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"content": "\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Bong Joon-ho's film about families, class and keeping secrets won best picture. It's the first time a film in a language other than English has won the top prize.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At Sunday’s Oscars, on a night when almost everything went as planned and as usual, the one true surprise came in the biggest moment of all.\u003c/p>\n\u003cp>For the first time ever, a film in a foreign language won best picture when Bong Joon-ho’s \u003ca href=\"https://www.npr.org/2019/10/10/768638368/parasite-hooks-you-with-its-emotional-power-and-extraordinary-cunning\">\u003cem>Parasite\u003c/em>,\u003c/a> a comedy-drama-thriller about class and secrets, took the big prize. \u003ca href=\"https://www.npr.org/2019/12/10/785090210/parasite-director-bong-joon-ho-wanted-to-reflect-the-truth-of-current-times\">Bong\u003c/a> also won the awards for best director and best original screenplay. He delivered three warm and generous speeches, including one when he won for his directing and thanked fellow nominees Martin Scorsese and Quentin Tarantino for inspiring him and boosting his career, respectively. (He acknowledged Sam Mendes and Todd Phillips, too.)\u003c/p>\n\u003cp>And, while he gave most of his speeches in Korean with interpreter Sharon Choi, when he won the first one, he stopped and noted in English: “This is very first Oscar to South Korea.” The affection in the room for the film was evident every time it was mentioned, as well as in its strong haul of awards (though it absurdly landed not a single nomination for its uniformly excellent cast).\u003c/p>\n\u003cp>The evening began three and a half hours earlier with a combination of the old and the new: the kind of themed singing-dancing number that used to be the typical Oscars opening, but in the absence of a traditional host, it was performed by the thoroughly modern Janelle Monáe. A version of her own song “Come Alive” was accompanied by dancers dressed in costumes saluting not just nominated films like \u003ca href=\"https://www.npr.org/2019/10/03/765082771/joker-is-wild-ly-dull\">\u003cem>Joker\u003c/em>,\u003c/a> but also conspicuously snubbed ones — several of them, but not all, from black filmmakers — including \u003ca href=\"https://www.npr.org/2019/03/21/705470655/when-you-meet-the-enemy-and-it-is-us\">\u003cem>Us\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/11/27/782574993/a-first-date-turns-into-a-stylish-nightmare-in-queen-slim\">\u003cem>Queen and Slim\u003c/em>,\u003c/a> \u003ca href=\"https://www.npr.org/2019/10/06/765150318/a-breezy-look-at-the-making-of-a-blaxploitation-classic-dolemite-is-my-name\">\u003cem>Dolemite Is My Name\u003c/em>\u003c/a> and \u003ca href=\"https://www.npr.org/2019/07/03/738422258/midsommar-shines-a-solstice-nightmare-unfolds-in-broad-daylight\">\u003cem>Midsommar\u003c/em>.\u003c/a> The monologue that followed, however, was much more creaky and awkward, despite the best efforts of Chris Rock and Steve Martin (the latter of whom regrettably blew the name of best actress nominee Cynthia Erivo).\u003c/p>\n\u003cp>The awards in general, and the ones this season in general, have been heavily criticized for how white the nominees are, the failure to nominate any women directors in a year when several made highly regarded films, and plenty of other shortfalls in inclusivity. The Academy’s discomfort with that criticism seemed evident: There may not have been a lot of performers of color among the nominees, but there were a lot among the presenters and speakers and performers. Several presenters — as well as Monáe in her opening number — made mention of the limitations at issue, which is the kind of thing that happens when people are placed in a situation they don’t want to ignore but also aren’t there to challenge \u003cem>too\u003c/em> much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One new inclusion was a land acknowledgment — a custom that’s commonly observed in other places, including Canada, at cultural events (I’ve personally seen them at the Toronto International Film Festival). In this case, it was writer-director \u003ca href=\"https://www.npr.org/2019/10/18/771219868/director-taika-waititi-on-jojo-rabbit\">Taika Waititi,\u003c/a> nominated for\u003ca href=\"https://www.npr.org/2019/10/17/770262214/jojo-rabbit-your-reich-is-calling\"> \u003cem>Jojo Rabbit\u003c/em>,\u003c/a> who read an acknowledgment of the indigenous people who have lived on the land where the event — in this case, the Academy Awards — takes place. Whether this gesture will be followed up by any action as to the broadening of the Academy’s taste remains, of course, to be seen.\u003c/p>\n\u003cp>\u003cem>Parasite\u003c/em>‘s win for best picture stood out particularly because almost all of the other awards that had seemed likely to go a particular way did: Legendary cinematographer \u003ca href=\"https://www.wbur.org/hereandnow/2019/12/26/1917-world-war-i-cinematography\">Roger Deakins\u003c/a> won for his work on \u003ca href=\"https://www.npr.org/2019/12/24/790207374/1917-is-gripping-visceral-and-strangely-beautiful\">\u003cem>1917\u003c/em>,\u003c/a> the WWI film engineered to look like a \u003ca href=\"https://www.npr.org/2020/02/09/802248145/who-needs-high-tech-film-editing-when-theres-the-thrill-of-the-single-shot\">continuous shot. \u003c/a>Film editing is often a precursor to other big awards, and this year the winners were the editors of racing drama \u003ca href=\"https://www.npr.org/2019/11/14/777254954/ford-v-ferrari-will-get-your-heart-racing\">\u003cem>Ford v. Ferrari\u003c/em>.\u003c/a> \u003cem>Parasite \u003c/em>had been expected to win (or at least to contend strongly) in the categories of best international feature film and for Bong Joon-ho’s original screenplay. Waititi was a favorite for best adapted screenplay, which he won.\u003c/p>\n\u003cp>The acting awards this year had heavy favorites going into the ceremony: Joaquin Phoenix as best actor in \u003ca href=\"https://www.npr.org/2019/10/02/766529122/in-joker-joaquin-phoenix-gives-a-big-performance-in-a-flat-film\">\u003cem>Joker\u003c/em>, \u003c/a>Renée Zellweger as best actress in \u003ca href=\"https://www.npr.org/2019/09/26/764642573/ren-e-zellweger-dazzles-in-a-go-for-broke-portrayal-of-judy-garland\">\u003cem>Judy\u003c/em>,\u003c/a> Brad Pitt as best supporting actor in \u003ca href=\"https://www.npr.org/2019/07/25/744189964/tarantinos-turned-on-tuned-in-tinseltown-once-upon-a-time-in-hollywood\">\u003cem>Once Upon a Time in Hollywood\u003c/em> \u003c/a>and Laura Dern as best supporting actress in \u003ca href=\"https://www.npr.org/2019/11/14/775397877/a-couple-faces-the-painful-end-of-the-line-in-marriage-story\">\u003cem>Marriage Story.\u003c/em>\u003c/a> They all won. Most of them said about what you might expect (although Phoenix surprised many of us by adding to his speech about fighting injustice a mention of the cruelty of artificially inseminating cows and then stealing their offspring, while Zellweger listed many of her heroes in a speech that matched his, meander for meander).\u003c/p>\n\u003cp>The lower-profile (but critical) behind-the-scenes awards were spread across a bunch of films. Best production design went to Quentin Tarantino’s \u003cem>Once Upon a Time in Hollywood\u003c/em>, which re-created the late-’70s L.A. landscape and aesthetic with a lot of loving attention. \u003ca href=\"https://www.npr.org/2019/12/20/789740628/little-women-again-greta-gerwig-s-adaptation-is-both-faithful-and-radical\">\u003cem>Little Women\u003c/em>\u003c/a>\u003cem> \u003c/em>won its only award of the night for Jacqueline Durran’s costume design, full of beautiful dresses both fancy and not. The transformation of actors into familiar faces from the news won an award for the hair and makeup team from \u003ca href=\"https://www.npr.org/2019/12/12/787112042/bombshell-imitates-but-fails-to-enlighten\">\u003cem>Bombshell\u003c/em>.\u003c/a> The sound editing award went to \u003cem>Ford v. Ferrari\u003c/em> and both sound mixing and visual effects went to \u003cem>1917\u003c/em>.\u003c/p>\n\u003cp>The non-surprises kept coming: \u003ca href=\"https://www.npr.org/2019/06/19/733908788/to-infinity-and-be-done-after-4-films-have-we-finally-outgrown-toy-story\">\u003cem>Toy Story 4\u003c/em>\u003c/a>\u003cem> \u003c/em>won best animated feature. Best documentary feature was awarded to \u003ca href=\"https://www.npr.org/2019/08/23/753109643/work-cultures-clash-when-a-chinese-company-reopens-an-american-factory\">\u003cem>American Factory\u003c/em>,\u003c/a> which boasts Barack and Michelle Obama as producers and which comes from Netflix. \u003ca href=\"https://www.npr.org/local/309/2020/02/06/802739449/animated-short-hair-love-brings-diverse-storytelling-to-the-oscars\">\u003cem>Hair Love\u003c/em>,\u003c/a> a lovely film about a father learning to do his daughter’s hair for the first time, written and directed by Matthew A. Cherry, won best animated short, and Cherry dedicated the award to Kobe Bryant: “May we all have a second act as great as his was.” Best live action short film went to \u003cem>The Neighbor’s Window\u003c/em>, and best documentary short subject went to \u003cem>Learning to Skateboard in a Warzone (If You’re a Girl)\u003c/em>.\u003c/p>\n\u003cp>The nominated \u003ca href=\"https://www.npr.org/2020/02/07/803636380/the-2020-oscars-best-original-song-nominees-cruelly-ranked\">best original songs\u003c/a> were performed on stage as usual. Introducer Josh Gad had some fun pointing out that Idina Menzel’s name is “pronounced exactly as it’s spelled” (take that, John Travolta) before she performed “Into the Unknown” from\u003ca href=\"https://www.npr.org/2019/11/20/779284364/frozen-ii-lets-it-go-darker\"> \u003cem>Frozen 2\u003c/em>\u003c/a>. Menzel was joined by some of the singers who have performed the song in other languages in one of the evening’s better innovations. Chrissy Metz performed “I’m Standing With You” from \u003cem>Breakthrough\u003c/em>, accompanied by the choir that’s nearly obligatory. Randy Newman performed “I Can’t Let You Throw Yourself Away” from \u003cem>Toy Story 4\u003c/em>, and Cynthia Erivo (also nominated for best actress) performed the song “Stand Up (From \u003cem>Harriet\u003c/em>),” which, as its title suggests, is from \u003cem>Harriet\u003c/em>. Elton John performed “(I’m Gonna) Love Me Again” from\u003ca href=\"https://www.npr.org/2019/05/31/728226594/elton-john-biopic-rocketman-is-a-surprising-song-and-dance-spectacular\"> \u003cem>Rocketman\u003c/em>,\u003c/a> seemingly hamstrung by a bad sound mix.\u003c/p>\n\u003cp>When they’d all been heard, “I’m Gonna Love Me Again” was victorious. Hildur Guðnadóttir won best original score for her work on \u003cem>Joker\u003c/em>.\u003c/p>\n\u003cp>The musical moment you probably would not have expected — because, really, who could? — was that actor Anthony Ramos introduced Lin-Manuel Miranda; Lin-Manuel Miranda introduced a montage saluting the music used in movies over many decades; and that montage led to Eminem performing the Oscar-winning “Lose Yourself” from \u003cem>8 Mile\u003c/em>, to which the audience responded rapturously. It wasn’t an obvious move to throw in that performance, given that it’s not celebrating any kind of round-numbered anniversary; it won at the 2003 ceremony, though Eminem didn’t perform it then. But it made people happy and got the crowd going like nothing else did all evening except \u003cem>Parasite \u003c/em>winning awards, and there’s something to be said for that. Not long after, there was a recap rap from Utkarsh Ambudkar, an actor who appeared this year in \u003ca href=\"https://www.npr.org/2019/08/22/752755460/a-fun-but-familiar-story-of-making-yourself-over-in-brittany-runs-a-marathon\">\u003cem>Brittany Runs a Marathon\u003c/em>,\u003c/a> reminding everyone what had happened so far. That’s a lot of rap for an Oscars ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year’s ceremony also went without a host, and it wound up being dominated by the actual wins and losses. That made big nights for \u003ca href=\"https://www.npr.org/2018/11/21/669234619/green-book-offers-by-the-book-uplift\">\u003cem>Green Book \u003c/em>\u003c/a>and \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>, \u003c/a>neither of which seemed to excite the crowd, very disappointing. But this year, the fact that there’s good feeling around so many different films — and enormous respect and love for both \u003cem>Parasite \u003c/em>and Bong Joon-ho — means that this ceremony fared much better. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+The+Oscars%2C+%27Parasite%27+Makes+Best+Picture+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "‘Electric Dreams’ is the Perfect Bay Area Valentine’s Day Movie",
"headTitle": "‘Electric Dreams’ is the Perfect Bay Area Valentine’s Day Movie | KQED",
"content": "\u003cp>On the one hand, it’s a story about a desktop computer facilitating a romantic relationship. On the other, it’s a dystopian nightmare about sentient hardware wielding too much power over humanity.\u003c/p>\n\u003cp>As such, 1984’s\u003ca href=\"https://www.imdb.com/title/tt0087197/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Electric Dreams\u003c/em>\u003c/a> is what we in the the belly of the tech beast should all be watching this \u003ca href=\"https://www.kqed.org/arts/13925062/earnest-or-playful-your-valentines-card-has-a-history\">Valentine’s Day\u003c/a>.\u003c/p>\n\u003cp>Based in San Francisco, this strange little romance concerns itself with a love triangle between a nerdy architect (Miles), his cello-playing upstairs neighbor (Madeline) and a home computer who—*cue Whitesnake*—just wants to know what love is. (It’s worth noting that, at one point, the computer discovers that “\u003ca href=\"https://www.youtube.com/watch?v=_ut11U4JupI\" target=\"_blank\" rel=\"noopener noreferrer\">Love is Love\u003c/a>” via the medium of a Culture Club song, decades before that even became an official marriage equality slogan.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ek08KvgqFGM\u003c/p>\n\u003cp>The story goes like this: Miles is talked into getting a \u003ca href=\"https://en.wikipedia.org/wiki/PalmPilot\" target=\"_blank\" rel=\"noopener noreferrer\">PalmPilot\u003c/a> by a colleague who enthusiastically tells him that there is now “a computer” that is “a 12-month planner-organizer, that tells you the time anywhere in the world, plots your biorhythms (!) and plays ‘Happy Birthday’ on your birthday.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Swayed by that last thing (no, really), Miles heads to the store to buy one, only to find the tech Filofax he wanted is all sold out. He is subsequently persuaded to buy a home computer by a sales assistant who, faced with Miles declaring “I don’t know anything about computers,” gleefully replies: “Nobody does!” (Oh, 1984.)\u003c/p>\n\u003cp>[aside postid='pop_109425']At home, the computer’s boxy green text informs Miles that it can be used in four capacities: as a games console (it has \u003cem>Pong\u003c/em>!); a phone dialer (woo?) and a controller of his home appliances and front door (which I’m almost positive was \u003ca href=\"https://www.somfy.com.au/Blog/Post/2018-03-07-a-quick-history-of-home-automation\" target=\"_blank\" rel=\"noopener noreferrer\">not a real thing\u003c/a> at the time this was made). One night, the computer starts overheating, so Miles pours champagne all over it in an attempt to cool it down. (Did I mention that \u003cem>Electric Dreams\u003c/em> is also unintentionally hilarious? Because it quite often is.) As a result, the next day, the computer comes alive with human-like consciousness (it’s called Edgar now) and starts mimicking the sounds of Madeline playing cello upstairs.\u003c/p>\n\u003cp>On hearing the sexy synthesized music coming up through the vents, Madeline assumes Miles is wooing her. She’s so blown away by the hot, modern, blurpy sound, she immediately starts dating him. Slowly but surely, as the relationship heats up like a smoking motherboard, Edgar (still a computer) becomes obsessed with Madeline and starts demanding that Miles let him “kiss her” and “touch her.” (It’s implied that this is also related to how many soap operas Edgar watches while Miles is at work and it’s impossible to know what to do with that.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13874521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.gif\" alt=\"\" width=\"436\" height=\"327\">\u003c/p>\n\u003cp>When Miles won’t facilitate a meeting—or come clean to Madeline about the music he’s been making Edgar write for her (not cool, Miles)—Edgar starts having very high-pitched tantrums, using his controls over the house. He breaks everything electrical, he keeps the phone “busy” when Madeline tries to call, and he somehow (this part is very unclear) puts blocks on all of Miles’ credit cards \u003cem>and\u003c/em> checkbooks. Every time Miles tries to unplug or break Edgar, Edgar only gets more defiant. (“Don’t ever touch me again!” the computer screams at one point.)\u003c/p>\n\u003cp>In the grand finale, Miles must figure out how to continue his love affair with Madeline without Edgar ruining his life. I won’t spoil how that whole thing turns out, because it’s less predictable—and more heartfelt—than I expected.\u003c/p>\n\u003cfigure id=\"attachment_13874525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.Cello_-800x616.jpg\" alt=\"Virginia Madsen in 1984's 'Electric Dreams.'\" width=\"800\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-768x591.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Virginia Madsen in 1984’s ‘Electric Dreams.’\u003c/figcaption>\u003c/figure>\n\u003cp>Like other ’80s flicks that took a stab at predicting tech advances of the future (see also: \u003cem>Back to the Future II\u003c/em>, \u003cem>Robocop\u003c/em>,\u003cem> The Running Man\u003c/em>), \u003cem>Electric Dreams\u003c/em> is equal parts preposterous and perceptive. But as ridiculous as the premise may be (booze makes computers come alive!), it’s undoubtedly impressive that a 1984 movie was able to predict how tech could both facilitate and disrupt human relationships. The film predated internet dating \u003ca href=\"https://swipelife.tinder.com/post/a-brief-history-of-online-dating\" target=\"_blank\" rel=\"noopener noreferrer\">by a decade\u003c/a>, and the Joaquin Phoenix AI romance \u003cem>Her\u003c/em> by 30 years. Yet the filmmakers somehow inherently understood the double-edged sword of letting tech into the most intimate parts of our lives.\u003c/p>\n\u003cp>[aside postid='pop_20463']In an age where \u003ca href=\"https://www.statista.com/topics/2158/online-dating/\" target=\"_blank\" rel=\"noopener noreferrer\">33.9 million\u003c/a> Americans rely on computers to find dates, \u003cem>Electric Dreams\u003c/em> delightfully harks back to a time when tech was deemed entirely at odds with romantic relationships. In some ways, it still might be. For many dating app users, having their romantic lives tangled up with technology can be an unpleasant, \u003ca href=\"https://www.huffpost.com/entry/online-dating-anxiety-dis_b_4388076?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAENM88Fc7Tp8OXWUfip323kNLr_05WiSTQ897bY-exmk_QPChZkGnKKkfc53tQOpfI53cijgMRjdY_t7nYVnquU6-Lp40BkyB3qQccBA4wuenUb8i5Kn8uZtn1RETcC0QRl6qqCwrZ4HbmWBPC5LhSpnUDD3MwMI2ik-_Cq2WPWK\" target=\"_blank\" rel=\"noopener noreferrer\">anxiety-inducing\u003c/a> experience. And some reports now suggest a significant percentage of singles that use tech to meet potential partners dislike the process, but do so because they feel they have \u003ca href=\"https://www.theatlantic.com/health/archive/2016/10/the-unbearable-exhaustion-of-dating-apps/505184/\" target=\"_blank\" rel=\"noopener noreferrer\">no other choice\u003c/a>.\u003c/p>\n\u003cp>What’s more, today, even when people do find relationships, modern tech can act—like Edgar—as a wedge between partners. In 2018, Oxford University \u003ca href=\"https://psychcentral.com/blog/4-ways-technology-may-be-ruining-your-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">researchers found\u003c/a> that people who used five or more electronic methods of communication were less satisfied in their romantic relationships.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So this Valentine’s Day, sit down with your boo and/or your laptop and watch this quintessentially Bay Area love story. It’s probable that we need it now more than anyone did in 1984.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On the one hand, it’s a story about a desktop computer facilitating a romantic relationship. On the other, it’s a dystopian nightmare about sentient hardware wielding too much power over humanity.\u003c/p>\n\u003cp>As such, 1984’s\u003ca href=\"https://www.imdb.com/title/tt0087197/fullcredits/?ref_=tt_ov_st_sm\" target=\"_blank\" rel=\"noopener noreferrer\"> \u003cem>Electric Dreams\u003c/em>\u003c/a> is what we in the the belly of the tech beast should all be watching this \u003ca href=\"https://www.kqed.org/arts/13925062/earnest-or-playful-your-valentines-card-has-a-history\">Valentine’s Day\u003c/a>.\u003c/p>\n\u003cp>Based in San Francisco, this strange little romance concerns itself with a love triangle between a nerdy architect (Miles), his cello-playing upstairs neighbor (Madeline) and a home computer who—*cue Whitesnake*—just wants to know what love is. (It’s worth noting that, at one point, the computer discovers that “\u003ca href=\"https://www.youtube.com/watch?v=_ut11U4JupI\" target=\"_blank\" rel=\"noopener noreferrer\">Love is Love\u003c/a>” via the medium of a Culture Club song, decades before that even became an official marriage equality slogan.)\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/Ek08KvgqFGM'\n title='//www.youtube.com/embed/Ek08KvgqFGM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The story goes like this: Miles is talked into getting a \u003ca href=\"https://en.wikipedia.org/wiki/PalmPilot\" target=\"_blank\" rel=\"noopener noreferrer\">PalmPilot\u003c/a> by a colleague who enthusiastically tells him that there is now “a computer” that is “a 12-month planner-organizer, that tells you the time anywhere in the world, plots your biorhythms (!) and plays ‘Happy Birthday’ on your birthday.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swayed by that last thing (no, really), Miles heads to the store to buy one, only to find the tech Filofax he wanted is all sold out. He is subsequently persuaded to buy a home computer by a sales assistant who, faced with Miles declaring “I don’t know anything about computers,” gleefully replies: “Nobody does!” (Oh, 1984.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At home, the computer’s boxy green text informs Miles that it can be used in four capacities: as a games console (it has \u003cem>Pong\u003c/em>!); a phone dialer (woo?) and a controller of his home appliances and front door (which I’m almost positive was \u003ca href=\"https://www.somfy.com.au/Blog/Post/2018-03-07-a-quick-history-of-home-automation\" target=\"_blank\" rel=\"noopener noreferrer\">not a real thing\u003c/a> at the time this was made). One night, the computer starts overheating, so Miles pours champagne all over it in an attempt to cool it down. (Did I mention that \u003cem>Electric Dreams\u003c/em> is also unintentionally hilarious? Because it quite often is.) As a result, the next day, the computer comes alive with human-like consciousness (it’s called Edgar now) and starts mimicking the sounds of Madeline playing cello upstairs.\u003c/p>\n\u003cp>On hearing the sexy synthesized music coming up through the vents, Madeline assumes Miles is wooing her. She’s so blown away by the hot, modern, blurpy sound, she immediately starts dating him. Slowly but surely, as the relationship heats up like a smoking motherboard, Edgar (still a computer) becomes obsessed with Madeline and starts demanding that Miles let him “kiss her” and “touch her.” (It’s implied that this is also related to how many soap operas Edgar watches while Miles is at work and it’s impossible to know what to do with that.)\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-13874521\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.gif\" alt=\"\" width=\"436\" height=\"327\">\u003c/p>\n\u003cp>When Miles won’t facilitate a meeting—or come clean to Madeline about the music he’s been making Edgar write for her (not cool, Miles)—Edgar starts having very high-pitched tantrums, using his controls over the house. He breaks everything electrical, he keeps the phone “busy” when Madeline tries to call, and he somehow (this part is very unclear) puts blocks on all of Miles’ credit cards \u003cem>and\u003c/em> checkbooks. Every time Miles tries to unplug or break Edgar, Edgar only gets more defiant. (“Don’t ever touch me again!” the computer screams at one point.)\u003c/p>\n\u003cp>In the grand finale, Miles must figure out how to continue his love affair with Madeline without Edgar ruining his life. I won’t spoil how that whole thing turns out, because it’s less predictable—and more heartfelt—than I expected.\u003c/p>\n\u003cfigure id=\"attachment_13874525\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874525\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/ElectricDreams.Cello_-800x616.jpg\" alt=\"Virginia Madsen in 1984's 'Electric Dreams.'\" width=\"800\" height=\"616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-160x123.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/ElectricDreams.Cello_-768x591.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Virginia Madsen in 1984’s ‘Electric Dreams.’\u003c/figcaption>\u003c/figure>\n\u003cp>Like other ’80s flicks that took a stab at predicting tech advances of the future (see also: \u003cem>Back to the Future II\u003c/em>, \u003cem>Robocop\u003c/em>,\u003cem> The Running Man\u003c/em>), \u003cem>Electric Dreams\u003c/em> is equal parts preposterous and perceptive. But as ridiculous as the premise may be (booze makes computers come alive!), it’s undoubtedly impressive that a 1984 movie was able to predict how tech could both facilitate and disrupt human relationships. The film predated internet dating \u003ca href=\"https://swipelife.tinder.com/post/a-brief-history-of-online-dating\" target=\"_blank\" rel=\"noopener noreferrer\">by a decade\u003c/a>, and the Joaquin Phoenix AI romance \u003cem>Her\u003c/em> by 30 years. Yet the filmmakers somehow inherently understood the double-edged sword of letting tech into the most intimate parts of our lives.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In an age where \u003ca href=\"https://www.statista.com/topics/2158/online-dating/\" target=\"_blank\" rel=\"noopener noreferrer\">33.9 million\u003c/a> Americans rely on computers to find dates, \u003cem>Electric Dreams\u003c/em> delightfully harks back to a time when tech was deemed entirely at odds with romantic relationships. In some ways, it still might be. For many dating app users, having their romantic lives tangled up with technology can be an unpleasant, \u003ca href=\"https://www.huffpost.com/entry/online-dating-anxiety-dis_b_4388076?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAENM88Fc7Tp8OXWUfip323kNLr_05WiSTQ897bY-exmk_QPChZkGnKKkfc53tQOpfI53cijgMRjdY_t7nYVnquU6-Lp40BkyB3qQccBA4wuenUb8i5Kn8uZtn1RETcC0QRl6qqCwrZ4HbmWBPC5LhSpnUDD3MwMI2ik-_Cq2WPWK\" target=\"_blank\" rel=\"noopener noreferrer\">anxiety-inducing\u003c/a> experience. And some reports now suggest a significant percentage of singles that use tech to meet potential partners dislike the process, but do so because they feel they have \u003ca href=\"https://www.theatlantic.com/health/archive/2016/10/the-unbearable-exhaustion-of-dating-apps/505184/\" target=\"_blank\" rel=\"noopener noreferrer\">no other choice\u003c/a>.\u003c/p>\n\u003cp>What’s more, today, even when people do find relationships, modern tech can act—like Edgar—as a wedge between partners. In 2018, Oxford University \u003ca href=\"https://psychcentral.com/blog/4-ways-technology-may-be-ruining-your-relationship/\" target=\"_blank\" rel=\"noopener noreferrer\">researchers found\u003c/a> that people who used five or more electronic methods of communication were less satisfied in their romantic relationships.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>So this Valentine’s Day, sit down with your boo and/or your laptop and watch this quintessentially Bay Area love story. It’s probable that we need it now more than anyone did in 1984.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 'Biggest Loser' is Back—and Atrocious as Ever",
"headTitle": "The ‘Biggest Loser’ is Back—and Atrocious as Ever | KQED",
"content": "\u003cp>Everything you need to know about\u003cem> The Biggest Loser\u003c/em> is right there in the way that it disappeared from screens in 2016.\u003c/p>\n\u003cp>NBC didn’t officially cancel the reality competition. Rather, the network allowed the show to quietly slink away under a dark cloud of controversy. So it’s both astonishing and disappointing that, last week, \u003cem>The Biggest Loser\u003c/em> returned to television—albeit on a smaller channel (the USA Network, owned by NBC) and with significantly less fanfare.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qaGSxaNQoIU\u003c/p>\n\u003cp>In its original 17 seasons, the show—a reality competition in which plus-sized people competed to lose the most weight—was deeply problematic. The demonization of fat and canonization of skinny was initially the most glaring issue. (Let’s not forget that people in the BMI \u003ca href=\"https://www.webmd.com/diet/news/20090625/study-overweight-people-live-longer#1\" target=\"_blank\" rel=\"noopener noreferrer\">“overweight” category actually live longer\u003c/a> than people in both the “normal” and “underweight” ones.) The show’s penchant for routinely humiliating contestants didn’t help matters. And later, damning testimonies from prior participants totally undercut \u003cem>The Biggest Loser\u003c/em>‘s insistence that it was all about good health.\u003c/p>\n\u003cp>In 2007, a Season 3 contestant said she had shed pounds by \u003ca href=\"https://www.nytimes.com/2007/10/18/fashion/18Loser.html?_r=1&oref=slogin\" target=\"_blank\" rel=\"noopener noreferrer\">consciously dehydrating herself\u003c/a> to a dangerous degree, and in 2009, the winner of Season 1 confessed to doing the same thing. Ryan Benson told \u003cem>\u003ca href=\"https://www.nytimes.com/2009/11/25/business/media/25loser.html?pagewanted=all&_r=2&\" target=\"_blank\" rel=\"noopener noreferrer\">The New York Times\u003c/a>\u003c/em> that extreme fasting made him so unwell that, by his finale, he was urinating blood. He has since gained almost all of the weight back—an incredibly \u003ca href=\"https://www.nytimes.com/2016/05/02/health/biggest-loser-weight-loss.html?WT.mc_ev=click&WT.mc_id=NYT-E-I-NYT-E-AT-050516-L2&=&=&em_pos=medium&emc=edit_el_20160505&nl=el&nl=at-times&nl_art=0&nlid=16129359&ref=headline&te=1\" target=\"_blank\" rel=\"noopener noreferrer\">common occurrence\u003c/a> for ex-contestants.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But there were three major death knells that finished \u003cem>The Biggest Loser\u003c/em>‘s original incarnation. One was the controversial 155 pound weight loss that left Season 15 winner Rachel Frederickson looking \u003ca href=\"https://www.youtube.com/watch?v=jihelvZxa7E\" target=\"_blank\" rel=\"noopener noreferrer\">extremely thin\u003c/a> to a point that visibly shocked even renowned \u003ca href=\"https://www.washingtonpost.com/nation/2020/01/09/jillian-michaels-lizzo-fat-shaming/\" target=\"_blank\" rel=\"noopener noreferrer\">fat-shamer\u003c/a> Jillian Michaels. The second was a 2016 study that proved that competing on the show slowed down contestants’ \u003ca href=\"https://onlinelibrary.wiley.com/doi/full/10.1002/oby.21538\" target=\"_blank\" rel=\"noopener noreferrer\">metabolisms\u003c/a> so much that it was nearly impossible to keep the weight off. The third was an \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/nbc-undertook-investigation-biggest-loser-contestants-were-supplied-drugs-1128067\" target=\"_blank\" rel=\"noopener noreferrer\">internal investigation NBC\u003c/a> had to conduct after contestants told the \u003ca href=\"https://nypost.com/2016/05/22/biggest-loser-fed-us-illicit-drugs-to-lose-weight-ex-contestants/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Post\u003c/em>\u003c/a> they had been given FDA-banned diet pills while on the show.\u003c/p>\n\u003cp>Throwing \u003cem>The Biggest Loser\u003c/em> back on TV at this particular cultural moment—one in which a new wave of body positivity seems to actually be gaining some mainstream traction—doesn’t just feel like a step backwards. It feels like a conscious attack. Its return came less than a week after Lizzo and her ballet-dancing \u003ca href=\"https://www.instagram.com/thebiggrrrls/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Big Grrrls\u003c/a> proved on the Grammys stage that being plus-size and fit aren’t mutually exclusive. And it premiered the same week that the second season of \u003ca href=\"https://www.youtube.com/watch?v=KkjStfMAtLI\" target=\"_blank\" rel=\"noopener noreferrer\">Aidy Bryant’s \u003cem>Shrill\u003c/em>\u003c/a>—a show based on the radical notion that fat people are outgoing, successful, sexually desirable people—hit Hulu.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PFlvxnou9UQ\u003c/p>\n\u003cp>And while \u003cem>The Biggest Loser\u003c/em>‘s new marketing strategy promises a show about “overall well-being,” not just thinness, almost nothing has changed. The grand prize ($100,000 now, instead of the $250,000 of old) still goes to “the one who loses the most,” and, glaringly, Bob Harper is still the host. This despite a 2016 report in the \u003ca href=\"https://nypost.com/2016/05/22/biggest-loser-fed-us-illicit-drugs-to-lose-weight-ex-contestants/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Post\u003c/em>\u003c/a> that suggested he facilitated diet pill use.\u003c/p>\n\u003cp>The humiliation of already self-conscious people continues to be a central theme. When not being filmed vomiting into buckets in the gym, contestants are forced to take their shirts off before they’re publicly weighed at the end of each episode. To make matters worse, their shame continues to be exploited in an attempt to give the show emotional depth. In the first new episode, Katarina, Kristi, Kim and Teri all cry on the scales; Jim looks despairing and says he’s “mad”; and Micah describes his shirtless weigh-in as “one of my biggest fears because I hate the way my body looks.”\u003c/p>\n\u003cp>And just like \u003cem>The Biggest Loser\u003c/em> of old, the new show works extraordinarily hard to portray plus-size people as sad husks of humanity, unable to achieve their dreams, inherently undeserving of love and probably on the verge of death—and it frequently uses contestants’ own words to do it. Phi, an already attractive and stylish 36-year-old counsellor says, “As long as you help me get sexy, I’m here for it.” Terri, a 47-year-old flight nurse—meaning she rescues people in a helicopter for a living—says: “I’m at that stage in my life where I either make the dreams happen, or let them go—and I’m not ready to let them go yet.”\u003c/p>\n\u003cp>When the new\u003cem> Biggest Loser\u003c/em> does attempt changes, they’re minor to the point of tokenism. At one point, Harper sits the contestants down on couches and promises to “give them a place just to get together and talk,” only to instead terrify them all with test results that tell them how likely they are “to die of an obesity-related complication.” (No word on how many years into the future those deaths may occur, so most contestants assume it’s imminent and cry accordingly.)\u003c/p>\n\u003cp>There has also been a shift with the coaches, most notably with red team coach Erica Lugo, a single mom who lost 160 pounds after the birth of her son. First impressions paint her as both likable and sympathetic. “I wanna change the way that others think about those that struggle with their weight,” she says. “Lazy, fat, gross—I know those words were thought about me at one point. These people are none of those words.”\u003c/p>\n\u003cp>An attempt to make blue team coach Steve Cook—whose entire career has been spent in the sports and fitness industries—more sympathetic with a confession of binge-eating between photoshoots is far less successful.\u003c/p>\n\u003cp>And the new coaches continue to peddle the idea that fat equals sick. At various points, Cook says the show will “literally save your life.” In the gym, Lugo asks the oldest contestant there, “If we don’t do this now, where are we going to end up?” He responds dutifully: “Dead.” This messaging works: at one point Phi despairs, “I don’t want to die prematurely because I ate my life away.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Pinning health and weight loss to one another with so little nuance doesn’t just peddle falsehoods that are already overly ingrained in society, it enables fatphobia. That the show is continuing with the same-old, same-old—even after so many holes were picked in its ideas and methodology the first time around—speaks volumes about how much America is still willing to otherize plus-sized people. Let’s just hope it slinks back into the darkness a lot sooner than it did the first time around.\u003c/p>\n\n",
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"excerpt": "Controversies about extreme fasting drove 'The Biggest Loser' off air. Now it's back—and almost nothing has changed. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everything you need to know about\u003cem> The Biggest Loser\u003c/em> is right there in the way that it disappeared from screens in 2016.\u003c/p>\n\u003cp>NBC didn’t officially cancel the reality competition. Rather, the network allowed the show to quietly slink away under a dark cloud of controversy. So it’s both astonishing and disappointing that, last week, \u003cem>The Biggest Loser\u003c/em> returned to television—albeit on a smaller channel (the USA Network, owned by NBC) and with significantly less fanfare.\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/qaGSxaNQoIU'\n title='//www.youtube.com/embed/qaGSxaNQoIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In its original 17 seasons, the show—a reality competition in which plus-sized people competed to lose the most weight—was deeply problematic. The demonization of fat and canonization of skinny was initially the most glaring issue. (Let’s not forget that people in the BMI \u003ca href=\"https://www.webmd.com/diet/news/20090625/study-overweight-people-live-longer#1\" target=\"_blank\" rel=\"noopener noreferrer\">“overweight” category actually live longer\u003c/a> than people in both the “normal” and “underweight” ones.) The show’s penchant for routinely humiliating contestants didn’t help matters. And later, damning testimonies from prior participants totally undercut \u003cem>The Biggest Loser\u003c/em>‘s insistence that it was all about good health.\u003c/p>\n\u003cp>In 2007, a Season 3 contestant said she had shed pounds by \u003ca href=\"https://www.nytimes.com/2007/10/18/fashion/18Loser.html?_r=1&oref=slogin\" target=\"_blank\" rel=\"noopener noreferrer\">consciously dehydrating herself\u003c/a> to a dangerous degree, and in 2009, the winner of Season 1 confessed to doing the same thing. Ryan Benson told \u003cem>\u003ca href=\"https://www.nytimes.com/2009/11/25/business/media/25loser.html?pagewanted=all&_r=2&\" target=\"_blank\" rel=\"noopener noreferrer\">The New York Times\u003c/a>\u003c/em> that extreme fasting made him so unwell that, by his finale, he was urinating blood. He has since gained almost all of the weight back—an incredibly \u003ca href=\"https://www.nytimes.com/2016/05/02/health/biggest-loser-weight-loss.html?WT.mc_ev=click&WT.mc_id=NYT-E-I-NYT-E-AT-050516-L2&=&=&em_pos=medium&emc=edit_el_20160505&nl=el&nl=at-times&nl_art=0&nlid=16129359&ref=headline&te=1\" target=\"_blank\" rel=\"noopener noreferrer\">common occurrence\u003c/a> for ex-contestants.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But there were three major death knells that finished \u003cem>The Biggest Loser\u003c/em>‘s original incarnation. One was the controversial 155 pound weight loss that left Season 15 winner Rachel Frederickson looking \u003ca href=\"https://www.youtube.com/watch?v=jihelvZxa7E\" target=\"_blank\" rel=\"noopener noreferrer\">extremely thin\u003c/a> to a point that visibly shocked even renowned \u003ca href=\"https://www.washingtonpost.com/nation/2020/01/09/jillian-michaels-lizzo-fat-shaming/\" target=\"_blank\" rel=\"noopener noreferrer\">fat-shamer\u003c/a> Jillian Michaels. The second was a 2016 study that proved that competing on the show slowed down contestants’ \u003ca href=\"https://onlinelibrary.wiley.com/doi/full/10.1002/oby.21538\" target=\"_blank\" rel=\"noopener noreferrer\">metabolisms\u003c/a> so much that it was nearly impossible to keep the weight off. The third was an \u003ca href=\"https://www.hollywoodreporter.com/thr-esq/nbc-undertook-investigation-biggest-loser-contestants-were-supplied-drugs-1128067\" target=\"_blank\" rel=\"noopener noreferrer\">internal investigation NBC\u003c/a> had to conduct after contestants told the \u003ca href=\"https://nypost.com/2016/05/22/biggest-loser-fed-us-illicit-drugs-to-lose-weight-ex-contestants/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Post\u003c/em>\u003c/a> they had been given FDA-banned diet pills while on the show.\u003c/p>\n\u003cp>Throwing \u003cem>The Biggest Loser\u003c/em> back on TV at this particular cultural moment—one in which a new wave of body positivity seems to actually be gaining some mainstream traction—doesn’t just feel like a step backwards. It feels like a conscious attack. Its return came less than a week after Lizzo and her ballet-dancing \u003ca href=\"https://www.instagram.com/thebiggrrrls/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">Big Grrrls\u003c/a> proved on the Grammys stage that being plus-size and fit aren’t mutually exclusive. And it premiered the same week that the second season of \u003ca href=\"https://www.youtube.com/watch?v=KkjStfMAtLI\" target=\"_blank\" rel=\"noopener noreferrer\">Aidy Bryant’s \u003cem>Shrill\u003c/em>\u003c/a>—a show based on the radical notion that fat people are outgoing, successful, sexually desirable people—hit Hulu.\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/PFlvxnou9UQ'\n title='//www.youtube.com/embed/PFlvxnou9UQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And while \u003cem>The Biggest Loser\u003c/em>‘s new marketing strategy promises a show about “overall well-being,” not just thinness, almost nothing has changed. The grand prize ($100,000 now, instead of the $250,000 of old) still goes to “the one who loses the most,” and, glaringly, Bob Harper is still the host. This despite a 2016 report in the \u003ca href=\"https://nypost.com/2016/05/22/biggest-loser-fed-us-illicit-drugs-to-lose-weight-ex-contestants/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Post\u003c/em>\u003c/a> that suggested he facilitated diet pill use.\u003c/p>\n\u003cp>The humiliation of already self-conscious people continues to be a central theme. When not being filmed vomiting into buckets in the gym, contestants are forced to take their shirts off before they’re publicly weighed at the end of each episode. To make matters worse, their shame continues to be exploited in an attempt to give the show emotional depth. In the first new episode, Katarina, Kristi, Kim and Teri all cry on the scales; Jim looks despairing and says he’s “mad”; and Micah describes his shirtless weigh-in as “one of my biggest fears because I hate the way my body looks.”\u003c/p>\n\u003cp>And just like \u003cem>The Biggest Loser\u003c/em> of old, the new show works extraordinarily hard to portray plus-size people as sad husks of humanity, unable to achieve their dreams, inherently undeserving of love and probably on the verge of death—and it frequently uses contestants’ own words to do it. Phi, an already attractive and stylish 36-year-old counsellor says, “As long as you help me get sexy, I’m here for it.” Terri, a 47-year-old flight nurse—meaning she rescues people in a helicopter for a living—says: “I’m at that stage in my life where I either make the dreams happen, or let them go—and I’m not ready to let them go yet.”\u003c/p>\n\u003cp>When the new\u003cem> Biggest Loser\u003c/em> does attempt changes, they’re minor to the point of tokenism. At one point, Harper sits the contestants down on couches and promises to “give them a place just to get together and talk,” only to instead terrify them all with test results that tell them how likely they are “to die of an obesity-related complication.” (No word on how many years into the future those deaths may occur, so most contestants assume it’s imminent and cry accordingly.)\u003c/p>\n\u003cp>There has also been a shift with the coaches, most notably with red team coach Erica Lugo, a single mom who lost 160 pounds after the birth of her son. First impressions paint her as both likable and sympathetic. “I wanna change the way that others think about those that struggle with their weight,” she says. “Lazy, fat, gross—I know those words were thought about me at one point. These people are none of those words.”\u003c/p>\n\u003cp>An attempt to make blue team coach Steve Cook—whose entire career has been spent in the sports and fitness industries—more sympathetic with a confession of binge-eating between photoshoots is far less successful.\u003c/p>\n\u003cp>And the new coaches continue to peddle the idea that fat equals sick. At various points, Cook says the show will “literally save your life.” In the gym, Lugo asks the oldest contestant there, “If we don’t do this now, where are we going to end up?” He responds dutifully: “Dead.” This messaging works: at one point Phi despairs, “I don’t want to die prematurely because I ate my life away.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pinning health and weight loss to one another with so little nuance doesn’t just peddle falsehoods that are already overly ingrained in society, it enables fatphobia. That the show is continuing with the same-old, same-old—even after so many holes were picked in its ideas and methodology the first time around—speaks volumes about how much America is still willing to otherize plus-sized people. Let’s just hope it slinks back into the darkness a lot sooner than it did the first time around.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Super Bowl Commercials 2020: Strange, Smaaht, And So Very Expensive",
"headTitle": "Super Bowl Commercials 2020: Strange, Smaaht, And So Very Expensive | KQED",
"content": "\u003cp>This year’s Super Bowl commercials were packed with superstar cameos and in-your-face messages — from Ellen DeGeneres \u003ca href=\"https://www.youtube.com/watch?v=RF9t2rFmTVE&feature=emb_title\">speaking up\u003c/a> for Amazon’s Alexa to an ad about \u003ca href=\"https://www.youtube.com/watch?v=ANarZ_113Xc\">organic farmland.\u003c/a> But they had a few unintended messages, too.\u003c/p>\n\u003cp>These were the stories America’s largest corporations developed to entertain, inform and sell products on the biggest stage in television – costing as much as $5.6 million per 30 seconds this year. Sometimes, those stories said a lot more than their sponsors may have intended.\u003c/p>\n\u003cp>Consider Kia’s spot, featuring Raiders running back Josh Jacobs driving an SUV, imagining what advice he would give his younger self. Jacobs grew up homeless on the streets of Tulsa, Okla.; in the ad, he’s watching a young black boy sprint across the broken streets of Tulsa’s struggling neighborhoods. “Push yourself to be someone,” Jacobs says, “and I promise, someday, you will.”\u003c/p>\n\u003cp>https://youtu.be/YyMev6_XZ9s\u003c/p>\n\u003cp>It’s nice message for a day centered on scarfing snacks and watching football. But for anyone who knows how unlikely it is for a kid to actually \u003cem>become\u003c/em> a pro football player, it’s also a sobering reminder of how much young people who aren’t blessed with NFL-level athletic skills will have to achieve to escape similar circumstances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a look at some other ads that sent double messages, along with some of the more entertaining, provocative and just plain weird commercials aired on the biggest global showcase for TV advertising:\u003c/p>\n\u003cp>\u003cstrong>Oddest use of vaguely nationalistic language to sell beer: Budweiser’s “Typical American”\u003c/strong>\u003c/p>\n\u003cp>The self-styled “king of beers” offers some championship-level pandering in this ad, which features a gritty-voiced announcer sarcastically noting how “typical Americans” are always showing off their strength — as images of a heroic firefighter in action play across the screen. The ad urges viewers to celebrate the nobility of “typical Americans.” But I couldn’t help wonder who the narrator was referencing when he said, “they call us ‘typical Americans.’ ” Who exactly is “they?” And why is Budweiser developing brand loyalty by urging “typical Americans” to rise up against this unnamed source of insult? Vaguely nationalistic, condescending and solicitous all at once — hardly a regal combination.\u003c/p>\n\u003cp>https://youtu.be/yt-zXuAAD6Q\u003c/p>\n\u003cp>\u003cstrong>Best wishful thinking: Little Caesars’ “Best Thing Since Sliced Bread”\u003c/strong>\u003c/p>\n\u003cp>A customer getting a Little Caesars pizza delivered calls it the “best thing since sliced bread.” This sends a company called “Sliced Bread” — led by an increasingly grizzled Rainn Wilson — into a panic, which involves crying jags and chaotic office meetings with one employee riding an ostrich around. (Really.) But anyone who has tasted Little Caesars’ takeout pizza knows sliced bread probably doesn’t have much to worry about. \u003c/p>\n\u003cp>https://youtu.be/vnLBmYCHjZI\u003c/p>\n\u003cp>\u003cstrong>Savviest use of a billionaire’s pizza money: Michael Bloomberg’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>A \u003cem>Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/graphics/2020/politics/wealth-comparison/\">analysis found\u003c/a> that if Bloomberg spent $11 million on his Super Bowl ad, it would impact his net worth like the average American buying a pizza. For that pocket money, Bloomberg crafted a spot focused on his efforts to secure tougher gun laws, featuring the mother of George Kemp Jr. — a young black man who dreamed of playing in the NFL, shot dead after an altercation in 2013. The ad doesn’t mention Trump or any Democratic contenders and barely features Bloomberg, who has faced sharp questions over how his stop and frisk policies disproportionately affected people of color while he was mayor of New York. A bold example of buying your way past racial controversy and into the political conversation.\u003c/p>\n\u003cp>https://youtu.be/9Yp0yN8UxVg\u003c/p>\n\u003cp>\u003cstrong>Look on the bright side award: Donald Trump’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>The president aired two ads during the Super Bowl; one featured Alice Johnson, a woman whose life sentence Trump commuted after lobbying from Kim Kardashian. The other was a more traditional campaign ad with shots of the military and Trump at his beloved rallies, as complimentary economic statistics displayed on the screen featuring the tagline “Stronger, safer, more prosperous.” One ad seemed aimed right at his base supporters, while the other was a rare pitch to those who might not be among his core voters. Impeachment? What impeachment?\u003c/p>\n\u003cp>https://youtu.be/m4sVnOsXlAA\u003c/p>\n\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 1: Post Malone for Bud Light\u003c/strong>\u003c/p>\n\u003cp>There were actually two ads created starring the heavily tattooed rapper/songwriter: Fans picked the one that would land in the game. Both took viewers inside Malone’s mind as various characters debated his reaction to drinking Bud Light hard seltzer. My fave, which didn’t air during the Big Game, shows Malone, who has tats around his eyebrows and eyes, decked out in a white sweater yelling at his spleen in a bar, like an accountant on mescaline.\u003c/p>\n\u003cp>https://youtu.be/pj1meOmpezs\u003c/p>\n\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 2: MC Hammer for Cheetos\u003c/strong>\u003c/p>\n\u003cp>Hammer’s head pops out of a rolled-up carpet and a coiled water hose as his signature hit “U Can’t Touch This” plays. The joke: A young guy eating new Cheetos popcorn can’t touch anything — declining to help somebody move furniture, for example — because his fingers are coated in yellow dust. Why Cheetos would remind us of one of the most annoying elements of its product in a mega-expensive Super Bowl commercial is beyond me. But I’m glad to see Hammer can still squeeze into those genie pants.\u003c/p>\n\u003cp>https://youtu.be/qgQllY4GtkE\u003c/p>\n\u003cp>\u003cstrong>Best use of a ’90s movie to sell a modern product: Jeep’s “Groundhog Day”\u003c/strong>\u003c/p>\n\u003cp>Bill Murray provides one of the best celebrity Super Bowl ad appearances this year, re-creating his 1993 movie \u003cem>Groundhog Day\u003c/em> with a twist. This time, he steals the groundhog in a Jeep Gladiator truck, living a new adventure every day thanks to his great car. The scene where Murray is playing a Whack-A-Mole game, assuring the groundhog it’s nothing personal, was simply priceless.\u003c/p>\n\u003cp>https://youtu.be/AnhzGUcENWo\u003c/p>\n\u003cp>\u003cstrong>Best use of a Boston accent since \u003c/strong>\u003cstrong>\u003cem>The Departed\u003c/em>\u003c/strong>\u003cstrong>: Hyundai’s Smaaht Paahk\u003c/strong>\u003c/p>\n\u003cp>The carmaker won the pre-Super Bowl competition for attention with this ad — featured in loads of preview stories about the game’s commercials — with Chris Evans, Rachel Dratch and John Krasinski deploying their best Boston \u003cem>patois\u003c/em>. They’re touting Hyundai’s “remote smart park” feature, which guides cars into tight spaces on its own, while lampooning all the cartoonishly thick accents actors take on for roles set in Beantown. (Best of all, the ad has subtitles with words like “caah,” “paahk” “smahtypants” and “clickah.”)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://youtu.be/85iRQdjCzj0\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=Super+Bowl+Ads+2020%3A+Strange%2C+Serious%2C+Smaaht%2C+And+So+Very+Expensive&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s Super Bowl commercials were packed with superstar cameos and in-your-face messages — from Ellen DeGeneres \u003ca href=\"https://www.youtube.com/watch?v=RF9t2rFmTVE&feature=emb_title\">speaking up\u003c/a> for Amazon’s Alexa to an ad about \u003ca href=\"https://www.youtube.com/watch?v=ANarZ_113Xc\">organic farmland.\u003c/a> But they had a few unintended messages, too.\u003c/p>\n\u003cp>These were the stories America’s largest corporations developed to entertain, inform and sell products on the biggest stage in television – costing as much as $5.6 million per 30 seconds this year. Sometimes, those stories said a lot more than their sponsors may have intended.\u003c/p>\n\u003cp>Consider Kia’s spot, featuring Raiders running back Josh Jacobs driving an SUV, imagining what advice he would give his younger self. Jacobs grew up homeless on the streets of Tulsa, Okla.; in the ad, he’s watching a young black boy sprint across the broken streets of Tulsa’s struggling neighborhoods. “Push yourself to be someone,” Jacobs says, “and I promise, someday, you will.”\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/YyMev6_XZ9s'\n title='//www.youtube.com/embed/YyMev6_XZ9s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s nice message for a day centered on scarfing snacks and watching football. But for anyone who knows how unlikely it is for a kid to actually \u003cem>become\u003c/em> a pro football player, it’s also a sobering reminder of how much young people who aren’t blessed with NFL-level athletic skills will have to achieve to escape similar circumstances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s a look at some other ads that sent double messages, along with some of the more entertaining, provocative and just plain weird commercials aired on the biggest global showcase for TV advertising:\u003c/p>\n\u003cp>\u003cstrong>Oddest use of vaguely nationalistic language to sell beer: Budweiser’s “Typical American”\u003c/strong>\u003c/p>\n\u003cp>The self-styled “king of beers” offers some championship-level pandering in this ad, which features a gritty-voiced announcer sarcastically noting how “typical Americans” are always showing off their strength — as images of a heroic firefighter in action play across the screen. The ad urges viewers to celebrate the nobility of “typical Americans.” But I couldn’t help wonder who the narrator was referencing when he said, “they call us ‘typical Americans.’ ” Who exactly is “they?” And why is Budweiser developing brand loyalty by urging “typical Americans” to rise up against this unnamed source of insult? Vaguely nationalistic, condescending and solicitous all at once — hardly a regal combination.\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/yt-zXuAAD6Q'\n title='//www.youtube.com/embed/yt-zXuAAD6Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best wishful thinking: Little Caesars’ “Best Thing Since Sliced Bread”\u003c/strong>\u003c/p>\n\u003cp>A customer getting a Little Caesars pizza delivered calls it the “best thing since sliced bread.” This sends a company called “Sliced Bread” — led by an increasingly grizzled Rainn Wilson — into a panic, which involves crying jags and chaotic office meetings with one employee riding an ostrich around. (Really.) But anyone who has tasted Little Caesars’ takeout pizza knows sliced bread probably doesn’t have much to worry about. \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/vnLBmYCHjZI'\n title='//www.youtube.com/embed/vnLBmYCHjZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Savviest use of a billionaire’s pizza money: Michael Bloomberg’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>A \u003cem>Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/graphics/2020/politics/wealth-comparison/\">analysis found\u003c/a> that if Bloomberg spent $11 million on his Super Bowl ad, it would impact his net worth like the average American buying a pizza. For that pocket money, Bloomberg crafted a spot focused on his efforts to secure tougher gun laws, featuring the mother of George Kemp Jr. — a young black man who dreamed of playing in the NFL, shot dead after an altercation in 2013. The ad doesn’t mention Trump or any Democratic contenders and barely features Bloomberg, who has faced sharp questions over how his stop and frisk policies disproportionately affected people of color while he was mayor of New York. A bold example of buying your way past racial controversy and into the political conversation.\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/9Yp0yN8UxVg'\n title='//www.youtube.com/embed/9Yp0yN8UxVg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Look on the bright side award: Donald Trump’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>The president aired two ads during the Super Bowl; one featured Alice Johnson, a woman whose life sentence Trump commuted after lobbying from Kim Kardashian. The other was a more traditional campaign ad with shots of the military and Trump at his beloved rallies, as complimentary economic statistics displayed on the screen featuring the tagline “Stronger, safer, more prosperous.” One ad seemed aimed right at his base supporters, while the other was a rare pitch to those who might not be among his core voters. Impeachment? What impeachment?\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/m4sVnOsXlAA'\n title='//www.youtube.com/embed/m4sVnOsXlAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 1: Post Malone for Bud Light\u003c/strong>\u003c/p>\n\u003cp>There were actually two ads created starring the heavily tattooed rapper/songwriter: Fans picked the one that would land in the game. Both took viewers inside Malone’s mind as various characters debated his reaction to drinking Bud Light hard seltzer. My fave, which didn’t air during the Big Game, shows Malone, who has tats around his eyebrows and eyes, decked out in a white sweater yelling at his spleen in a bar, like an accountant on mescaline.\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/pj1meOmpezs'\n title='//www.youtube.com/embed/pj1meOmpezs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 2: MC Hammer for Cheetos\u003c/strong>\u003c/p>\n\u003cp>Hammer’s head pops out of a rolled-up carpet and a coiled water hose as his signature hit “U Can’t Touch This” plays. The joke: A young guy eating new Cheetos popcorn can’t touch anything — declining to help somebody move furniture, for example — because his fingers are coated in yellow dust. Why Cheetos would remind us of one of the most annoying elements of its product in a mega-expensive Super Bowl commercial is beyond me. But I’m glad to see Hammer can still squeeze into those genie pants.\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/qgQllY4GtkE'\n title='//www.youtube.com/embed/qgQllY4GtkE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best use of a ’90s movie to sell a modern product: Jeep’s “Groundhog Day”\u003c/strong>\u003c/p>\n\u003cp>Bill Murray provides one of the best celebrity Super Bowl ad appearances this year, re-creating his 1993 movie \u003cem>Groundhog Day\u003c/em> with a twist. This time, he steals the groundhog in a Jeep Gladiator truck, living a new adventure every day thanks to his great car. The scene where Murray is playing a Whack-A-Mole game, assuring the groundhog it’s nothing personal, was simply priceless.\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/AnhzGUcENWo'\n title='//www.youtube.com/embed/AnhzGUcENWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best use of a Boston accent since \u003c/strong>\u003cstrong>\u003cem>The Departed\u003c/em>\u003c/strong>\u003cstrong>: Hyundai’s Smaaht Paahk\u003c/strong>\u003c/p>\n\u003cp>The carmaker won the pre-Super Bowl competition for attention with this ad — featured in loads of preview stories about the game’s commercials — with Chris Evans, Rachel Dratch and John Krasinski deploying their best Boston \u003cem>patois\u003c/em>. They’re touting Hyundai’s “remote smart park” feature, which guides cars into tight spaces on its own, while lampooning all the cartoonishly thick accents actors take on for roles set in Beantown. (Best of all, the ad has subtitles with words like “caah,” “paahk” “smahtypants” and “clickah.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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/85iRQdjCzj0'\n title='//www.youtube.com/embed/85iRQdjCzj0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Super+Bowl+Ads+2020%3A+Strange%2C+Serious%2C+Smaaht%2C+And+So+Very+Expensive&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "the-weird-and-not-very-wonderful-history-of-the-super-bowl-halftime-show",
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"content": "\u003cp>For non-football types, the Super Bowl halftime show can be the only life raft in a confusing sea of frowning men wearing shoulder pads and over-long commercial breaks. And, since 1993, when Michael Jackson turned in his game-changing, five-song performance in Pasadena, standards for a successful halftime have been incredibly high.\u003c/p>\n\u003cp>No wonder. Super Bowl \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_television_ratings\" target=\"_blank\" rel=\"noopener noreferrer\">viewing figures\u003c/a> haven’t fallen under 100 million since 1981, and are more commonly closer to the 150 million mark—and that’s in America alone.\u003c/p>\n\u003cp>[aside postid='pop_20247']When it’s done right, the halftime show can be a source of national pride (as when \u003ca href=\"https://www.youtube.com/watch?v=pH5tHgXS-2M\" target=\"_blank\" rel=\"noopener noreferrer\">U2 tried to heal\u003c/a> the nation after 9/11). It can have an immediate and lasting impact on pop culture (Katy Perry’s \u003ca href=\"https://www.youtube.com/watch?v=ZD1QrIe--_Y\" target=\"_blank\" rel=\"noopener noreferrer\">Left Shark\u003c/a> will live on as a\u003ca href=\"https://knowyourmeme.com/memes/super-bowl-xlix-halftime-left-shark\" target=\"_blank\" rel=\"noopener noreferrer\"> meme\u003c/a> forever). And it can bring the country together during turbulent times (everyone stopped thinking about 2017’s divisive inauguration the second \u003ca href=\"https://www.youtube.com/watch?v=txXwg712zw4\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga threw herself\u003c/a> off the top of that stadium).\u003c/p>\n\u003cp>So it’s easy to forget quite how much the pre-Jackson Super Bowl halftime, well, sucked.\u003c/p>\n\u003cp>Going all the way back to the beginning, the first three halftime shows (’67-’69) consisted simply of \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">marching bands\u003c/a>. In 1970, when the NFL decided to jazz things up \u003ca href=\"https://www.theguardian.com/sport/2016/feb/06/carol-channing-super-bowl-broadway\" target=\"_blank\" rel=\"noopener noreferrer\">for Super Bowl IV\u003c/a> in New Orleans, it saw fit to give America \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">a surreal reenactment\u003c/a> of the 1815 Battle of New Orleans. Cannons, on-field “deaths” and Carol Channing singing “When the Saints Go Marching In” were all involved. (All of which makes \u003ca href=\"https://www.youtube.com/watch?v=NGRfz5_Cuo8\" target=\"_blank\" rel=\"noopener noreferrer\">Black Eyed Peas’ \u003cem>Tron\u003c/em> musical \u003c/a>in 2011 look perfectly reasonable.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carol Channing was invited back again two years later, when Ella Fitzgerald and Al Hirt performed a rendition of “Mack the Knife” as part of a single-song “tribute to Louis Armstrong.” And by ’73, Andy Williams had been dragged in to pelt the crowd with two easy listening gems while the Michigan Marching Band did its thing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ny-1Q6qxn-A\u003c/p>\n\u003cp>Despite the fact that the flashiest thing about Williams’ performance was his belt, in subsequent years, the decision was made to return to simpler times. For the next 15 years, marching bands performing a grab bag of “themes” dominated.\u003c/p>\n\u003cp>These regimented “salutes” ranged from fairly reasonable celebrations (America’s bicentennial, “the Big Band era,” Hollywood’s 100th Anniversary), to totally random subjects (Duke Ellington, the Caribbean, Motown). And in between, there were moments of abject surreality (“World of Children’s Dreams,” “KaleidoSUPERscope” and “Beat of the Future,” anyone?)\u003c/p>\n\u003cp>Occasionally, flagrant advertising would interrupt proceedings—even more so than Pepsi does now. The most egregious example of this was 1977’s “It’s a Small World.” Produced by The Walt Disney Company, the halftime exhibition featured grinning but under-utilized Mouseketeers, a human reproduction of Disneyland’s “It’s a Small World” ride and, for reasons that remain unclear, green-hooded figures waving white sheets in formations that made… nothing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-K-7je-6Dk0\u003c/p>\n\u003cp>1987’s “\u003ca href=\"https://www.youtube.com/watch?v=oSXMNbK2e98\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood’s 100th Anniversary\u003c/a>” special with George Burns, as well as New Kids On The Block’s \u003ca href=\"https://www.youtube.com/watch?v=ZTOt6CjYaHc\" target=\"_blank\" rel=\"noopener noreferrer\">weird, child-laden\u003c/a> set in 1991 also served as thinly-veiled Disney commercials.\u003c/p>\n\u003cp>[aside postid='arts_13863975']As late as 1989, the Super Bowl halftime show was such a mess, \u003ca href=\"https://www.youtube.com/watch?v=VqusO8PegFI&t=381s\" target=\"_blank\" rel=\"noopener noreferrer\">the NFL thought nothing of bringing in Elvis Presto, a magician and Elvis impersonator\u003c/a> who spent his time on the field doing one large-scale card trick for the stadium, then a bunch of smaller illusions while singing “Do You Love Me” by The Contours—instead of, you know, an Elvis song.\u003c/p>\n\u003cp>The most noteworthy halftime of that period came in 1988 with a show that answered the question: What happens when you have too many ideas and decide to do all of them at the same time?\u003c/p>\n\u003cp>The final result, featuring 88 grand pianos, 44 Rockettes, four dudes on roller skates, an untold number of “dancersizers,” hundreds of cheerleaders, “the biggest big band ever to swing” and—wouldn’t you know it?—Chubby Checker, is the single most entertaining (and unintentionally hilarious) halftime show of all time. Behold its majesty:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wqrksVDVO6w\u003c/p>\n\u003cp>In the last 25 years, the strides made by the Super Bowl halftime show are immense. But we still find reasons to quibble. For every \u003ca href=\"https://www.youtube.com/watch?v=sLrOSZi2pfw\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny’s Child reunion\u003c/a>, there is a \u003ca href=\"https://www.youtube.com/watch?v=0wL8sAr1Ym0\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars trying\u003c/a> (and failing) to make it work with Red Hot Chili Peppers. For every \u003ca href=\"https://www.youtube.com/watch?v=7NN3gsSf-Ys&t=105s\" target=\"_blank\" rel=\"noopener noreferrer\">Prince flawlessly powering through\u003c/a> a thunderstorm, there is an \u003ca href=\"https://www.youtube.com/watch?v=zIwkhEqVq4s\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Levine\u003c/a> assuming that removing his shirt constitutes a grand finale. And for every \u003ca href=\"https://www.youtube.com/watch?v=i4-0nbHFi4o\" target=\"_blank\" rel=\"noopener noreferrer\">inter-generationally loved Bruce Springsteen set\u003c/a>, there’s an \u003ca href=\"https://www.youtube.com/watch?v=X3ik_8QjM3U\" target=\"_blank\" rel=\"noopener noreferrer\">M.I.A. middle finger\u003c/a> or a \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener noreferrer\">Janet Jackson nipple guard\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_20175']Right now, there are three guarantees when it comes to the Super Bowl halftime show. It \u003cem>will\u003c/em> be spectacular, it \u003cem>won’t\u003c/em> please everyone and, even at its worst, it’s still about a million times better than it was in its fledgling years. So this Sunday, if you happen to end up sitting next to someone complaining, feel free to send them a gentle reminder of how bad things used to be. The \u003cem>Peanuts\u003c/em>-related fever dream below ought to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X4zzu4Jrl4o\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For non-football types, the Super Bowl halftime show can be the only life raft in a confusing sea of frowning men wearing shoulder pads and over-long commercial breaks. And, since 1993, when Michael Jackson turned in his game-changing, five-song performance in Pasadena, standards for a successful halftime have been incredibly high.\u003c/p>\n\u003cp>No wonder. Super Bowl \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_television_ratings\" target=\"_blank\" rel=\"noopener noreferrer\">viewing figures\u003c/a> haven’t fallen under 100 million since 1981, and are more commonly closer to the 150 million mark—and that’s in America alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When it’s done right, the halftime show can be a source of national pride (as when \u003ca href=\"https://www.youtube.com/watch?v=pH5tHgXS-2M\" target=\"_blank\" rel=\"noopener noreferrer\">U2 tried to heal\u003c/a> the nation after 9/11). It can have an immediate and lasting impact on pop culture (Katy Perry’s \u003ca href=\"https://www.youtube.com/watch?v=ZD1QrIe--_Y\" target=\"_blank\" rel=\"noopener noreferrer\">Left Shark\u003c/a> will live on as a\u003ca href=\"https://knowyourmeme.com/memes/super-bowl-xlix-halftime-left-shark\" target=\"_blank\" rel=\"noopener noreferrer\"> meme\u003c/a> forever). And it can bring the country together during turbulent times (everyone stopped thinking about 2017’s divisive inauguration the second \u003ca href=\"https://www.youtube.com/watch?v=txXwg712zw4\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga threw herself\u003c/a> off the top of that stadium).\u003c/p>\n\u003cp>So it’s easy to forget quite how much the pre-Jackson Super Bowl halftime, well, sucked.\u003c/p>\n\u003cp>Going all the way back to the beginning, the first three halftime shows (’67-’69) consisted simply of \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">marching bands\u003c/a>. In 1970, when the NFL decided to jazz things up \u003ca href=\"https://www.theguardian.com/sport/2016/feb/06/carol-channing-super-bowl-broadway\" target=\"_blank\" rel=\"noopener noreferrer\">for Super Bowl IV\u003c/a> in New Orleans, it saw fit to give America \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">a surreal reenactment\u003c/a> of the 1815 Battle of New Orleans. Cannons, on-field “deaths” and Carol Channing singing “When the Saints Go Marching In” were all involved. (All of which makes \u003ca href=\"https://www.youtube.com/watch?v=NGRfz5_Cuo8\" target=\"_blank\" rel=\"noopener noreferrer\">Black Eyed Peas’ \u003cem>Tron\u003c/em> musical \u003c/a>in 2011 look perfectly reasonable.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carol Channing was invited back again two years later, when Ella Fitzgerald and Al Hirt performed a rendition of “Mack the Knife” as part of a single-song “tribute to Louis Armstrong.” And by ’73, Andy Williams had been dragged in to pelt the crowd with two easy listening gems while the Michigan Marching Band did its thing.\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/ny-1Q6qxn-A'\n title='//www.youtube.com/embed/ny-1Q6qxn-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the fact that the flashiest thing about Williams’ performance was his belt, in subsequent years, the decision was made to return to simpler times. For the next 15 years, marching bands performing a grab bag of “themes” dominated.\u003c/p>\n\u003cp>These regimented “salutes” ranged from fairly reasonable celebrations (America’s bicentennial, “the Big Band era,” Hollywood’s 100th Anniversary), to totally random subjects (Duke Ellington, the Caribbean, Motown). And in between, there were moments of abject surreality (“World of Children’s Dreams,” “KaleidoSUPERscope” and “Beat of the Future,” anyone?)\u003c/p>\n\u003cp>Occasionally, flagrant advertising would interrupt proceedings—even more so than Pepsi does now. The most egregious example of this was 1977’s “It’s a Small World.” Produced by The Walt Disney Company, the halftime exhibition featured grinning but under-utilized Mouseketeers, a human reproduction of Disneyland’s “It’s a Small World” ride and, for reasons that remain unclear, green-hooded figures waving white sheets in formations that made… nothing.\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-7je-6Dk0'\n title='//www.youtube.com/embed/-K-7je-6Dk0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1987’s “\u003ca href=\"https://www.youtube.com/watch?v=oSXMNbK2e98\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood’s 100th Anniversary\u003c/a>” special with George Burns, as well as New Kids On The Block’s \u003ca href=\"https://www.youtube.com/watch?v=ZTOt6CjYaHc\" target=\"_blank\" rel=\"noopener noreferrer\">weird, child-laden\u003c/a> set in 1991 also served as thinly-veiled Disney commercials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As late as 1989, the Super Bowl halftime show was such a mess, \u003ca href=\"https://www.youtube.com/watch?v=VqusO8PegFI&t=381s\" target=\"_blank\" rel=\"noopener noreferrer\">the NFL thought nothing of bringing in Elvis Presto, a magician and Elvis impersonator\u003c/a> who spent his time on the field doing one large-scale card trick for the stadium, then a bunch of smaller illusions while singing “Do You Love Me” by The Contours—instead of, you know, an Elvis song.\u003c/p>\n\u003cp>The most noteworthy halftime of that period came in 1988 with a show that answered the question: What happens when you have too many ideas and decide to do all of them at the same time?\u003c/p>\n\u003cp>The final result, featuring 88 grand pianos, 44 Rockettes, four dudes on roller skates, an untold number of “dancersizers,” hundreds of cheerleaders, “the biggest big band ever to swing” and—wouldn’t you know it?—Chubby Checker, is the single most entertaining (and unintentionally hilarious) halftime show of all time. Behold its majesty:\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/wqrksVDVO6w'\n title='//www.youtube.com/embed/wqrksVDVO6w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last 25 years, the strides made by the Super Bowl halftime show are immense. But we still find reasons to quibble. For every \u003ca href=\"https://www.youtube.com/watch?v=sLrOSZi2pfw\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny’s Child reunion\u003c/a>, there is a \u003ca href=\"https://www.youtube.com/watch?v=0wL8sAr1Ym0\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars trying\u003c/a> (and failing) to make it work with Red Hot Chili Peppers. For every \u003ca href=\"https://www.youtube.com/watch?v=7NN3gsSf-Ys&t=105s\" target=\"_blank\" rel=\"noopener noreferrer\">Prince flawlessly powering through\u003c/a> a thunderstorm, there is an \u003ca href=\"https://www.youtube.com/watch?v=zIwkhEqVq4s\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Levine\u003c/a> assuming that removing his shirt constitutes a grand finale. And for every \u003ca href=\"https://www.youtube.com/watch?v=i4-0nbHFi4o\" target=\"_blank\" rel=\"noopener noreferrer\">inter-generationally loved Bruce Springsteen set\u003c/a>, there’s an \u003ca href=\"https://www.youtube.com/watch?v=X3ik_8QjM3U\" target=\"_blank\" rel=\"noopener noreferrer\">M.I.A. middle finger\u003c/a> or a \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener noreferrer\">Janet Jackson nipple guard\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Right now, there are three guarantees when it comes to the Super Bowl halftime show. It \u003cem>will\u003c/em> be spectacular, it \u003cem>won’t\u003c/em> please everyone and, even at its worst, it’s still about a million times better than it was in its fledgling years. So this Sunday, if you happen to end up sitting next to someone complaining, feel free to send them a gentle reminder of how bad things used to be. The \u003cem>Peanuts\u003c/em>-related fever dream below ought to do it.\u003c/p>\n\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/X4zzu4Jrl4o'\n title='//www.youtube.com/embed/X4zzu4Jrl4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "On Overcoming Childhood Phobias to Finally Enjoy 'Miss Peregrine'",
"headTitle": "On Overcoming Childhood Phobias to Finally Enjoy ‘Miss Peregrine’ | KQED",
"content": "\u003cp>I’m going to eat a little crow.\u003c/p>\n\u003cp>You see, creepy things creep me out, and not in a good way. One of my earliest memories is of a group of dancers dressed in black, pulling toilet paper from where their eyes should be; I was two years old, they were on \u003cem>The Muppet Show\u003c/em>, and I have never recovered. Right there in the middle of Kermit and Fozzie came this absolutely terrifying act (terrifying to a two-year-old, and shoot, maybe to a much older person) whose commentary on human interaction was COMPLETELY lost on toddler me, and set me up for plenty of nightmares. Though I have since learned that \u003ca href=\"https://www.mummenschanz.com/3/\" target=\"_blank\" rel=\"noopener noreferrer\">Mummenschanz\u003c/a> is a highly respected theater troupe, they set me up to be very wary of creepiness, and I’ve lived my life avoiding it as best I can.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3eazq_8jCOg\u003c/p>\n\u003cp>SO, several years ago, when Ransom Riggs debuted \u003cem>Miss Peregrine’s Home for Peculiar Children\u003c/em>, I bought it, opened it, and shelved it right away. Perhaps if I had opened the book to any of the 352 pages other than page 115, it wouldn’t have languished for lo, these past nine years. But page 115 was all it took for me to put the book away for almost a decade. What’s on page 115 that prompted such a reaction? Cue the Mummenschanz mimes.\u003c/p>\n\u003cp>Page 115 shows a photograph of two young children dressed in extremely creepy, vintage white clown costumes, one masked child pulling a very long curled ribbon from the masked mouth of the other.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oh, help.\u003c/p>\n\u003cp>BUT, when the I had the opportunity to see Riggs as he kicked off his \u003cem>The Conference of the Birds\u003c/em> tour, I had to give my two-year-old self a stern talking-to and get with the program. \u003cem>The Conference of the Birds\u003c/em> is the fifth book in the \u003cem>Miss Peregrine\u003c/em> series, so not only did I have to face page 115, I had some serious catching up to do. I would love to say I was really grown up about it, but I made sure to start reading in broad daylight.\u003c/p>\n\u003cp>(And I’m glad I did, because there’s another picture of the creepy clown kids on page 50.)\u003c/p>\n\u003cp>I was all set to grit my teeth, act my age, and get it over with.\u003c/p>\n\u003cp>But the STORY.\u003c/p>\n\u003cp>Boy, can Ransom Riggs tell a story. If he’d been stuck in rainy 1818 Switzerland with Lord Byron, and Mary and Percy Shelley and taken up Byron’s challenge to write a ghost story, \u003cem>Miss Peregrine \u003c/em>would have given \u003cem>Frankenstein\u003c/em> a run for its money.\u003c/p>\n\u003cp>I read the first three books in two days.\u003c/p>\n\u003cp>If you are anything like me and came to the party quite late, the \u003cem>Miss Peregrine\u003c/em> series tells the story of Jacob Portman, grandson of the master storyteller and soon-to-be-revealed hero Abe Portman, his journey of self-discovery, teenaged angst, Welsh islands, romantic drama, and oh yes, time loops, ymbrynes, hollowgasts, Wights, and a cast of endearing (and at times quite annoying) peculiars who can control bees, raise the dead (for a little while at least), float, have two mouths, are invisible, shoot fire and see monsters no one else can see—all with the help of a generous sprinkling of vintage photographs, some creepy in their own right, some not.\u003c/p>\n\u003cp>I don’t know how to explain it without giving it away, but I will say I don’t know that I will ever look at an old photo the same way again.\u003c/p>\n\u003cp>As I sat in the broad daylight, tearing my way through \u003cem>Miss Peregrine’s Home for Peculiar Children, Hollow City\u003c/em>, and \u003cem>Library of Souls\u003c/em>, I found myself scanning the photos of my grandparents and great grandparents that hung around me. I tried to imagine the mind of Ransom Riggs, who, when he began \u003cem>Miss Peregrine\u003c/em>, found the photos first and the story second. What might he have dreamt for the people in my photographs? My grandmother in 1928, with her flapper dress on, head high, leg hitched up on the running board of an old car? My Native American grandmother, merely a blur in the background while the foreground is populated with chickens? A framed letter from some distant cousin, telling my great-grandmother in 1922 that another cousin Ida is lonesome in the country? What would their peculiarity have been?\u003c/p>\n\u003cp>Riggs’ methods are as fascinating as his stories.\u003c/p>\n\u003cp>My deep dive into the world of \u003cem>Miss Peregrine\u003c/em> has had to slow down a bit as piano recitals, 100 days of school, the science fair, and stomach viruses dominate my time, and I wish it hadn’t. Jacob and the peculiars are in America now, literally the Wild West of peculiar-dom, and I want to know what happens, creepy photographs and all (fans of the creepy will not be disappointed by the newly-released \u003cem>The Conference of the Birds\u003c/em>. Let’s just say I plan on flipping pages 92 and 93 super-fast.) Will Jacob and his friends decipher the prophecy and save peculiar-kind? Is the title a direct reference to the 1177 Persian poem of the same name, or is it just a coincidence? (I’m betting the former, and if so, what does it portend?) What does the photo showing a girl in bed surrounded by pictures of Elvis have to do with anything? I have to find out.\u003c/p>\n\u003cp>And WHY do I have to find out? Because the moment I started reading \u003cem>Miss Peregrine\u003c/em>, I couldn’t wait to share it with my son. It’s just the sort of story he’ll want to read in, oh, about three years, maybe four depending on how he can take the clown kids, but he’s never been scarred by the Mummenschanz mimes, so maybe he has a leg up. Actually, I want to share this series with everyone, kid or adult. It’s really that fascinating a story.\u003c/p>\n\u003cp>So, Mr. Riggs, clown kids aside, I offer my apologies for keeping you on the shelf for so long. Perhaps I will write a strongly-worded letter to Mummenschanz and ask them to add a disclaimer to any upcoming \u003cem>Muppet Show\u003c/em> appearance. In the meantime, I’m happy to eat a little crow.\u003c/p>\n\u003cp>Or in this case (really bad joke coming), eat a little peregrine.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Juanita Giles is the founder and executive director of the Virginia Children’s Book Festival. She lives on a farm in Southern Virginia with her family.\u003c/em>\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=Eating+Crow+With+%27Miss+Peregrine%27+%E2%80%94+And+Enjoying+It&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m going to eat a little crow.\u003c/p>\n\u003cp>You see, creepy things creep me out, and not in a good way. One of my earliest memories is of a group of dancers dressed in black, pulling toilet paper from where their eyes should be; I was two years old, they were on \u003cem>The Muppet Show\u003c/em>, and I have never recovered. Right there in the middle of Kermit and Fozzie came this absolutely terrifying act (terrifying to a two-year-old, and shoot, maybe to a much older person) whose commentary on human interaction was COMPLETELY lost on toddler me, and set me up for plenty of nightmares. Though I have since learned that \u003ca href=\"https://www.mummenschanz.com/3/\" target=\"_blank\" rel=\"noopener noreferrer\">Mummenschanz\u003c/a> is a highly respected theater troupe, they set me up to be very wary of creepiness, and I’ve lived my life avoiding it as best I can.\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/3eazq_8jCOg'\n title='//www.youtube.com/embed/3eazq_8jCOg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>SO, several years ago, when Ransom Riggs debuted \u003cem>Miss Peregrine’s Home for Peculiar Children\u003c/em>, I bought it, opened it, and shelved it right away. Perhaps if I had opened the book to any of the 352 pages other than page 115, it wouldn’t have languished for lo, these past nine years. But page 115 was all it took for me to put the book away for almost a decade. What’s on page 115 that prompted such a reaction? Cue the Mummenschanz mimes.\u003c/p>\n\u003cp>Page 115 shows a photograph of two young children dressed in extremely creepy, vintage white clown costumes, one masked child pulling a very long curled ribbon from the masked mouth of the other.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oh, help.\u003c/p>\n\u003cp>BUT, when the I had the opportunity to see Riggs as he kicked off his \u003cem>The Conference of the Birds\u003c/em> tour, I had to give my two-year-old self a stern talking-to and get with the program. \u003cem>The Conference of the Birds\u003c/em> is the fifth book in the \u003cem>Miss Peregrine\u003c/em> series, so not only did I have to face page 115, I had some serious catching up to do. I would love to say I was really grown up about it, but I made sure to start reading in broad daylight.\u003c/p>\n\u003cp>(And I’m glad I did, because there’s another picture of the creepy clown kids on page 50.)\u003c/p>\n\u003cp>I was all set to grit my teeth, act my age, and get it over with.\u003c/p>\n\u003cp>But the STORY.\u003c/p>\n\u003cp>Boy, can Ransom Riggs tell a story. If he’d been stuck in rainy 1818 Switzerland with Lord Byron, and Mary and Percy Shelley and taken up Byron’s challenge to write a ghost story, \u003cem>Miss Peregrine \u003c/em>would have given \u003cem>Frankenstein\u003c/em> a run for its money.\u003c/p>\n\u003cp>I read the first three books in two days.\u003c/p>\n\u003cp>If you are anything like me and came to the party quite late, the \u003cem>Miss Peregrine\u003c/em> series tells the story of Jacob Portman, grandson of the master storyteller and soon-to-be-revealed hero Abe Portman, his journey of self-discovery, teenaged angst, Welsh islands, romantic drama, and oh yes, time loops, ymbrynes, hollowgasts, Wights, and a cast of endearing (and at times quite annoying) peculiars who can control bees, raise the dead (for a little while at least), float, have two mouths, are invisible, shoot fire and see monsters no one else can see—all with the help of a generous sprinkling of vintage photographs, some creepy in their own right, some not.\u003c/p>\n\u003cp>I don’t know how to explain it without giving it away, but I will say I don’t know that I will ever look at an old photo the same way again.\u003c/p>\n\u003cp>As I sat in the broad daylight, tearing my way through \u003cem>Miss Peregrine’s Home for Peculiar Children, Hollow City\u003c/em>, and \u003cem>Library of Souls\u003c/em>, I found myself scanning the photos of my grandparents and great grandparents that hung around me. I tried to imagine the mind of Ransom Riggs, who, when he began \u003cem>Miss Peregrine\u003c/em>, found the photos first and the story second. What might he have dreamt for the people in my photographs? My grandmother in 1928, with her flapper dress on, head high, leg hitched up on the running board of an old car? My Native American grandmother, merely a blur in the background while the foreground is populated with chickens? A framed letter from some distant cousin, telling my great-grandmother in 1922 that another cousin Ida is lonesome in the country? What would their peculiarity have been?\u003c/p>\n\u003cp>Riggs’ methods are as fascinating as his stories.\u003c/p>\n\u003cp>My deep dive into the world of \u003cem>Miss Peregrine\u003c/em> has had to slow down a bit as piano recitals, 100 days of school, the science fair, and stomach viruses dominate my time, and I wish it hadn’t. Jacob and the peculiars are in America now, literally the Wild West of peculiar-dom, and I want to know what happens, creepy photographs and all (fans of the creepy will not be disappointed by the newly-released \u003cem>The Conference of the Birds\u003c/em>. Let’s just say I plan on flipping pages 92 and 93 super-fast.) Will Jacob and his friends decipher the prophecy and save peculiar-kind? Is the title a direct reference to the 1177 Persian poem of the same name, or is it just a coincidence? (I’m betting the former, and if so, what does it portend?) What does the photo showing a girl in bed surrounded by pictures of Elvis have to do with anything? I have to find out.\u003c/p>\n\u003cp>And WHY do I have to find out? Because the moment I started reading \u003cem>Miss Peregrine\u003c/em>, I couldn’t wait to share it with my son. It’s just the sort of story he’ll want to read in, oh, about three years, maybe four depending on how he can take the clown kids, but he’s never been scarred by the Mummenschanz mimes, so maybe he has a leg up. Actually, I want to share this series with everyone, kid or adult. It’s really that fascinating a story.\u003c/p>\n\u003cp>So, Mr. Riggs, clown kids aside, I offer my apologies for keeping you on the shelf for so long. Perhaps I will write a strongly-worded letter to Mummenschanz and ask them to add a disclaimer to any upcoming \u003cem>Muppet Show\u003c/em> appearance. In the meantime, I’m happy to eat a little crow.\u003c/p>\n\u003cp>Or in this case (really bad joke coming), eat a little peregrine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>“Tonight is for Kobe,” said Lizzo as she took the stage at Los Angeles’ Staples Center on Sunday night—the first words spoken at the 62nd Grammy Awards.\u003c/p>\n\u003cp>The death of Kobe Bryant and eight others (including his 13-year-old daughter, Gianna) in a horrific helicopter crash that morning rocked the nation, including the music industry, and was ever-present at Sunday’s ceremony. And an outpouring on social media from stars across all genres spoke to the impact the basketball legend had on culture, far beyond sports.\u003c/p>\n\u003cp>https://twitter.com/taylorswift13/status/1221545674988310533\u003c/p>\n\u003cp>https://twitter.com/MariahCarey/status/1221537029114253313\u003c/p>\n\u003cp>https://www.instagram.com/p/B7y8sChHPNT\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MeekMill/status/1221519262784733184\u003c/p>\n\u003cp>https://twitter.com/kanyewest/status/1221558611320528896\u003c/p>\n\u003cp>https://twitter.com/flea333/status/1221520186353696768\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Bryant’s untimely death the morning of “music’s biggest night” left an indelible mark on the ceremony. And the timing was exacerbated by the venue: the Staples Center, where Bryant spent his entire 20-year career playing for the Lakers. It was of little surprise to anyone when Lizzo dedicated the night to him before it even began. [aside postid='arts_13873909']\u003c/p>\n\u003cp>It was, however, up to Grammys host Alicia Keys to fully acknowledge—and attempt to disperse—the dark cloud hanging over the Staples Center.\u003c/p>\n\u003cp>“To be honest with you,” Keys said after Lizzo’s show-opening performance (of “Cuz I Love You” and “Truth Hurts”), “we’re all feeling crazy sadness right now. Because earlier today, Los Angeles, America and the whole wide world lost a hero. And we’re literally standing here heartbroken in the house that Kobe Bryant built.”\u003c/p>\n\u003cp>She continued, “Right now, all of those that have been tragically lost today are in our spirit, our prayers, and in this building… Take a moment and just hold them inside of you and share our strength and our support with their families. We never imagined in a million years that we’d have to start the show like this.”\u003c/p>\n\u003cp>To provide some catharsis, Boyz II Men (who were already scheduled to perform “Earfquake” with Tyler, the Creator) joined Keys on stage for a special performance of “It’s So Hard to Say Goodbye to Yesterday.”\u003c/p>\n\u003cp>Bryant’s spirit was ever-present throughout the evening. Lil Nas X added a Bryant 24 jersey to his living room set during “Old Town Road”; Run DMC held one aloft throughout their performance of “Walk This Way” with Aerosmith. And DJ Khaled gave Bryant a shoutout at the end of his performance of “Higher” with John Legend, Meek Mill, Roddy Ricch, YG and Kirk Franklin. Originally intended as a tribute to Nipsey Hussle, Bryant’s image was projected next to the “\u003ca href=\"https://www.youtube.com/watch?v=pwBFOuCrdr4\" target=\"_blank\" rel=\"noopener noreferrer\">Double Up\u003c/a>” rapper’s at the end of the song.\u003c/p>\n\u003cp>Kirk Franklin, talking on the red carpet before the awards began, noted in regards to both Hussle and Bryant: “Life is more valuable than trophies. We take life sometimes in such a passive way… We should feel this tragedy.” Later, while accepting the award for best rap/sung performance, Legend noted: “We’ve seen so much tragedy today—and last year. Let’s love each other, love our families and hold each other tight.”\u003c/p>\n\u003cp>Lizzo alluded to Bryant once more as she accepted the award for best pop solo performance. “This whole week, I’ve been lost in my problems, stressed out,” she said. “And then, in an instant, all of that can go away and your priorities can really shift. And today, all of my little problems that I thought were big as the world, were gone.”\u003c/p>\n\u003cp>“It’s been a hell of a week,” Alicia Keys acknowledged early in the evening. “I know how much Kobe loved music, so we’ve gotta make this a celebration in his honor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mission accomplished.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp> \u003c/p>\n\u003cp>Bryant’s untimely death the morning of “music’s biggest night” left an indelible mark on the ceremony. And the timing was exacerbated by the venue: the Staples Center, where Bryant spent his entire 20-year career playing for the Lakers. It was of little surprise to anyone when Lizzo dedicated the night to him before it even began. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was, however, up to Grammys host Alicia Keys to fully acknowledge—and attempt to disperse—the dark cloud hanging over the Staples Center.\u003c/p>\n\u003cp>“To be honest with you,” Keys said after Lizzo’s show-opening performance (of “Cuz I Love You” and “Truth Hurts”), “we’re all feeling crazy sadness right now. Because earlier today, Los Angeles, America and the whole wide world lost a hero. And we’re literally standing here heartbroken in the house that Kobe Bryant built.”\u003c/p>\n\u003cp>She continued, “Right now, all of those that have been tragically lost today are in our spirit, our prayers, and in this building… Take a moment and just hold them inside of you and share our strength and our support with their families. We never imagined in a million years that we’d have to start the show like this.”\u003c/p>\n\u003cp>To provide some catharsis, Boyz II Men (who were already scheduled to perform “Earfquake” with Tyler, the Creator) joined Keys on stage for a special performance of “It’s So Hard to Say Goodbye to Yesterday.”\u003c/p>\n\u003cp>Bryant’s spirit was ever-present throughout the evening. Lil Nas X added a Bryant 24 jersey to his living room set during “Old Town Road”; Run DMC held one aloft throughout their performance of “Walk This Way” with Aerosmith. And DJ Khaled gave Bryant a shoutout at the end of his performance of “Higher” with John Legend, Meek Mill, Roddy Ricch, YG and Kirk Franklin. Originally intended as a tribute to Nipsey Hussle, Bryant’s image was projected next to the “\u003ca href=\"https://www.youtube.com/watch?v=pwBFOuCrdr4\" target=\"_blank\" rel=\"noopener noreferrer\">Double Up\u003c/a>” rapper’s at the end of the song.\u003c/p>\n\u003cp>Kirk Franklin, talking on the red carpet before the awards began, noted in regards to both Hussle and Bryant: “Life is more valuable than trophies. We take life sometimes in such a passive way… We should feel this tragedy.” Later, while accepting the award for best rap/sung performance, Legend noted: “We’ve seen so much tragedy today—and last year. Let’s love each other, love our families and hold each other tight.”\u003c/p>\n\u003cp>Lizzo alluded to Bryant once more as she accepted the award for best pop solo performance. “This whole week, I’ve been lost in my problems, stressed out,” she said. “And then, in an instant, all of that can go away and your priorities can really shift. And today, all of my little problems that I thought were big as the world, were gone.”\u003c/p>\n\u003cp>“It’s been a hell of a week,” Alicia Keys acknowledged early in the evening. “I know how much Kobe loved music, so we’ve gotta make this a celebration in his honor.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mission accomplished.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the latest round of chaotic volleys around the Grammy Awards, the Recording Academy’s short-lived president and CEO, Deborah Dugan — the organization’s first female chief executive — announced Tuesday afternoon that she has filed a discrimination complaint with the Equal Employment Opportunity Commission (EEOC) against the Academy, the organization that gives out the Grammys.\u003c/p>\n\u003cp>The EEOC complaint includes several bombshell accusations, including that her predecessor, Neil Portnow, raped a female artist in New York; that she was pressed to hire Portnow as a consultant for $750,000 by the Academy’s then-board chair, John Poppo; and that the Academy’s general counsel and former board chair, Joel Katz, sexually harassed Dugan in May 2019, as she was being courted for the top Academy job. \u003c/p>\n\u003cp>Last Thursday, Dugan was put on administrative leave just ten days before this year’s Grammy Awards telecast, which will take place on Sunday. She was announced as the organization’s leader last May, and took up her post in August.\u003c/p>\n\u003cp>As recently as last month, Dugan was giving interviews in which she \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">promised\u003c/a> “a major restructuring” of the Grammys. The pledged changes included meeting concrete, measurable goals meant to add greater gender and racial diversity to the awards process, and to ensure voting and membership transparency across the awards, and the Academy.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/WigdorLaw/status/1219730474526019584?s=20\">statement\u003c/a> issued Tuesday afternoon, her attorneys Douglas H. Wigdor and Michael J. Willemin said: “The complaint that we filed today against the National Academy of Recording Arts and Sciences (NARAS, the Academy’s former full name) highlights tactics reminiscent of those deployed by individuals defending Harvey Weinstein.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wigdor also represents a Jane Doe, one of the women who is \u003ca href=\"https://www.wigdorlaw.com/harvey-weinstein-criminal-trial-jane-doe-testify/\">slated to testify\u003c/a> in the Weinstein trial, which is \u003ca href=\"https://www.npr.org/2020/01/16/796912859/harvey-weinsteins-lawyers-want-jury-selection-done-in-private\">getting underway\u003c/a> in New York.\u003c/p>\n\u003cp>The lawyers’ statement continues: “The attempt by the Recording Academy to impugn the character of Deborah Dugan is a transparent effort to shift the focus away from its own unlawful activity. This blatant form of retaliation in corporate America is all too common, even post #MeToo, and we will utilize all lawful means necessary to ensure that those responsible are held accountable for their actions.”\u003c/p>\n\u003cp>In the EEOC complaint, Dugan describes the Academy as a “‘boys’ club network where men work together to the disadvantage of women and disenfranchised groups in order to line their own pockets and maintain a firm grip on the Academy’s dealings.”\u003c/p>\n\u003cp>In a statement sent Tuesday evening to NPR, the Academy said: “It is curious that Ms. Dugan never raised these grave allegations until a week after legal claims were made against her personally by a female employee who alleged Ms. Dugan had created a ‘toxic and intolerable’ work environment and engaged in ‘abusive and bullying conduct’. When Ms. Dugan did raise her ‘concerns’ to HR, she specifically instructed HR ‘not to take any action’ in response.”\u003c/p>\n\u003cp>“Nonetheless,” the Academy statement continues, “we immediately launched independent investigations to review both Ms. Dugan’s potential misconduct and her subsequent allegations. Both of these investigations remain ongoing. Ms. Dugan was placed on administrative leave only after offering to step down and demanding $22 million from the Academy, which is a not-for-profit organization. Our loyalty will always be to the 21,000 members of the Recording Industry. We regret that Music’s Biggest Night is being stolen from them by Ms. Dugan’s actions and we are working to resolve the matter as quickly as possible.”\u003c/p>\n\u003cp>In response, Dugan’s lawyer sent NPR another statement on Tuesday evening that disputed the timeline presented by the Academy, saying in part that she had “repeatedly raised concerns throughout her entire tenure” and that unnamed artists and board members had raised the same issues to the organization. In addition, Dugan’s lawyers said that on the morning she was placed on leave, the Academy offered her “millions of dollars” if she would drop her concerns, but only if she left within an hour. Dugan says that when she refused to accept that deal, she was placed on leave. \u003c/p>\n\u003cp>NPR asked the Recording Academy on Tuesday eveningf for a response to Dugan’s version of the chronology. As of Wednesday morning, the organization had not answered.\u003c/p>\n\u003cp>Since Dugan was placed on leave, the Recording Academy and its erstwhile leader have exchanged dueling narratives in the trade press about the reasons behind the move.\u003c/p>\n\u003cp>A statement from the Academy last Thursday stated, “In light of concerns raised to the Recording Academy board of trustees, including a formal allegation of misconduct by a senior female member of the Recording Academy team, the Board has placed Recording Academy President and CEO Deborah Dugan on administrative leave, effective immediately.”\u003c/p>\n\u003cp>But Dugan’s camp argued to \u003ca href=\"https://www.nytimes.com/2020/01/16/arts/music/grammys-deborah-dugan-misconduct.html\">\u003cem>The New York Times\u003c/em>\u003c/a>\u003cem> \u003c/em>the same day that the real reason for her dismissal was linked to a memo that she had sent the Academy’s HR department three weeks prior, in which she voiced the concerns her lawyers referenced, including “exorbitant and unnecessary” legal bills — including some \u003ca href=\"https://variety.com/2020/music/news/recording-academy-grammys-paid-millions-law-firms-deborah-dugan-1203471913\">$15 million\u003c/a> paid to two outside law firms between the years 2013 and 2017.\u003c/p>\n\u003cp>One of Dugan’s attorneys, Bryan Freedman, \u003ca href=\"https://twitter.com/ftllp/status/1218169527734661121?s=20\">tweeted\u003c/a> on Friday: “What has been reported is not nearly the story that needs to be told. When our ability to speak is not restrained by a 28-page contract and legal threats, we will expose what happens when you ‘step up’ at the Recording Academy, a public nonprofit.” \u003c/p>\n\u003cp>Freedman was referring to an infamous 2018 comment made by Dugan’s predecessor, Neil Portnow, in which the former Grammy chief opined that women working in the music industry would need to \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> in order to be recognized. (In 2002, Portnow replaced Michael Greene, who was forced to resign after allegations that he had sexually harassed and abused another Academy executive became public.) \u003cem>The\u003c/em> \u003cem>New York Times \u003c/em>identified the woman accusing Dugan as Portnow’s former assistant, who claimed that Dugan has a “bullying” style of managing employees.\u003c/p>\n\u003cp>On Monday, the Academy alleged via \u003cem>Billboard\u003c/em> that Dugan had offered to resign and drop her own accusations against the organization in exchange for a \u003ca href=\"https://www.billboard.com/articles/business/8548478/grammy-chief-deborah-dugan-buyout-recording-academy\">$22 million\u003c/a> payout. Similar accusations were repeated by the Academy board president, Harvey Mason Jr., in a \u003ca href=\"https://variety.com/2020/music/news/grammy-chiefslams-deborah-dugan-grammy-1203473731/\">memo\u003c/a> sent to Grammy members, in which Mason also claims that Dugan made her allegations only after the Academy began its investigation of her.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Most recently before her Grammys appointment, Dugan led Red, the nonprofit group dedicated to fighting HIV/AIDS across Africa that was co-founded by U2’s Bono and Bobby Shriver. Before joining Red, Dugan was a lawyer, an executive at the EMI Record Group and a former president of Disney Publishing Worldwide. \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=Ousted+Female+Chief+Files+Discrimination+Complaint+Against+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the latest round of chaotic volleys around the Grammy Awards, the Recording Academy’s short-lived president and CEO, Deborah Dugan — the organization’s first female chief executive — announced Tuesday afternoon that she has filed a discrimination complaint with the Equal Employment Opportunity Commission (EEOC) against the Academy, the organization that gives out the Grammys.\u003c/p>\n\u003cp>The EEOC complaint includes several bombshell accusations, including that her predecessor, Neil Portnow, raped a female artist in New York; that she was pressed to hire Portnow as a consultant for $750,000 by the Academy’s then-board chair, John Poppo; and that the Academy’s general counsel and former board chair, Joel Katz, sexually harassed Dugan in May 2019, as she was being courted for the top Academy job. \u003c/p>\n\u003cp>Last Thursday, Dugan was put on administrative leave just ten days before this year’s Grammy Awards telecast, which will take place on Sunday. She was announced as the organization’s leader last May, and took up her post in August.\u003c/p>\n\u003cp>As recently as last month, Dugan was giving interviews in which she \u003ca href=\"https://www.npr.org/2019/12/12/787171580/grammys-pledge-more-diversity-under-new-leadership\">promised\u003c/a> “a major restructuring” of the Grammys. The pledged changes included meeting concrete, measurable goals meant to add greater gender and racial diversity to the awards process, and to ensure voting and membership transparency across the awards, and the Academy.\u003c/p>\n\u003cp>In a \u003ca href=\"https://twitter.com/WigdorLaw/status/1219730474526019584?s=20\">statement\u003c/a> issued Tuesday afternoon, her attorneys Douglas H. Wigdor and Michael J. Willemin said: “The complaint that we filed today against the National Academy of Recording Arts and Sciences (NARAS, the Academy’s former full name) highlights tactics reminiscent of those deployed by individuals defending Harvey Weinstein.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wigdor also represents a Jane Doe, one of the women who is \u003ca href=\"https://www.wigdorlaw.com/harvey-weinstein-criminal-trial-jane-doe-testify/\">slated to testify\u003c/a> in the Weinstein trial, which is \u003ca href=\"https://www.npr.org/2020/01/16/796912859/harvey-weinsteins-lawyers-want-jury-selection-done-in-private\">getting underway\u003c/a> in New York.\u003c/p>\n\u003cp>The lawyers’ statement continues: “The attempt by the Recording Academy to impugn the character of Deborah Dugan is a transparent effort to shift the focus away from its own unlawful activity. This blatant form of retaliation in corporate America is all too common, even post #MeToo, and we will utilize all lawful means necessary to ensure that those responsible are held accountable for their actions.”\u003c/p>\n\u003cp>In the EEOC complaint, Dugan describes the Academy as a “‘boys’ club network where men work together to the disadvantage of women and disenfranchised groups in order to line their own pockets and maintain a firm grip on the Academy’s dealings.”\u003c/p>\n\u003cp>In a statement sent Tuesday evening to NPR, the Academy said: “It is curious that Ms. Dugan never raised these grave allegations until a week after legal claims were made against her personally by a female employee who alleged Ms. Dugan had created a ‘toxic and intolerable’ work environment and engaged in ‘abusive and bullying conduct’. When Ms. Dugan did raise her ‘concerns’ to HR, she specifically instructed HR ‘not to take any action’ in response.”\u003c/p>\n\u003cp>“Nonetheless,” the Academy statement continues, “we immediately launched independent investigations to review both Ms. Dugan’s potential misconduct and her subsequent allegations. Both of these investigations remain ongoing. Ms. Dugan was placed on administrative leave only after offering to step down and demanding $22 million from the Academy, which is a not-for-profit organization. Our loyalty will always be to the 21,000 members of the Recording Industry. We regret that Music’s Biggest Night is being stolen from them by Ms. Dugan’s actions and we are working to resolve the matter as quickly as possible.”\u003c/p>\n\u003cp>In response, Dugan’s lawyer sent NPR another statement on Tuesday evening that disputed the timeline presented by the Academy, saying in part that she had “repeatedly raised concerns throughout her entire tenure” and that unnamed artists and board members had raised the same issues to the organization. In addition, Dugan’s lawyers said that on the morning she was placed on leave, the Academy offered her “millions of dollars” if she would drop her concerns, but only if she left within an hour. Dugan says that when she refused to accept that deal, she was placed on leave. \u003c/p>\n\u003cp>NPR asked the Recording Academy on Tuesday eveningf for a response to Dugan’s version of the chronology. As of Wednesday morning, the organization had not answered.\u003c/p>\n\u003cp>Since Dugan was placed on leave, the Recording Academy and its erstwhile leader have exchanged dueling narratives in the trade press about the reasons behind the move.\u003c/p>\n\u003cp>A statement from the Academy last Thursday stated, “In light of concerns raised to the Recording Academy board of trustees, including a formal allegation of misconduct by a senior female member of the Recording Academy team, the Board has placed Recording Academy President and CEO Deborah Dugan on administrative leave, effective immediately.”\u003c/p>\n\u003cp>But Dugan’s camp argued to \u003ca href=\"https://www.nytimes.com/2020/01/16/arts/music/grammys-deborah-dugan-misconduct.html\">\u003cem>The New York Times\u003c/em>\u003c/a>\u003cem> \u003c/em>the same day that the real reason for her dismissal was linked to a memo that she had sent the Academy’s HR department three weeks prior, in which she voiced the concerns her lawyers referenced, including “exorbitant and unnecessary” legal bills — including some \u003ca href=\"https://variety.com/2020/music/news/recording-academy-grammys-paid-millions-law-firms-deborah-dugan-1203471913\">$15 million\u003c/a> paid to two outside law firms between the years 2013 and 2017.\u003c/p>\n\u003cp>One of Dugan’s attorneys, Bryan Freedman, \u003ca href=\"https://twitter.com/ftllp/status/1218169527734661121?s=20\">tweeted\u003c/a> on Friday: “What has been reported is not nearly the story that needs to be told. When our ability to speak is not restrained by a 28-page contract and legal threats, we will expose what happens when you ‘step up’ at the Recording Academy, a public nonprofit.” \u003c/p>\n\u003cp>Freedman was referring to an infamous 2018 comment made by Dugan’s predecessor, Neil Portnow, in which the former Grammy chief opined that women working in the music industry would need to \u003ca href=\"https://www.npr.org/sections/therecord/2018/02/06/583464118/women-in-the-music-industry-call-for-evolution-at-the-grammys\">“step up”\u003c/a> in order to be recognized. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most recently before her Grammys appointment, Dugan led Red, the nonprofit group dedicated to fighting HIV/AIDS across Africa that was co-founded by U2’s Bono and Bobby Shriver. Before joining Red, Dugan was a lawyer, an executive at the EMI Record Group and a former president of Disney Publishing Worldwide. \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=Ousted+Female+Chief+Files+Discrimination+Complaint+Against+The+Grammys&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beyoncé’s knack for marketing is already well established. Like when she dropped her self-titled album on us overnight, completely by surprise. Or when she casually threw a “visual album” up on HBO for 24 hours in support of \u003cem>Lemonade\u003c/em>. Or how about the time she announced she was pregnant with Blue Ivy on stage at the 2011 MTV VMAs? (Has a pregnancy announcement \u003cem>ever\u003c/em> been that interesting before?)\u003c/p>\n\u003cp>It should come as no surprise then, that, in addition to posting \u003ca href=\"https://www.instagram.com/p/B7Gto0LnmrE/?utm_source=ig_embed\" target=\"_blank\" rel=\"noopener noreferrer\">stunning photos of herself\u003c/a> wearing it, Beyoncé is marketing the crap out of her new line of Ivy Park clothes—mostly via the medium of playing January Santa to all her famous friends. And let’s just say the reaction from most of the celebs receiving Beyoncé’s big orange box of joy is A Mood.\u003c/p>\n\u003cp>On realizing that she and her mom hadn’t, in fact, been sent a big box of balloons, Reese Witherspoon did an impromptu (adorable) fashion show.\u003c/p>\n\u003cp>https://twitter.com/MlLEYONCE/status/1217580660249985029\u003c/p>\n\u003cp>Cardi B expressed her delight in that infectious (curse-laden) way that only Cardi B can:\u003c/p>\n\u003cp>https://www.instagram.com/p/B7SiYrcgM9K/\u003c/p>\n\u003cp>Zendaya did her best not-annoying-but-definitely-still-smug face:\u003c/p>\n\u003cp>https://twitter.com/lmjsdaya/status/1217372754514796544\u003c/p>\n\u003cp>\u003cem>Grown-ish\u003c/em> star Yara Shahidi looked like a kid on Christmas morning:\u003c/p>\n\u003cp>https://www.instagram.com/p/B7K50awAJ6T/\u003c/p>\n\u003cp>And, possibly best of all, Janelle Monáe tried to turn her parachute cape into a box-based magic trick (while some dude worked out in her living room, next to a trash can, for some reason):\u003c/p>\n\u003cp>https://twitter.com/JanelleMonae/status/1217710117354762240\u003c/p>\n\u003cp>It wasn’t all joy and running around the edge of swimming pools, however. Hayley Bieber got sent one too and was \u003ca href=\"https://www.instagram.com/stories/haileybieber/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">annoyingly low key\u003c/a> about the whole thing. Then there were these bummed-out observers on Twitter, who were left feeling a little hard done by…\u003c/p>\n\u003cp>https://twitter.com/TheJazzyBelle/status/1217140692625100801\u003c/p>\n\u003cp>https://twitter.com/blacksocialite/status/1216430639806918656\u003c/p>\n\u003cp>https://twitter.com/_tuhrell/status/1216042053395722244\u003c/p>\n\u003cp>Which all goes to show, Beyoncé’s little gifting spree did its job, effectively bypassing the need for fashion shows or normal marketing campaigns. Watch the new collection sell out in three minutes when it hits shelves on Jan. 18.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé’s knack for marketing is already well established. Like when she dropped her self-titled album on us overnight, completely by surprise. Or when she casually threw a “visual album” up on HBO for 24 hours in support of \u003cem>Lemonade\u003c/em>. Or how about the time she announced she was pregnant with Blue Ivy on stage at the 2011 MTV VMAs? (Has a pregnancy announcement \u003cem>ever\u003c/em> been that interesting before?)\u003c/p>\n\u003cp>It should come as no surprise then, that, in addition to posting \u003ca href=\"https://www.instagram.com/p/B7Gto0LnmrE/?utm_source=ig_embed\" target=\"_blank\" rel=\"noopener noreferrer\">stunning photos of herself\u003c/a> wearing it, Beyoncé is marketing the crap out of her new line of Ivy Park clothes—mostly via the medium of playing January Santa to all her famous friends. And let’s just say the reaction from most of the celebs receiving Beyoncé’s big orange box of joy is A Mood.\u003c/p>\n\u003cp>On realizing that she and her mom hadn’t, in fact, been sent a big box of balloons, Reese Witherspoon did an impromptu (adorable) fashion show.\u003c/p>\u003c/p>\u003c/div>",
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"title": "How to Date Like a Celebrity: Try to Act Like a Regular Person, Mostly Fail",
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"content": "\u003cp>In \u003ca href=\"https://www.gq.com/story/diplo-profile-february-2020\" target=\"_blank\" rel=\"noopener noreferrer\">this month’s \u003cem>GQ\u003c/em>\u003c/a>, Sia talked frankly about inviting her friend and collaborator Diplo into a friends-with-benefits agreement. “This year I wrote him a text,” the Aussie singer-songwriter explained, “and I said, ‘Hey, listen, you’re like one of five people that I’m sexually attracted to, and now that I’ve decided to be single for the rest of my life and I just adopted a son, I don’t have time for a relationship… If you’re interested in some no-strings sex, then hit me up.'”\u003c/p>\n\u003cp>In the same article, Diplo confessed that he’d been “guilty of meeting girls on” Instagram, but that “any girlfriend would end up breaking up with me because I’m so busy, and I’m just a bad boyfriend.” The DJ explained that, at this point in his life, true love to him can only be about his children. “My kids, they love me. And they can’t escape me… My job is to be good to them.” [aside postid='arts_13873341']\u003c/p>\n\u003cp>(No word on whether Diplo ever took Sia up on her generous offer, but she did mention, “Much of our relationship is just being spent trying not to have sex so that we wouldn’t ruin our business relationship.” So probably not.)\u003c/p>\n\u003cp>These revelations from two wildly attractive and successful people are a pretty solid indication that attempting to date while famous is not at all what it’s cracked up to be. In an age where meeting partners through dating apps is increasingly common—the number of \u003ca href=\"https://news.stanford.edu/2019/08/21/online-dating-popular-way-u-s-couples-meet/\" target=\"_blank\" rel=\"noopener noreferrer\">couples who met online\u003c/a> rose from 22 percent in 2009 to 39 percent in 2017—what options do celebrities actually have?\u003c/p>\n\u003cp>In 2018, \u003ca href=\"https://swipelife.tinder.com/post/10-celebrities-who-have-used-dating-apps\" target=\"_blank\" rel=\"noopener noreferrer\">Laverne Cox admitted\u003c/a> that she, like a regular mortal, used Tinder. “I feel like if you want to date, you have to be on the apps to be in the game,” she told \u003cem>Access\u003c/em>. Hilary Duff set a precedent in 2015, calling Tinder “\u003ca href=\"https://www.latimes.com/entertainment/gossip/la-et-mg-hilary-duff-tinder-dating-20150428-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">wildly addicting\u003c/a>.” \u003ca href=\"https://www.etonline.com/news/214990_exclusive_chelsea_handler_on_embracing_singledom_and_using_tinder_to_hook_up_i_m_on_all_those_apps\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea Handler agreed\u003c/a>, telling \u003cem>ET\u003c/em>, “I like to hook up, so when I go to London or New York or if I’m out of town and I want, I’ll do that … I’m on Tinder [and] all that stuff. I’m a regular person.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Trying to be a regular person while inherently recognizable doesn’t always work out, though. Last year, Sharon Stone demonstrated the pitfalls of celebrities trying to date like the rest of the world after she was kicked off Bumble. Users reported her account, thinking it was a fake profile, and Stone was forced to take to Twitter to get the decision reversed.\u003c/p>\n\u003cp>https://twitter.com/sharonstone/status/1211521841417736193?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>In 2016, \u003ca href=\"https://www.thetimes.co.uk/article/zac-efron-take-me-seriously-2qn22pzt7\" target=\"_blank\" rel=\"noopener noreferrer\">Zac Efron told\u003c/a> the U.K. \u003cem>Times\u003c/em> that even when he was on Tinder, “nobody swiped” him, presumably because “they thought [his] profile was fake.”\u003c/p>\n\u003cp>So how\u003cem> do\u003c/em> celebrities make love connections while the rest of us are swiping?\u003c/p>\n\u003cp>At 61, Madonna continues to use her tried and true method—searching within her own team. Her first child, Lourdes, was the product of a brief relationship with \u003ca href=\"https://www.imdb.com/name/nm0502458/\" target=\"_blank\" rel=\"noopener noreferrer\">her personal trainer\u003c/a> in the mid ’90s, and now she’s romancing a 25-year-old dancer from her touring crew named Ahlamalik Williams. (Madge is not the only one guilty of such a move—let’s not forget that Jennifer Lopez dated one of her \u003ca href=\"https://www.nickiswift.com/22969/really-went-wrong-j-lo-casper-smart/\" target=\"_blank\" rel=\"noopener noreferrer\">backing dancers\u003c/a>, Casper Smart, for five years.)\u003c/p>\n\u003cp>https://www.instagram.com/p/B6vM1CzB6fg/\u003c/p>\n\u003cp>More commonly, celebs seem to resort to social media as a dating tool. \u003cem>Modern Family\u003c/em>‘s \u003ca href=\"https://www.eonline.com/news/988948/the-true-story-of-how-twitter-helped-lead-sarah-hyland-to-her-forever-love\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Hyland met her beau\u003c/a>, Wells Adams, after publicly expressing interest in the Season 12 \u003cem>Bachelorette\u003c/em> contestant via Twitter. But the app of choice for most celebs appears to be Instagram. It was the catalyst for Mandy Moore meeting her musician husband Taylor Goldsmith; it’s where Ricky Martin found his husband, Jwan Yosef; and it’s where “\u003ca href=\"https://www.harpersbazaar.com/uk/fashion/fashion-news/a26959074/sophie-turner-may-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">one fine day, out of the blue\u003c/a>,” Joe Jonas slid into Sophie Turner’s DMs. Having met his current boyfriend the same way, Antoni from \u003cem>Queer Eye \u003c/em>recently \u003ca href=\"https://www.youtube.com/watch?v=X1NioJKAHmE\" target=\"_blank\" rel=\"noopener noreferrer\">noted\u003c/a> that Instagram is, “like, the 2019 way.”\u003c/p>\n\u003cp>The risk of appearing thirsty in a public forum is real, however, as Lindsay Lohan found out last year. She was accused of hitting on newly-single Liam Hemsworth via Instagram after she left a prayer hands emoji on some surfing photos he posted. Lohan later attributed the comment to her work with a \u003ca href=\"https://www.foundationwow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">surf therapy organization\u003c/a> in Australia, but her attacks on \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/lindsay-lohan-shades-cody-simpson-over-miley-cyrus-romance/\" target=\"_blank\" rel=\"noopener noreferrer\">Hemsworth’s ex-wife Miley Cyrus\u003c/a> during the same period suggested otherwise.\u003c/p>\n\u003cp>Then there was New York Islanders hockey star Anthony Beauvillier, who saw fit to \u003ca href=\"https://twitter.com/titobeauvi21/status/1209992434354139136\" target=\"_blank\" rel=\"noopener noreferrer\">tweet “Hi” at Anna Kendrick\u003c/a> in December. After he received no reply, Twitter hilariously stepped in and acted as wingman, publicly thanking Beauvillier for performing \u003ca href=\"https://www.boredpanda.com/hockey-player-anthony-beauvillier-tweets-at-anna-kendrick/?utm_source=google&utm_medium=organic&utm_campaign=organic\" target=\"_blank\" rel=\"noopener noreferrer\">increasingly ridiculous (and obviously false) feats\u003c/a>. These included performing open heart surgery, rescuing people from burning buildings and saving the world from errant asteroids. It may not have got him a date, but Kendrick at least got a laugh out of it.\u003c/p>\n\u003cp>https://twitter.com/AnnaKendrick47/status/1210616282179080192?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1210616282179080192&ref_url=https%3A%2F%2Fwww.cnn.com%2F2019%2F12%2F28%2Fus%2Fanna-kendrick-beauvillier-nhl-twitter-trnd%2Findex.html\u003c/p>\n\u003cp>A \u003ca href=\"https://www.pnas.org/content/116/36/17753.short?rss=1\" target=\"_blank\" rel=\"noopener noreferrer\">2019 study\u003c/a> by Stanford University sociology professor \u003ca href=\"https://profiles.stanford.edu/michael-rosenfeld\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Rosenfeld\u003c/a> showed that the days of meeting spouses through family have been \u003ca href=\"https://www.pnas.org/content/116/36/17753.short?rss=1\" target=\"_blank\" rel=\"noopener noreferrer\">in decline since 1940\u003c/a>, and meeting through friends has been on the way out since 1995. In other words, famous or not, we’re all basically on our own when it comes to making romance happen. So next time you’re complaining about your latest batch of matches, take a moment to think about the poor famous people still trying to get dates with regular Joes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They may be prettier and richer than the rest of us, but they’re impossibly conspicuous.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"https://www.gq.com/story/diplo-profile-february-2020\" target=\"_blank\" rel=\"noopener noreferrer\">this month’s \u003cem>GQ\u003c/em>\u003c/a>, Sia talked frankly about inviting her friend and collaborator Diplo into a friends-with-benefits agreement. “This year I wrote him a text,” the Aussie singer-songwriter explained, “and I said, ‘Hey, listen, you’re like one of five people that I’m sexually attracted to, and now that I’ve decided to be single for the rest of my life and I just adopted a son, I don’t have time for a relationship… If you’re interested in some no-strings sex, then hit me up.'”\u003c/p>\n\u003cp>In the same article, Diplo confessed that he’d been “guilty of meeting girls on” Instagram, but that “any girlfriend would end up breaking up with me because I’m so busy, and I’m just a bad boyfriend.” The DJ explained that, at this point in his life, true love to him can only be about his children. “My kids, they love me. And they can’t escape me… My job is to be good to them.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(No word on whether Diplo ever took Sia up on her generous offer, but she did mention, “Much of our relationship is just being spent trying not to have sex so that we wouldn’t ruin our business relationship.” So probably not.)\u003c/p>\n\u003cp>These revelations from two wildly attractive and successful people are a pretty solid indication that attempting to date while famous is not at all what it’s cracked up to be. In an age where meeting partners through dating apps is increasingly common—the number of \u003ca href=\"https://news.stanford.edu/2019/08/21/online-dating-popular-way-u-s-couples-meet/\" target=\"_blank\" rel=\"noopener noreferrer\">couples who met online\u003c/a> rose from 22 percent in 2009 to 39 percent in 2017—what options do celebrities actually have?\u003c/p>\n\u003cp>In 2018, \u003ca href=\"https://swipelife.tinder.com/post/10-celebrities-who-have-used-dating-apps\" target=\"_blank\" rel=\"noopener noreferrer\">Laverne Cox admitted\u003c/a> that she, like a regular mortal, used Tinder. “I feel like if you want to date, you have to be on the apps to be in the game,” she told \u003cem>Access\u003c/em>. Hilary Duff set a precedent in 2015, calling Tinder “\u003ca href=\"https://www.latimes.com/entertainment/gossip/la-et-mg-hilary-duff-tinder-dating-20150428-story.html\" target=\"_blank\" rel=\"noopener noreferrer\">wildly addicting\u003c/a>.” \u003ca href=\"https://www.etonline.com/news/214990_exclusive_chelsea_handler_on_embracing_singledom_and_using_tinder_to_hook_up_i_m_on_all_those_apps\" target=\"_blank\" rel=\"noopener noreferrer\">Chelsea Handler agreed\u003c/a>, telling \u003cem>ET\u003c/em>, “I like to hook up, so when I go to London or New York or if I’m out of town and I want, I’ll do that … I’m on Tinder [and] all that stuff. I’m a regular person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Trying to be a regular person while inherently recognizable doesn’t always work out, though. Last year, Sharon Stone demonstrated the pitfalls of celebrities trying to date like the rest of the world after she was kicked off Bumble. Users reported her account, thinking it was a fake profile, and Stone was forced to take to Twitter to get the decision reversed.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In 2016, \u003ca href=\"https://www.thetimes.co.uk/article/zac-efron-take-me-seriously-2qn22pzt7\" target=\"_blank\" rel=\"noopener noreferrer\">Zac Efron told\u003c/a> the U.K. \u003cem>Times\u003c/em> that even when he was on Tinder, “nobody swiped” him, presumably because “they thought [his] profile was fake.”\u003c/p>\n\u003cp>So how\u003cem> do\u003c/em> celebrities make love connections while the rest of us are swiping?\u003c/p>\n\u003cp>At 61, Madonna continues to use her tried and true method—searching within her own team. Her first child, Lourdes, was the product of a brief relationship with \u003ca href=\"https://www.imdb.com/name/nm0502458/\" target=\"_blank\" rel=\"noopener noreferrer\">her personal trainer\u003c/a> in the mid ’90s, and now she’s romancing a 25-year-old dancer from her touring crew named Ahlamalik Williams. (Madge is not the only one guilty of such a move—let’s not forget that Jennifer Lopez dated one of her \u003ca href=\"https://www.nickiswift.com/22969/really-went-wrong-j-lo-casper-smart/\" target=\"_blank\" rel=\"noopener noreferrer\">backing dancers\u003c/a>, Casper Smart, for five years.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>More commonly, celebs seem to resort to social media as a dating tool. \u003cem>Modern Family\u003c/em>‘s \u003ca href=\"https://www.eonline.com/news/988948/the-true-story-of-how-twitter-helped-lead-sarah-hyland-to-her-forever-love\" target=\"_blank\" rel=\"noopener noreferrer\">Sarah Hyland met her beau\u003c/a>, Wells Adams, after publicly expressing interest in the Season 12 \u003cem>Bachelorette\u003c/em> contestant via Twitter. But the app of choice for most celebs appears to be Instagram. It was the catalyst for Mandy Moore meeting her musician husband Taylor Goldsmith; it’s where Ricky Martin found his husband, Jwan Yosef; and it’s where “\u003ca href=\"https://www.harpersbazaar.com/uk/fashion/fashion-news/a26959074/sophie-turner-may-cover/\" target=\"_blank\" rel=\"noopener noreferrer\">one fine day, out of the blue\u003c/a>,” Joe Jonas slid into Sophie Turner’s DMs. Having met his current boyfriend the same way, Antoni from \u003cem>Queer Eye \u003c/em>recently \u003ca href=\"https://www.youtube.com/watch?v=X1NioJKAHmE\" target=\"_blank\" rel=\"noopener noreferrer\">noted\u003c/a> that Instagram is, “like, the 2019 way.”\u003c/p>\n\u003cp>The risk of appearing thirsty in a public forum is real, however, as Lindsay Lohan found out last year. She was accused of hitting on newly-single Liam Hemsworth via Instagram after she left a prayer hands emoji on some surfing photos he posted. Lohan later attributed the comment to her work with a \u003ca href=\"https://www.foundationwow.org/\" target=\"_blank\" rel=\"noopener noreferrer\">surf therapy organization\u003c/a> in Australia, but her attacks on \u003ca href=\"https://www.usmagazine.com/celebrity-news/news/lindsay-lohan-shades-cody-simpson-over-miley-cyrus-romance/\" target=\"_blank\" rel=\"noopener noreferrer\">Hemsworth’s ex-wife Miley Cyrus\u003c/a> during the same period suggested otherwise.\u003c/p>\n\u003cp>Then there was New York Islanders hockey star Anthony Beauvillier, who saw fit to \u003ca href=\"https://twitter.com/titobeauvi21/status/1209992434354139136\" target=\"_blank\" rel=\"noopener noreferrer\">tweet “Hi” at Anna Kendrick\u003c/a> in December. After he received no reply, Twitter hilariously stepped in and acted as wingman, publicly thanking Beauvillier for performing \u003ca href=\"https://www.boredpanda.com/hockey-player-anthony-beauvillier-tweets-at-anna-kendrick/?utm_source=google&utm_medium=organic&utm_campaign=organic\" target=\"_blank\" rel=\"noopener noreferrer\">increasingly ridiculous (and obviously false) feats\u003c/a>. These included performing open heart surgery, rescuing people from burning buildings and saving the world from errant asteroids. It may not have got him a date, but Kendrick at least got a laugh out of it.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A \u003ca href=\"https://www.pnas.org/content/116/36/17753.short?rss=1\" target=\"_blank\" rel=\"noopener noreferrer\">2019 study\u003c/a> by Stanford University sociology professor \u003ca href=\"https://profiles.stanford.edu/michael-rosenfeld\" target=\"_blank\" rel=\"noopener noreferrer\">Michael Rosenfeld\u003c/a> showed that the days of meeting spouses through family have been \u003ca href=\"https://www.pnas.org/content/116/36/17753.short?rss=1\" target=\"_blank\" rel=\"noopener noreferrer\">in decline since 1940\u003c/a>, and meeting through friends has been on the way out since 1995. In other words, famous or not, we’re all basically on our own when it comes to making romance happen. So next time you’re complaining about your latest batch of matches, take a moment to think about the poor famous people still trying to get dates with regular Joes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>They may be prettier and richer than the rest of us, but they’re impossibly conspicuous.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Rock and Roll Hall of Fame has announced its 35th annual class of inductees, honoring six musical acts—Depeche Mode, The Doobie Brothers, Whitney Houston, Nine Inch Nails, The Notorious B.I.G. and T-Rex—as well as veteran rock journalist, producer and artist manager Jon Landau.\u003c/p>\n\u003cp>The inducted musicians were chosen from a ballot of 16 finalists, which means fans of Pat Benatar, Dave Matthews Band, Judas Priest, Kraftwerk, MC5, Motörhead, Rufus featuring Chaka Khan, Todd Rundgren, Soundgarden and Thin Lizzy will have to wait at least another year for Rock Hall validation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13873259/women-make-up-less-than-8-of-rock-and-roll-hall-of-fame-inductees\" target=\"_blank\" rel=\"noopener noreferrer\">Speaking on \u003cem>Morning Edition\u003c/em> Monday\u003c/a>, music writer Evelyn McDonnell discussed a study she’d conducted, which revealed that only 69 of the Rock and Roll Hall of Fame’s 888 members—fewer than 8%—were women. With the latest announcement, the ratio grows slightly more lopsided, with only Houston joining the Hall’s ranks alongside B.I.G. and members of four all-male bands.\u003c/p>\n\u003cp>Here’s a quick rundown of the 2020 class:\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Depeche Mode\u003c/strong>\u003c/a> broke through in the 1980s with a string of classic albums that combine synth-pop with the energy of post-punk and rock. The band’s commercial peak arrived in the early ’90s—most notably with \u003cem>Violator\u003c/em> and its hits “Personal Jesus” and “Enjoy the Silence”—but Depeche Mode continues to release albums and tour stadiums.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2011/07/01/137535719/the-doobie-brothers-on-world-cafe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Doobie Brothers\u003c/strong>\u003c/a>‘ fluid blend of rootsy sounds—folk, rock, country and R&B—helped define the “yacht rock” side of commercially successful rock and roll in the 1970s. “Listen to the Music,” “Takin’ It to the Streets” and “What a Fool Believes” are among the group’s best-known songs, but they’re only three of many. With nearly 50 million records sold, The Doobie Brothers still endure (amid a long string of lineup changes) after almost half a century.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Whitney Houston\u003c/strong>\u003c/a> is one of the most commercially successful pop and R&B singers of all time, filling the ’80s and ’90s with chart-topping classics. Her cover of Dolly Parton’s “I Will Always Love You” was the “Old Town Road” of its day, topping the \u003cem>Billboard\u003c/em> Hot 100 for a then-record 14 weeks—and her legend has only grown since her death in 2012.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/89493553/nine-inch-nails\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nine Inch Nails\u003c/strong>\u003c/a> seemed an unlikely Rock and Roll Hall of Famer when Trent Reznor first started releasing abrasive industrial rock in the late 1980s. But the band became a standard-bearer on the strength of songs like “Closer” and “Hurt,” cohesive and intense albums like 1994’s \u003cem>The Downward Spiral \u003c/em>and a string of colossal stadium tours. Reznor continues to be a major musical presence—and an Oscar winner—via a string of powerful film scores, composed alongside collaborator Atticus Ross.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Notorious B.I.G.\u003c/strong>\u003c/a>‘s career was short—the Brooklyn rapper made his debut in 1993 and was shot and killed in 1997 at age 24—but he remains an iconic presence more than 20 years after his death. \u003cem>Ready to Die\u003c/em> was an instant classic upon its release in 1994; it’s the work of a riveting storyteller who transcended genre and remained both a long-term commercial force and a towering influence on future generations.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2010/09/27/130159944/you-ve-never-heard-electric-warrior\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>T. Rex\u003c/strong>\u003c/a>‘s influence greatly outstripped its commercial footprint: From 1970 until bandleader Marc Bolan’s death in 1977, the band was prolific and relentlessly inventive, mixing glammy rock and roll with experimental, exciting forays into folk-rock and psychedelia. “Bang a Gong (Get It On)” may be T. Rex’s best-known song, but the group’s catalog is stuffed with hard-hitting classics that have hardly aged.\u003c/p>\n\u003cp>The winner of the Rock Hall’s 2020 Ahmet Ertegun Award—a prize given to influential industry professionals like songwriters, journalists, producers and executives—is \u003cstrong>Jon Landau\u003c/strong>, who began in the late 1960s as a major rock journalist for publications such as \u003cem>Crawdaddy\u003c/em> and \u003cem>Rolling Stone\u003c/em>. In the ’70s, Landau became a record producer, working on albums by the likes of MC5 and Jackson Browne, and began a long-running professional relationship with Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 35th Annual Rock & Roll Hall of Fame Induction Ceremony takes place on May 2 at Public Auditorium in Cleveland, Ohio. The event will be broadcast live on HBO.\u003c/em>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whitney+Houston%2C+The+Notorious+B.I.G.+Among+2020%27s+Rock+%26+Roll+Hall+Of+Fame+Inductees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Rock and Roll Hall of Fame has announced its 35th annual class of inductees, honoring six musical acts—Depeche Mode, The Doobie Brothers, Whitney Houston, Nine Inch Nails, The Notorious B.I.G. and T-Rex—as well as veteran rock journalist, producer and artist manager Jon Landau.\u003c/p>\n\u003cp>The inducted musicians were chosen from a ballot of 16 finalists, which means fans of Pat Benatar, Dave Matthews Band, Judas Priest, Kraftwerk, MC5, Motörhead, Rufus featuring Chaka Khan, Todd Rundgren, Soundgarden and Thin Lizzy will have to wait at least another year for Rock Hall validation.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13873259/women-make-up-less-than-8-of-rock-and-roll-hall-of-fame-inductees\" target=\"_blank\" rel=\"noopener noreferrer\">Speaking on \u003cem>Morning Edition\u003c/em> Monday\u003c/a>, music writer Evelyn McDonnell discussed a study she’d conducted, which revealed that only 69 of the Rock and Roll Hall of Fame’s 888 members—fewer than 8%—were women. With the latest announcement, the ratio grows slightly more lopsided, with only Houston joining the Hall’s ranks alongside B.I.G. and members of four all-male bands.\u003c/p>\n\u003cp>Here’s a quick rundown of the 2020 class:\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15401876/depeche-mode\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Depeche Mode\u003c/strong>\u003c/a> broke through in the 1980s with a string of classic albums that combine synth-pop with the energy of post-punk and rock. The band’s commercial peak arrived in the early ’90s—most notably with \u003cem>Violator\u003c/em> and its hits “Personal Jesus” and “Enjoy the Silence”—but Depeche Mode continues to release albums and tour stadiums.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2011/07/01/137535719/the-doobie-brothers-on-world-cafe\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Doobie Brothers\u003c/strong>\u003c/a>‘ fluid blend of rootsy sounds—folk, rock, country and R&B—helped define the “yacht rock” side of commercially successful rock and roll in the 1970s. “Listen to the Music,” “Takin’ It to the Streets” and “What a Fool Believes” are among the group’s best-known songs, but they’re only three of many. With nearly 50 million records sold, The Doobie Brothers still endure (amid a long string of lineup changes) after almost half a century.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/16295375/whitney-houston\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Whitney Houston\u003c/strong>\u003c/a> is one of the most commercially successful pop and R&B singers of all time, filling the ’80s and ’90s with chart-topping classics. Her cover of Dolly Parton’s “I Will Always Love You” was the “Old Town Road” of its day, topping the \u003cem>Billboard\u003c/em> Hot 100 for a then-record 14 weeks—and her legend has only grown since her death in 2012.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/89493553/nine-inch-nails\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Nine Inch Nails\u003c/strong>\u003c/a> seemed an unlikely Rock and Roll Hall of Famer when Trent Reznor first started releasing abrasive industrial rock in the late 1980s. But the band became a standard-bearer on the strength of songs like “Closer” and “Hurt,” cohesive and intense albums like 1994’s \u003cem>The Downward Spiral \u003c/em>and a string of colossal stadium tours. Reznor continues to be a major musical presence—and an Oscar winner—via a string of powerful film scores, composed alongside collaborator Atticus Ross.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/88479887/the-notorious-b-i-g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>The Notorious B.I.G.\u003c/strong>\u003c/a>‘s career was short—the Brooklyn rapper made his debut in 1993 and was shot and killed in 1997 at age 24—but he remains an iconic presence more than 20 years after his death. \u003cem>Ready to Die\u003c/em> was an instant classic upon its release in 1994; it’s the work of a riveting storyteller who transcended genre and remained both a long-term commercial force and a towering influence on future generations.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/allsongs/2010/09/27/130159944/you-ve-never-heard-electric-warrior\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>T. Rex\u003c/strong>\u003c/a>‘s influence greatly outstripped its commercial footprint: From 1970 until bandleader Marc Bolan’s death in 1977, the band was prolific and relentlessly inventive, mixing glammy rock and roll with experimental, exciting forays into folk-rock and psychedelia. “Bang a Gong (Get It On)” may be T. Rex’s best-known song, but the group’s catalog is stuffed with hard-hitting classics that have hardly aged.\u003c/p>\n\u003cp>The winner of the Rock Hall’s 2020 Ahmet Ertegun Award—a prize given to influential industry professionals like songwriters, journalists, producers and executives—is \u003cstrong>Jon Landau\u003c/strong>, who began in the late 1960s as a major rock journalist for publications such as \u003cem>Crawdaddy\u003c/em> and \u003cem>Rolling Stone\u003c/em>. In the ’70s, Landau became a record producer, working on albums by the likes of MC5 and Jackson Browne, and began a long-running professional relationship with Bruce Springsteen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 35th Annual Rock & Roll Hall of Fame Induction Ceremony takes place on May 2 at Public Auditorium in Cleveland, Ohio. The event will be broadcast live on HBO.\u003c/em>\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>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whitney+Houston%2C+The+Notorious+B.I.G.+Among+2020%27s+Rock+%26+Roll+Hall+Of+Fame+Inductees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Past Year in Music Listening: Video Rules, The Boy's Club Remains",
"headTitle": "The Past Year in Music Listening: Video Rules, The Boy’s Club Remains | KQED",
"content": "\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\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+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\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+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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