which read in full: “I find accusations of any form of racism deeply upsetting and abhorrent. I will never accept any form of discrimination and I am vehement in my commitment to equal rights and inclusivity. If I have ever offended anyone by how I have previously spoken I wholeheartedly apologize to them and can assure them that any hurt caused was completely unintentional and does not reflect the person I am and my values. I welcome the current discussions that are taking place that are teaching everyone that we all have something to learn and need to listen to all voices.”\u003c/p>\n\u003cp>Meanwhile, classical music’s academic sphere is facing its own reckoning. Last November, at the annual conference for the Society for Music Theory, a Black music theorist named \u003ca href=\"http://philipewell.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Philip Ewell\u003c/a> gave an \u003ca href=\"https://vimeo.com/372726003\" target=\"_blank\" rel=\"noopener noreferrer\">address\u003c/a> titled Music Theory’s White Racial Frame. As part of his presentation, Ewell argued that Heinrich Schenker, a late 19th and early 20th century theorist whose work has been foundational in the musical analysis of Western art music, was not only explicitly racist personally, but that Schenker also contended himself that his views on race and on music were indivisible. He also pointed out that his field is still overwhelmingly dominated by white academics, and that the musical material taught to students is also heavily tilted towards the work of white (and male) composers.\u003c/p>\n\u003cp>In reply, an academic journal published by the Center for Schenkerian Studies and the University of North Texas Press called the \u003cem>Journal of Schenkerian Studies\u003c/em> published \u003ca href=\"https://drive.google.com/file/d/1dTOWwlIsuiwsgAa4f1N99AlvG3-ngnmG/view\" target=\"_blank\" rel=\"noopener noreferrer\">14 non-peer-reviewed responses\u003c/a> to Ewell’s work this month, including one anonymous essay—an anomaly for an academic project. (Ewell \u003ca href=\"https://twitter.com/philewell/status/1287210043159568386?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">says\u003c/a> he was not invited to participate.)\u003c/p>\n\u003cp>In one of the essays, one of the publication’s lead editors, Timothy Jackson (a professor at UNT), accused Ewell personally—and the broader Black community—of being anti-Semitic, \u003ca href=\"https://twitter.com/pmgentry/status/1287210396068257793?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">writing\u003c/a>: “Ewell’s denunciation of Schenker and Schenkerians may be seen as part and parcel of the much broader current of Black anti-Semitism. … They currently manifest themselves in myriad ways, including the pattern of violence against Jews, the obnoxious lyrics of some hip hop songs, etc.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Another rejoinder, from David Beach, a Schenker specialist at the University of Toronto, included this piece of scholarship: “My suggestion to Philip Ewell is that he stop complaining about us white guys.” In \u003ca href=\"https://meganlavengood.com/2020/07/27/journal-of-schenkerian-studies-proving-the-point/\" target=\"_blank\" rel=\"noopener noreferrer\">response\u003c/a>, many music theorists, musicologists and students have \u003ca href=\"https://twitter.com/kira_thurman/status/1287354686077575168\" target=\"_blank\" rel=\"noopener noreferrer\">denounced\u003c/a> the \u003cem>Journal of Schenkerian Studies\u003c/em> and several of the included authors, as has the \u003ca href=\"https://twitter.com/SMT_musictheory/status/1287918277667192833?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Society for Music Theory\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Classical+Music+Tries+To+Reckon+With+Racism+%E2%80%94+On+Social+Media&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Tiny Desk is working from home for the foreseeable future. Introducing NPR Music’s Tiny Desk (home) concerts, bringing you performances from across the country and the world. It’s the same spirit — stripped-down sets, an intimate setting — just a different space.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>For her Tiny Desk (home) concert, Thao Nguyen opens with a somber version of “Temple,” the dance-oriented title track from \u003ca href=\"https://www.npr.org/artists/250226820/thao-the-get-down-stay-down\">Thao & The Get Down Stay Down\u003c/a>‘s new album. The song is an homage to her parents, who were refugees of the Vietnam War. Thao sings from the perspective of her mother, honoring their hard-fought freedom and their hopes that their daughter is blessed with the ability to pursue her own happiness. She recorded it as a trio with cellists (and neighbors) Elisabeth Reed and Andy Luchansky. It’s a powerful rendition that celebrates, in Thao’s words, “being queer and being out in my career, something that being out publicly has caused a lot of turmoil and unrest in my own life.” Please give a listen to what she has to say in this remarkable video. We also hear “Pure Cinema” from \u003cem>Temple \u003c/em>and a mandolin version of “Departure” from her 2016 album, \u003cem>A Man Alive.\u003c/em>\u003c/p>\n\u003ch3>SET LIST\u003c/h3>\n\u003cul>\n\u003cli>“Temple”\u003c/li>\n\u003cli>“Pure Cinema”\u003c/li>\n\u003cli>“Departure”\u003c/li>\n\u003c/ul>\n\u003ch3>MUSICIANS\u003c/h3>\n\u003cp>\u003cem>Thao Nguyen: vocals, guitar, mandolin; Elisabeth Reed: cello; Andy Luchansky: cello\u003c/em>\u003c/p>\n\u003ch3>CREDITS\u003c/h3>\n\u003cp>\u003cem>Video by: Molly Skonieczny; Audio by: Thao Nguyen; Producer: Bob Boilen; Audio Mastering Engineer: Josh Rogosin; Video Producer: Maia Stern; Associate Producer: Bobby Carter; Executive Producer: Lauren Onkey; Senior VP, Programming: Anya Grundmann\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Thao+Nguyen%3A+Tiny+Desk+%28Home%29+Concert&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Though originally directed at President Nixon, Stevie Wonder’s 1974 hit “You Haven’t Done Nothin’” has undergone plenty of renewed relevance over the years. It’s one of Wonder’s angriest songs, and now, during an onslaught of \u003ca href=\"https://www.kqed.org/arts/13881731/a-front-row-seat-at-the-woke-theatre\" rel=\"noopener noreferrer\" target=\"_blank\">lip service and woke theatre\u003c/a> from corporations and politicians, it hits especially hard:\u003c/p>\n\u003cp>\u003cem>We are amazed but not amused\u003cbr>\nBy all the things you say that you’ll do\u003cbr>\nThough much concerned but not involved\u003cbr>\nWith decisions that are made by you\u003cbr>\nBut we are sick and tired of hearing your song\u003cbr>\nTellin’ how you are gonna change right from wrong\u003cbr>\n’Cause if you really want to hear our views\u003cbr>\nYou haven’t done nothin’\u003c/em>\u003c/p>\n\u003cp>The Bay Area’s Jazz Mafia has a long history with Stevie Wonder’s music—he even once \u003ca href=\"http://citysound.bohemian.com/2009/09/28/stevie-wonder-sits-in-with-the-jazz-mafia/\" rel=\"noopener noreferrer\" target=\"_blank\">hopped on stage at a small club in the Mission District to sing a couple songs\u003c/a> with the band members. So it’s no surprise that the Jazz Mafia has updated Wonder’s song for 2020—complete with guest verses and a relevant exhortation, in the place of the Jackson 5’s original backup vocals, to “do the work.” \u003c/p>\n\u003cp>See the video below. (And: \u003ca href=\"https://www.kqed.org/arts/13881199/5-ways-to-show-up-for-racial-justice-today\" rel=\"noopener noreferrer\" target=\"_blank\">do the work\u003c/a>.)\u003c/p>\n\u003cp>https://youtu.be/tuhCAOKtBbQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Though originally directed at President Nixon, Stevie Wonder’s 1974 hit “You Haven’t Done Nothin’” has undergone plenty of renewed relevance over the years. It’s one of Wonder’s angriest songs, and now, during an onslaught of \u003ca href=\"https://www.kqed.org/arts/13881731/a-front-row-seat-at-the-woke-theatre\" rel=\"noopener noreferrer\" target=\"_blank\">lip service and woke theatre\u003c/a> from corporations and politicians, it hits especially hard:\u003c/p>\n\u003cp>\u003cem>We are amazed but not amused\u003cbr>\nBy all the things you say that you’ll do\u003cbr>\nThough much concerned but not involved\u003cbr>\nWith decisions that are made by you\u003cbr>\nBut we are sick and tired of hearing your song\u003cbr>\nTellin’ how you are gonna change right from wrong\u003cbr>\n’Cause if you really want to hear our views\u003cbr>\nYou haven’t done nothin’\u003c/em>\u003c/p>\n\u003cp>The Bay Area’s Jazz Mafia has a long history with Stevie Wonder’s music—he even once \u003ca href=\"http://citysound.bohemian.com/2009/09/28/stevie-wonder-sits-in-with-the-jazz-mafia/\" rel=\"noopener noreferrer\" target=\"_blank\">hopped on stage at a small club in the Mission District to sing a couple songs\u003c/a> with the band members. So it’s no surprise that the Jazz Mafia has updated Wonder’s song for 2020—complete with guest verses and a relevant exhortation, in the place of the Jackson 5’s original backup vocals, to “do the work.” \u003c/p>\n\u003cp>See the video below. (And: \u003ca href=\"https://www.kqed.org/arts/13881199/5-ways-to-show-up-for-racial-justice-today\" rel=\"noopener noreferrer\" target=\"_blank\">do the work\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/tuhCAOKtBbQ'\n title='//www.youtube.com/embed/tuhCAOKtBbQ'\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": "Let’s Time Travel to the ’90s With Rave Movies ‘Go,’ ‘Groove’ and ‘Human Traffic’",
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"content": "\u003cp>Let us now take you back in time to another world. A world where face masks are just kooky accessories and cell phones exist but nobody uses them. A world where Napster has been invented but CD sales are \u003ca href=\"https://www.statista.com/statistics/186772/album-shipments-in-the-us-music-industry-since-1999/\" target=\"_blank\" rel=\"noopener noreferrer\">at an all-time high\u003c/a>. It’s a post-internet, pre-social media world, which means everyone feels futuristic but still has to leave the house to see other people. And so they do. They crowd into small cars and sweaty rooms and dance their faces off at raves until dawn, unimpeded by selfies, sobriety or—*checks notes*—sheltering in place.\u003c/p>\n\u003cp>[aside postid='arts_13883181']How can we transport you back to this land that time forgot, you ask? Via three movies—\u003cem>Groove, \u003c/em>\u003cem>Human Traffic \u003c/em>and \u003cem>Go. \u003c/em>Each of which provides a perfect snapshot of rave culture as the new millennium approached. Back then, dance culture was big enough to be internationally popular but small enough to remain independent and scrappy.\u003c/p>\n\u003cp>\u003cem>Go\u003c/em> was by far the shiniest of the bunch. To start with, \u003cem>Human Traffic, \u003c/em>set in working class Wales, and \u003cem>Groove, \u003c/em>set in San Francisco’s pre-condo “warehouse district,” are both indies. But they also both offer grittier realities, in which no one would ever confuse aspirin for ecstasy, as green teens do in \u003cem>Go\u003c/em>. What all three movies \u003cem>do\u003c/em> have in common, however, is a thirst for escapism, a passion for irresponsible behavior and—we mention this up front so you have the option to leave if you wish—a very cavalier attitude towards illegal drug-taking.\u003c/p>\n\u003cp>That was not unusual for the time. Between 1998 and 2001, dance culture brought with it the first open, mass acceptance of hard drug use since the Summer of Love 30 years before. According to an in-depth \u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC2967577/#R6\" target=\"_blank\" rel=\"noopener noreferrer\">2011 study\u003c/a>, ecstasy use during those years “rose sharply [and] doubled among 12th graders, college students, and young adults, and nearly doubled in the lower grades. In 2000 even the 8th graders showed a significant increase in use. Among young adults, the increase in use occurred primarily among those under age 29.”\u003c/p>\n\u003cp>\u003cem>Human Traffic\u003c/em> doesn’t just reflect that period, it actively endorses it. In one scene at the club, a voiceover from protagonist Jip dreamily states: “We forget all the pain and the hurt in life. We want to go somewhere else. All our insecurities have evaporated. We’re in the clouds now. We’re spacemen orbiting the earth. We risk sanity for moments of temporary enlightenment. We embrace an overwhelming feeling of love. We flow in unison. We’re together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HAPK6ZYq_p0\u003c/p>\n\u003cp>In another, when a doctor warns that ecstasy use can cause depression, sexual dysfunction and heatstroke, Jip argues: “Statistically you’re more likely to die from choking on a cabbage leaf or an argument in the pub than you are from dropping an E. Alcohol kills 30,000 people a year alone in Britain. But that’s alright because it’s a good taxable drug nonetheless.” At the end of the night, he and best friend Koop talk philosophy over lines of cocaine. Despite all of the drugs he’s taken, no one worries about Jip driving everyone home at sunrise.\u003c/p>\n\u003cp>\u003cem>Groove\u003c/em> was equally unconcerned about driving under the influence, and equally happy to promote ecstasy use. “Pop and beer, they fuck you up,” Cliff, full-time teacher’s assistant and part-time drug dealer, advises. “This enhances you. It heightens your awareness, especially touch. The feeling of connection, openness, honesty. It’s like being a kid…”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1k9pAL8Qg-I\u003c/p>\n\u003cp>Mostly though, \u003cem>Groove\u003c/em> focused on the sheer effort and organizational clout it took to throw unlicensed parties back then, as well as emphasizing how worthwhile it all was. The film follows several groups of dance enthusiasts who battle power cuts, unreliable DJs, bad directions, sticker-wielding candy ravers and a cop (played by a pre-fame Nick Offerman) in order to have their party—but party they do, against all odds. (Talk about a mid-pandemic fantasy!)\u003c/p>\n\u003cp>Success is hard won in \u003cem>Go\u003c/em> too—a movie that uses a Christmas rave in L.A. as the backdrop for intertwining tales about three broke teenagers, their obnoxious British co-worker, two gay soap opera actors and a gun-toting ecstasy dealer. The Mary X-Mas dance party is a laser-blasted, blacklit spectacular full of glowsticks, bucket hats, mini backpacks and the kinds of space bun hairdos that disappeared with the last century.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WSOBdkzG1YI&t=87s\u003c/p>\n\u003cp>In the end, \u003cem>Human Traffic\u003c/em>, \u003cem>Groove\u003c/em> and \u003cem>Go\u003c/em> all captured lightning in a bottle. Partly because of good timing, partly because they were all made by people who understood the culture they were documenting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postid='arts_13877402']More importantly for us, escapism looms large over all of them. In \u003cem>Human Traffic\u003c/em>, for Jip and Nina, clubbing makes selling popcorn and jeans all week a little more bearable. In \u003cem>Groove\u003c/em>, when Harmony sees her fiancé making out with a man, she simply goes back to where the DJ is and lets loose. In \u003cem>Go\u003c/em>, the only time we see Ronna not stressing about her rent money is when she’s on the Mary X-Mas dance floor. As long as we no longer have the same means to escape our daily realities, it’s a surprisingly good time watching them do it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/HAPK6ZYq_p0'\n title='//www.youtube.com/embed/HAPK6ZYq_p0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In another, when a doctor warns that ecstasy use can cause depression, sexual dysfunction and heatstroke, Jip argues: “Statistically you’re more likely to die from choking on a cabbage leaf or an argument in the pub than you are from dropping an E. Alcohol kills 30,000 people a year alone in Britain. But that’s alright because it’s a good taxable drug nonetheless.” At the end of the night, he and best friend Koop talk philosophy over lines of cocaine. Despite all of the drugs he’s taken, no one worries about Jip driving everyone home at sunrise.\u003c/p>\n\u003cp>\u003cem>Groove\u003c/em> was equally unconcerned about driving under the influence, and equally happy to promote ecstasy use. “Pop and beer, they fuck you up,” Cliff, full-time teacher’s assistant and part-time drug dealer, advises. “This enhances you. It heightens your awareness, especially touch. The feeling of connection, openness, honesty. It’s like being a kid…”\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/1k9pAL8Qg-I'\n title='//www.youtube.com/embed/1k9pAL8Qg-I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mostly though, \u003cem>Groove\u003c/em> focused on the sheer effort and organizational clout it took to throw unlicensed parties back then, as well as emphasizing how worthwhile it all was. The film follows several groups of dance enthusiasts who battle power cuts, unreliable DJs, bad directions, sticker-wielding candy ravers and a cop (played by a pre-fame Nick Offerman) in order to have their party—but party they do, against all odds. (Talk about a mid-pandemic fantasy!)\u003c/p>\n\u003cp>Success is hard won in \u003cem>Go\u003c/em> too—a movie that uses a Christmas rave in L.A. as the backdrop for intertwining tales about three broke teenagers, their obnoxious British co-worker, two gay soap opera actors and a gun-toting ecstasy dealer. The Mary X-Mas dance party is a laser-blasted, blacklit spectacular full of glowsticks, bucket hats, mini backpacks and the kinds of space bun hairdos that disappeared with the last century.\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/WSOBdkzG1YI'\n title='//www.youtube.com/embed/WSOBdkzG1YI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the end, \u003cem>Human Traffic\u003c/em>, \u003cem>Groove\u003c/em> and \u003cem>Go\u003c/em> all captured lightning in a bottle. Partly because of good timing, partly because they were all made by people who understood the culture they were documenting.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>More importantly for us, escapism looms large over all of them. In \u003cem>Human Traffic\u003c/em>, for Jip and Nina, clubbing makes selling popcorn and jeans all week a little more bearable. In \u003cem>Groove\u003c/em>, when Harmony sees her fiancé making out with a man, she simply goes back to where the DJ is and lets loose. In \u003cem>Go\u003c/em>, the only time we see Ronna not stressing about her rent money is when she’s on the Mary X-Mas dance floor. As long as we no longer have the same means to escape our daily realities, it’s a surprisingly good time watching them do it.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Taylor Swift's Isolation Album 'Folklore' Stretches Beyond Her Usual Boundaries",
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"content": "\u003cp>No, \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a> did not spend her quarantine nurturing her sourdough starter or tie-dying old sweaters. Nor did she use the period to \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">re-record her catalog\u003c/a> as promised last year after a label dispute. Instead Swift quietly spent \u003ca href=\"https://twitter.com/taylorswift13/status/1258448468907081728\" target=\"_blank\" rel=\"noopener noreferrer\">self-isolation\u003c/a> \u003ca href=\"https://twitter.com/taylorswift13/status/1254880164447760385\" target=\"_blank\" rel=\"noopener noreferrer\">at work\u003c/a> on a new album, \u003cem>Folklore\u003c/em>, released at midnight on July 24.\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/2fenSS68JI1h4Fo296JfGr\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">Announced\u003c/a> with just 16 hours notice, Swift’s eighth studio album finds her again collaborating on a handful of tracks with \u003ca href=\"https://www.npr.org/2017/09/12/549142219/bleachers-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Antonoff\u003c/a>, who she called, in a social media post \u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">announcing the album’s existence\u003c/a> yesterday, “basically musical family at this point.” But her main collaborator across the album is a new one: Aaron Dessner of \u003ca href=\"https://www.npr.org/artists/15161426/the-national\" target=\"_blank\" rel=\"noopener noreferrer\">The National\u003c/a> co-wrote or produced 11 of its 16 tracks. \u003cem>Folklore\u003c/em> also features a track with \u003ca href=\"https://www.npr.org/artists/18073513/bon-iver\" target=\"_blank\" rel=\"noopener noreferrer\">Bon Iver\u003c/a>, plus orchestration from a cohort of frequent Dessner collaborators, including brother Bryce Dessner and bandmate Bryan Devendorf, along with \u003ca href=\"https://www.npr.org/2020/03/02/811298534/bonny-light-horseman-makes-new-folk-music-inspired-by-the-spirit-of-old-folk\" target=\"_blank\" rel=\"noopener noreferrer\">Josh Kaufman\u003c/a>, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2012/02/15/146948792/ymusic-joyful-virtuosity-for-spinning-on-air\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Moose\u003c/a>, \u003ca href=\"https://www.npr.org/artists/597087913/clarice-jensen\" target=\"_blank\" rel=\"noopener noreferrer\">Clarice Jensen\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16109579/doveman\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Bartlett\u003c/a>, among others. (Can we expect an appearance from Swift at \u003ca href=\"https://eauxclaires.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eaux Claires\u003c/a> or \u003ca href=\"https://www.facebook.com/havenkbh/\" target=\"_blank\" rel=\"noopener noreferrer\">HAVEN\u003c/a> someday?)\u003c/p>\n\u003cp>\u003cem>Folklore\u003c/em> applies Swift’s signature lyrical style—richly and carefully detailed, rife with knowing callbacks—to a new palette informed by Dessner’s work. Skittering instrumentation proves a match for Swift’s use of \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/10/562360434/the-old-taylors-not-dead\" target=\"_blank\" rel=\"noopener noreferrer\">speak-song cadence\u003c/a>; meditative piano and horns offer a cinematic soundscape for explorations of character that move beyond autobiography. Much of Swift’s catalog has been scrutinized by listeners looking for parallels between lyrical melodrama and real-life events—looking for clues in tossed off mentions of scarves and necklaces. \u003cem>Folklore\u003c/em> features songs that explore points of view that seem to diverge from Swift’s life, including third-person narratives. \u003cem>Folklore\u003c/em> explores a more restrained type of Swiftian expression that’s no less exciting than her massive pop singles. She’s synthesizing influences (is \u003ca href=\"https://en.wikipedia.org/wiki/Boxer_(The_National_album)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boxer\u003c/em>\u003c/a> the “indie record” of \u003ca href=\"https://www.youtube.com/watch?v=WA4iX5D9Z64\" target=\"_blank\" rel=\"noopener noreferrer\">“We Are Never Getting Back Together”\u003c/a> fame?) that she’s cited over the years, even if they hadn’t been clear in her discography up to this point.\u003c/p>\n\u003cp>Though Swift skipped her typical \u003ca href=\"https://www.npr.org/2019/04/26/717346125/watch-taylor-swifts-video-for-me-featuring-brendon-urie\" target=\"_blank\" rel=\"noopener noreferrer\">pre-album fanfare\u003c/a> ahead of \u003cem>Folklore\u003c/em>, sleuthing fans quickly identified a few \u003ca href=\"https://www.npr.org/2020/02/27/809983814/taylor-swift-man\" target=\"_blank\" rel=\"noopener noreferrer\">Easter eggs\u003c/a> in the short time between the album’s announcement and its release. William Bowery, who is credited with co-writing two tracks, doesn’t appear to have credits that predate this work, prompting some to speculate that it’s a pseudonym. It wouldn’t be the first case of secret identity in her work: Swift used the name Nils Sjöberg for her work on Calvin Harris’ 2016 song “This Is What You Came For.” Swifties also speculated this spring when the artist \u003ca href=\"https://twitter.com/taylorswift13/status/1264740730771300359\" target=\"_blank\" rel=\"noopener noreferrer\">praised a cover\u003c/a> of “Look What You Made Me Do” featured on \u003cem>Killing Eve \u003c/em>attributed to Jack Leopards & The Dolphin Club, widely assumed to be Swift’s brother Austin.\u003c/p>\n\u003cp>Swift has never gone longer than a few years without releasing a new album, but the brief 11-month gap between \u003cem>Lover\u003c/em> and \u003cem>Folklore\u003c/em>—with no real tour between—is unprecedented in her career. In a statement, Swift explained, “Most of the things I had planned this summer didn’t end up happening.” Earlier this year, Swift announced that she’d be \u003ca href=\"https://twitter.com/taylorswift13/status/1251193743912456192\" target=\"_blank\" rel=\"noopener noreferrer\">rescheduling her Lover Fest shows\u003c/a> in Foxborough, Mass., and Inglewood, Calif., due to the global pandemic. She was also slated to headline the \u003ca href=\"https://www.theguardian.com/music/2020/jun/25/michael-eavis-glastonbury-will-go-bankrupt-if-it-cant-be-staged-in-2021-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Glastonbury Festival\u003c/a> for what would have been the event’s 50th anniversary before the festival was cancelled in mid-March.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Before this year I probably would’ve overthought when to release this music at the ‘perfect’ time,” Swift wrote in her message announcing the album. “But the times we’re living in keep reminding me that nothing is guaranteed. My gut is telling me that if you make something you love, you should just put it out into the world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Stream+Taylor+Swift%27s+New+Album%2C+%27Folklore%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>No, \u003ca href=\"https://www.npr.org/artists/120581188/taylor-swift\" target=\"_blank\" rel=\"noopener noreferrer\">Taylor Swift\u003c/a> did not spend her quarantine nurturing her sourdough starter or tie-dying old sweaters. Nor did she use the period to \u003ca href=\"https://www.npr.org/2019/08/22/753393630/look-what-they-made-her-do-taylor-swift-to-re-record-her-catalog\" target=\"_blank\" rel=\"noopener noreferrer\">re-record her catalog\u003c/a> as promised last year after a label dispute. Instead Swift quietly spent \u003ca href=\"https://twitter.com/taylorswift13/status/1258448468907081728\" target=\"_blank\" rel=\"noopener noreferrer\">self-isolation\u003c/a> \u003ca href=\"https://twitter.com/taylorswift13/status/1254880164447760385\" target=\"_blank\" rel=\"noopener noreferrer\">at work\u003c/a> on a new album, \u003cem>Folklore\u003c/em>, released at midnight on July 24.\u003cbr>\n\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/2fenSS68JI1h4Fo296JfGr\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">Announced\u003c/a> with just 16 hours notice, Swift’s eighth studio album finds her again collaborating on a handful of tracks with \u003ca href=\"https://www.npr.org/2017/09/12/549142219/bleachers-tiny-desk-concert\" target=\"_blank\" rel=\"noopener noreferrer\">Jack Antonoff\u003c/a>, who she called, in a social media post \u003ca href=\"https://twitter.com/taylorswift13/status/1286270136006184960\" target=\"_blank\" rel=\"noopener noreferrer\">announcing the album’s existence\u003c/a> yesterday, “basically musical family at this point.” But her main collaborator across the album is a new one: Aaron Dessner of \u003ca href=\"https://www.npr.org/artists/15161426/the-national\" target=\"_blank\" rel=\"noopener noreferrer\">The National\u003c/a> co-wrote or produced 11 of its 16 tracks. \u003cem>Folklore\u003c/em> also features a track with \u003ca href=\"https://www.npr.org/artists/18073513/bon-iver\" target=\"_blank\" rel=\"noopener noreferrer\">Bon Iver\u003c/a>, plus orchestration from a cohort of frequent Dessner collaborators, including brother Bryce Dessner and bandmate Bryan Devendorf, along with \u003ca href=\"https://www.npr.org/2020/03/02/811298534/bonny-light-horseman-makes-new-folk-music-inspired-by-the-spirit-of-old-folk\" target=\"_blank\" rel=\"noopener noreferrer\">Josh Kaufman\u003c/a>, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2012/02/15/146948792/ymusic-joyful-virtuosity-for-spinning-on-air\" target=\"_blank\" rel=\"noopener noreferrer\">Rob Moose\u003c/a>, \u003ca href=\"https://www.npr.org/artists/597087913/clarice-jensen\" target=\"_blank\" rel=\"noopener noreferrer\">Clarice Jensen\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16109579/doveman\" target=\"_blank\" rel=\"noopener noreferrer\">Thomas Bartlett\u003c/a>, among others. (Can we expect an appearance from Swift at \u003ca href=\"https://eauxclaires.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Eaux Claires\u003c/a> or \u003ca href=\"https://www.facebook.com/havenkbh/\" target=\"_blank\" rel=\"noopener noreferrer\">HAVEN\u003c/a> someday?)\u003c/p>\n\u003cp>\u003cem>Folklore\u003c/em> applies Swift’s signature lyrical style—richly and carefully detailed, rife with knowing callbacks—to a new palette informed by Dessner’s work. Skittering instrumentation proves a match for Swift’s use of \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/10/562360434/the-old-taylors-not-dead\" target=\"_blank\" rel=\"noopener noreferrer\">speak-song cadence\u003c/a>; meditative piano and horns offer a cinematic soundscape for explorations of character that move beyond autobiography. Much of Swift’s catalog has been scrutinized by listeners looking for parallels between lyrical melodrama and real-life events—looking for clues in tossed off mentions of scarves and necklaces. \u003cem>Folklore\u003c/em> features songs that explore points of view that seem to diverge from Swift’s life, including third-person narratives. \u003cem>Folklore\u003c/em> explores a more restrained type of Swiftian expression that’s no less exciting than her massive pop singles. She’s synthesizing influences (is \u003ca href=\"https://en.wikipedia.org/wiki/Boxer_(The_National_album)\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Boxer\u003c/em>\u003c/a> the “indie record” of \u003ca href=\"https://www.youtube.com/watch?v=WA4iX5D9Z64\" target=\"_blank\" rel=\"noopener noreferrer\">“We Are Never Getting Back Together”\u003c/a> fame?) that she’s cited over the years, even if they hadn’t been clear in her discography up to this point.\u003c/p>\n\u003cp>Though Swift skipped her typical \u003ca href=\"https://www.npr.org/2019/04/26/717346125/watch-taylor-swifts-video-for-me-featuring-brendon-urie\" target=\"_blank\" rel=\"noopener noreferrer\">pre-album fanfare\u003c/a> ahead of \u003cem>Folklore\u003c/em>, sleuthing fans quickly identified a few \u003ca href=\"https://www.npr.org/2020/02/27/809983814/taylor-swift-man\" target=\"_blank\" rel=\"noopener noreferrer\">Easter eggs\u003c/a> in the short time between the album’s announcement and its release. William Bowery, who is credited with co-writing two tracks, doesn’t appear to have credits that predate this work, prompting some to speculate that it’s a pseudonym. It wouldn’t be the first case of secret identity in her work: Swift used the name Nils Sjöberg for her work on Calvin Harris’ 2016 song “This Is What You Came For.” Swifties also speculated this spring when the artist \u003ca href=\"https://twitter.com/taylorswift13/status/1264740730771300359\" target=\"_blank\" rel=\"noopener noreferrer\">praised a cover\u003c/a> of “Look What You Made Me Do” featured on \u003cem>Killing Eve \u003c/em>attributed to Jack Leopards & The Dolphin Club, widely assumed to be Swift’s brother Austin.\u003c/p>\n\u003cp>Swift has never gone longer than a few years without releasing a new album, but the brief 11-month gap between \u003cem>Lover\u003c/em> and \u003cem>Folklore\u003c/em>—with no real tour between—is unprecedented in her career. In a statement, Swift explained, “Most of the things I had planned this summer didn’t end up happening.” Earlier this year, Swift announced that she’d be \u003ca href=\"https://twitter.com/taylorswift13/status/1251193743912456192\" target=\"_blank\" rel=\"noopener noreferrer\">rescheduling her Lover Fest shows\u003c/a> in Foxborough, Mass., and Inglewood, Calif., due to the global pandemic. She was also slated to headline the \u003ca href=\"https://www.theguardian.com/music/2020/jun/25/michael-eavis-glastonbury-will-go-bankrupt-if-it-cant-be-staged-in-2021-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Glastonbury Festival\u003c/a> for what would have been the event’s 50th anniversary before the festival was cancelled in mid-March.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Before this year I probably would’ve overthought when to release this music at the ‘perfect’ time,” Swift wrote in her message announcing the album. “But the times we’re living in keep reminding me that nothing is guaranteed. My gut is telling me that if you make something you love, you should just put it out into the world.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Stream+Taylor+Swift%27s+New+Album%2C+%27Folklore%27+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[dropcap]B[/dropcap]urger Records \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\" target=\"_blank\" rel=\"noopener noreferrer\">folded\u003c/a> this week, under the weight of multiple allegations of sexual assault, harassment and coercion by members of bands signed to the label.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">Days before the decision was made to shut down, and in light of \u003ca href=\"https://www.instagram.com/Lured_By_Burger_Records/\" target=\"_blank\" rel=\"noopener noreferrer\">survivor stories\u003c/a> that had emerged, Oakland quartet SWMRS (who have released albums and EPs through a variety of labels, including Burger) stepped forward to share their stance on the issues at hand. The band’s four-part \u003ca href=\"https://www.instagram.com/p/CC1PEcrAElM/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram statement\u003c/a> was, on the surface, a thoughtful acknowledgement of the cultural and systemic problems that can enable men to victimize young women.\u003c/p>\n\u003cp>“The music industry is deeply rooted in abusive patriarchal values,” the band wrote. “It’s impossible to overstate how deeply this permeates our culture … Subverting patriarchy is a lifelong commitment to unlearning this abuse that we are conditioned to accept and regurgitate.”[aside postid='arts_13883674']\u003c/p>\n\u003cp>The following day however, Lydia Night, singer and guitarist of \u003ca href=\"https://www.theregrettes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Regrettes\u003c/a>, put out her own \u003ca href=\"https://www.instagram.com/p/CC4EzRqsU7U/\" target=\"_blank\" rel=\"noopener noreferrer\">detailed statement\u003c/a>, accusing SWMRS drummer Joey Armstrong (son of Green Day’s Billie Joe Armstrong) of pressuring her into a sexually coercive and emotionally abusive relationship when he was 22 and already in a popular band, and she was 16 and just starting out. She also said that Armstrong first made contact with her via Instagram, under the guise of working together in a touring capacity. She said their relationship began in secret while on one of those tours.\u003c/p>\n\u003cp>“We had multiple conversations where [Armstrong] would say something along the lines of ‘I want to move at your pace,’” Night wrote, “but then would act in a completely contradicting way, pressuring me into sexual situations … He was essentially my boss … shaming me for saying I wasn’t comfortable, gaslighting me or ignoring me when I didn’t give my consent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The gulf between SWMRS’ statement of feminist allyship and Night’s account of her experience is symbolic of a wider problem that stretches beyond the confines of the music industry. And it’s this: Just because someone knows sexist abuse is bad doesn’t necessarily mean they recognize it in their own behavior—or the behavior of those closest to them.[aside postid='pop_61190']\u003c/p>\n\u003cp>Missing both of these cues is fairly commonplace.\u003c/p>\n\u003cp>In my own life, I think about the ex who considered himself a feminist but would sulk and badger me if I said no to sex. (I stayed with him for a long time because I was young and thought this was normal.) I think of the guy who disavowed sexual harassment on Facebook, but repeatedly forced my hand down his pants in the middle of a party until I had to leave to get away from him. (I stayed on friendly terms with him because we had so many mutual friends, it was awkward not to. When I brought it up, everyone kept telling me what a Nice Guy he was.)\u003c/p>\n\u003cp>Night’s story also reminds me of the affable, liberal man I was friends with for far too long because I failed to recognize that he was abusive to the women he dated. Shamefully, my eyes only opened when one of them broke down on my shoulder, told me what he did behind closed doors and asked if it “counted” as abuse.\u003c/p>\n\u003cp>These things always seem very complicated when you’re in the middle of them and pretty clear cut once you’re out. I’m sure everyone who knew about Night and Armstrong’s relationship had their reasons for staying quiet at the time. Maybe they dismissed Night’s age because she was in a band and already touring. Maybe they justified it because Night and Armstrong weren’t just a casual hookup. (According to Night, their involvement went on for “about a year.”)\u003c/p>\n\u003cp>Who knows where Night’s bandmates were in all of this. She says she kept the relationship secret from her parents, her best friend and her therapist at Armstrong’s behest. But it’s unclear what her band knew or whether they recognized the gravity of the situation Night was in.[aside postid='arts_13882981']\u003c/p>\n\u003cp>Where the lines are drawn, of course, shouldn’t be this complicated. But women’s ability to talk openly about sexual abuse at the hands of friends, colleagues and partners—\u003cem>and\u003c/em> to be believed en masse—is fairly new as a practice. Remember how many survivors it took to bring down serial predators like Harvey Weinstein, Jeffrey Epstein and Bill Cosby? Too many.\u003c/p>\n\u003cp>The tireless work done by those survivors is the reason most people in America now understand the impact power structures have on people’s abilities to truly consent. (One needs only to examine how Monica Lewinsky was treated in 1998 to understand how recent a development this is.) That new understanding has paved the way for Lydia Night to be able to tell her story now.\u003c/p>\n\u003cp>Even just a few years ago, despite her age, Night’s abuse allegations may have been dismissed outright. Night herself has acknowledged that it has taken her “years” to recognize her own trauma. But she also understands inherently why her story needs to be heard now. In her statement, she explained:\u003c/p>\n\u003cblockquote>\u003cp>I know how hard it is to feel valid in something that’s so nuanced and exists in a space that’s not black and white … You can have feelings for someone and be in a technically consensual relationship and still be a victim of abuse and coercion.\u003c/p>\u003c/blockquote>\n\u003cp>Night’s statement—especially when read alongside some of the testimonies of the Burger Records survivors—doesn’t just force SWMRS (she directed her statement at the entire band, not just Armstrong) to acknowledge they’re not the “good guys” they thought they were. It also acts as a prompt for the hundreds of thousands of people who liked it (192,000 and counting) to examine their own behavior and ask themselves some hard questions. [aside postid='pop_98503']\u003c/p>\n\u003cp>Something similar occurred in 2018 after a Brooklyn photographer went on a now-infamous date with comedian Aziz Ansari. Her Babe.net story about the disastrous evening opened up valuable avenues to talk about sexual etiquette and vocalizing consent. Still many—including a CNN anchor—dismissed her story as merely “a bad date.”\u003c/p>\n\u003cp>Over the last few days, Night’s Instagram post has filled up with comments of sympathy and support. By contrast, SWMRS’ account is flooded with accusations of “performative wokeness,” and questions around why Armstrong’s brief attempt at \u003ca href=\"https://www.instagram.com/p/CC6mefugfNX/\" target=\"_blank\" rel=\"noopener noreferrer\">an apology\u003c/a> did not acknowledge Night’s underage status at the time of their involvement.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The overwhelmingly supportive response to Night’s statement leaves the impression that we as a culture have come a long way since #MeToo exploded into the mainstream in 2017. But Night’s account, and the stories of all the other women caught up in Burger Records’ toxic culture, remains a stark demonstration that we’ve still got a long way to go.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">B\u003c/span>\u003c/p>\u003cp>urger Records \u003ca href=\"https://www.kqed.org/arts/13883674/burger-boogaloo-festival-cuts-ties-with-record-label-after-sex-abuse-allegations\" target=\"_blank\" rel=\"noopener noreferrer\">folded\u003c/a> this week, under the weight of multiple allegations of sexual assault, harassment and coercion by members of bands signed to the label.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13882786\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">Days before the decision was made to shut down, and in light of \u003ca href=\"https://www.instagram.com/Lured_By_Burger_Records/\" target=\"_blank\" rel=\"noopener noreferrer\">survivor stories\u003c/a> that had emerged, Oakland quartet SWMRS (who have released albums and EPs through a variety of labels, including Burger) stepped forward to share their stance on the issues at hand. The band’s four-part \u003ca href=\"https://www.instagram.com/p/CC1PEcrAElM/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram statement\u003c/a> was, on the surface, a thoughtful acknowledgement of the cultural and systemic problems that can enable men to victimize young women.\u003c/p>\n\u003cp>“The music industry is deeply rooted in abusive patriarchal values,” the band wrote. “It’s impossible to overstate how deeply this permeates our culture … Subverting patriarchy is a lifelong commitment to unlearning this abuse that we are conditioned to accept and regurgitate.”\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The following day however, Lydia Night, singer and guitarist of \u003ca href=\"https://www.theregrettes.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Regrettes\u003c/a>, put out her own \u003ca href=\"https://www.instagram.com/p/CC4EzRqsU7U/\" target=\"_blank\" rel=\"noopener noreferrer\">detailed statement\u003c/a>, accusing SWMRS drummer Joey Armstrong (son of Green Day’s Billie Joe Armstrong) of pressuring her into a sexually coercive and emotionally abusive relationship when he was 22 and already in a popular band, and she was 16 and just starting out. She also said that Armstrong first made contact with her via Instagram, under the guise of working together in a touring capacity. She said their relationship began in secret while on one of those tours.\u003c/p>\n\u003cp>“We had multiple conversations where [Armstrong] would say something along the lines of ‘I want to move at your pace,’” Night wrote, “but then would act in a completely contradicting way, pressuring me into sexual situations … He was essentially my boss … shaming me for saying I wasn’t comfortable, gaslighting me or ignoring me when I didn’t give my consent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The gulf between SWMRS’ statement of feminist allyship and Night’s account of her experience is symbolic of a wider problem that stretches beyond the confines of the music industry. And it’s this: Just because someone knows sexist abuse is bad doesn’t necessarily mean they recognize it in their own behavior—or the behavior of those closest to them.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Missing both of these cues is fairly commonplace.\u003c/p>\n\u003cp>In my own life, I think about the ex who considered himself a feminist but would sulk and badger me if I said no to sex. (I stayed with him for a long time because I was young and thought this was normal.) I think of the guy who disavowed sexual harassment on Facebook, but repeatedly forced my hand down his pants in the middle of a party until I had to leave to get away from him. (I stayed on friendly terms with him because we had so many mutual friends, it was awkward not to. When I brought it up, everyone kept telling me what a Nice Guy he was.)\u003c/p>\n\u003cp>Night’s story also reminds me of the affable, liberal man I was friends with for far too long because I failed to recognize that he was abusive to the women he dated. Shamefully, my eyes only opened when one of them broke down on my shoulder, told me what he did behind closed doors and asked if it “counted” as abuse.\u003c/p>\n\u003cp>These things always seem very complicated when you’re in the middle of them and pretty clear cut once you’re out. I’m sure everyone who knew about Night and Armstrong’s relationship had their reasons for staying quiet at the time. Maybe they dismissed Night’s age because she was in a band and already touring. Maybe they justified it because Night and Armstrong weren’t just a casual hookup. (According to Night, their involvement went on for “about a year.”)\u003c/p>\n\u003cp>Who knows where Night’s bandmates were in all of this. She says she kept the relationship secret from her parents, her best friend and her therapist at Armstrong’s behest. But it’s unclear what her band knew or whether they recognized the gravity of the situation Night was in.\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where the lines are drawn, of course, shouldn’t be this complicated. But women’s ability to talk openly about sexual abuse at the hands of friends, colleagues and partners—\u003cem>and\u003c/em> to be believed en masse—is fairly new as a practice. Remember how many survivors it took to bring down serial predators like Harvey Weinstein, Jeffrey Epstein and Bill Cosby? Too many.\u003c/p>\n\u003cp>The tireless work done by those survivors is the reason most people in America now understand the impact power structures have on people’s abilities to truly consent. (One needs only to examine how Monica Lewinsky was treated in 1998 to understand how recent a development this is.) That new understanding has paved the way for Lydia Night to be able to tell her story now.\u003c/p>\n\u003cp>Even just a few years ago, despite her age, Night’s abuse allegations may have been dismissed outright. Night herself has acknowledged that it has taken her “years” to recognize her own trauma. But she also understands inherently why her story needs to be heard now. In her statement, she explained:\u003c/p>\n\u003cblockquote>\u003cp>I know how hard it is to feel valid in something that’s so nuanced and exists in a space that’s not black and white … You can have feelings for someone and be in a technically consensual relationship and still be a victim of abuse and coercion.\u003c/p>\u003c/blockquote>\n\u003cp>Night’s statement—especially when read alongside some of the testimonies of the Burger Records survivors—doesn’t just force SWMRS (she directed her statement at the entire band, not just Armstrong) to acknowledge they’re not the “good guys” they thought they were. It also acts as a prompt for the hundreds of thousands of people who liked it (192,000 and counting) to examine their own behavior and ask themselves some hard questions. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Something similar occurred in 2018 after a Brooklyn photographer went on a now-infamous date with comedian Aziz Ansari. Her Babe.net story about the disastrous evening opened up valuable avenues to talk about sexual etiquette and vocalizing consent. Still many—including a CNN anchor—dismissed her story as merely “a bad date.”\u003c/p>\n\u003cp>Over the last few days, Night’s Instagram post has filled up with comments of sympathy and support. By contrast, SWMRS’ account is flooded with accusations of “performative wokeness,” and questions around why Armstrong’s brief attempt at \u003ca href=\"https://www.instagram.com/p/CC6mefugfNX/\" target=\"_blank\" rel=\"noopener noreferrer\">an apology\u003c/a> did not acknowledge Night’s underage status at the time of their involvement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The overwhelmingly supportive response to Night’s statement leaves the impression that we as a culture have come a long way since #MeToo exploded into the mainstream in 2017. But Night’s account, and the stories of all the other women caught up in Burger Records’ toxic culture, remains a stark demonstration that we’ve still got a long way to go.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>During the current pandemic, the loudest sounds at Yoshi’s in Oakland have been the rumbling Amtrak trains going by the famed jazz club. That’s about to change, as an all-star cast of musicians hits the stage on Thursday, July 23, for an online broadcast of live music and guest speakers.\u003c/p>\n\u003cp>The event, titled \u003ca href=\"https://www.elevateoakland.org/standtogether\" target=\"_blank\" rel=\"noopener noreferrer\">We Stand Together\u003c/a>, brings together a who’s-who of Oakland talent on the Yoshi’s stage: Sheila E., Tony! Toni! Toné!, Goapele, Ledisi, Freddie Stone, Lynn Mabry, Pete Escovedo and more. But the event’s emphasis goes beyond music and into the relationship between art and politics, and specifically the urgent movement of justice for Black lives. To that end, you’ll see celebrity guests like Damian Lillard, Dr. Angela Davis, Mahershala Ali and Dolores Huerta dropping in on Thursday’s broadcast as well.\u003c/p>\n\u003cp>It’s a natural fit for Oakland, a city where politics and art have never been mutually exclusive, from the Black Panthers’ funk band \u003ca href=\"https://www.kqed.org/arts/13851531/a-brief-history-of-the-lumpen-the-black-panthers-revolutionary-funk-band\" target=\"_blank\" rel=\"noopener noreferrer\">The Lumpen\u003c/a> to Boots Riley’s subversive \u003ca href=\"https://www.kqed.org/arts/13836455/in-sorry-to-bother-you-an-alternate-universe-oakland-is-still-true-and-familiar\" target=\"_blank\" rel=\"noopener noreferrer\">silver-screen surrealism\u003c/a>. Proceeds from the event go to YR Media, ensuring a continuum of culturally relevant work from new generations, as well as Black Lives Matter’s Arts & Culture initiatives and Elevate Oakland. The broadcast is free, and can be streamed \u003ca href=\"https://www.elevateoakland.org/standtogether\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Megan Thee Stallion said on Wednesday that she had been shot during an incident that took place in the Hollywood Hills early Sunday morning.\u003c/p>\n\u003cp>In an \u003ca href=\"https://www.instagram.com/p/CCrBV3vlHvA/\" target=\"_blank\" rel=\"noopener noreferrer\">Instagram post\u003c/a>, Megan wrote: “On Sunday morning, I suffered gunshot wounds, as a result of a crime that was committed against me and done with the intention to physically harm me.”\u003c/p>\n\u003cp>She continued, “I was never arrested, the police officers drove me to the hospital where I underwent surgery to remove the bullets. I’m incredibly grateful to be alive and that I’m expected to make a full recovery, but it was important for me to clarify the details about this traumatic night.”\u003c/p>\n\u003cp>Early media reports, including one posted on TMZ, attributed her injuries to the rapper having stepped on \u003ca href=\"https://www.tmz.com/2020/07/13/tory-lanez-arrested-gun-concealed-weapon-charge-megan-thee-stallion-involved/\" target=\"_blank\" rel=\"noopener noreferrer\">broken glass\u003c/a> during the incident. Police had reportedly responded to a complaint about an argument outside a house party in the Hollywood Hills. TMZ reported that witnesses heard people arguing inside an SUV, and that shots were fired outside the party. When police tracked down the SUV, they encountered three people in the car: Megan, fellow rapper Tory Lanez and an unidentified woman. Lanez (born Daystar Peterson) was arrested for carrying a concealed weapon in a vehicle.\u003c/p>\n\u003cp>In her Instagram statement, Megan did not identify the shooter. Her statement was released shortly after TMZ posted\u003ca href=\"https://www.tmz.com/2020/07/15/megan-thee-stallion-shot-twice-foot-tory-lanez-arrest-glass-injury/\" target=\"_blank\" rel=\"noopener noreferrer\"> a video of Lanez’ arrest\u003c/a>. During the footage, a woman who appears to be Megan is shown exiting the SUV with her hands up following a policeman’s orders, and is also shown handcuffed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 25-year-old musician’s song “Savage” went to No. 1 on the Billboard Hot 100 chart in May, after it went viral on TikTok and was remixed in a version featuring Beyoncé.\u003c/p>\n\u003cp>Last October, Megan, whose real name is Megan Pete, \u003ca href=\"https://www.youtube.com/watch?v=GYJ03MIPoIk\" target=\"_blank\" rel=\"noopener noreferrer\">performed\u003c/a> as part of NPR Music’s popular Tiny Desk concert series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lEIqjoO0-Bs\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Rapper+Megan+Thee+Stallion+Says+She+Was+Shot+On+Sunday&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"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.",
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"order": 9
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"id": "fresh-air",
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"airtime": "SUN 7:30pm-8pm",
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"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. ",
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"order": 15
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"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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"order": 18
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"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",
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"source": "American Public Media"
},
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"masters-of-scale": {
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"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)",
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},
"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",
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"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
"id": "morning-edition",
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"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.",
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"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",
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"order": 11
},
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"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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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