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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/554475953/demi-lovato\">Demi Lovato\u003c/a>, who was hospitalized in late July following an unspecified overdose, has issued a statement addressing her ongoing struggles with addiction.\u003c/p>\n\u003cp>“I have always been transparent about my journey with addiction,” Lovato wrote in a statement \u003ca href=\"https://www.instagram.com/p/BmHH69KlY3L/\">posted to Instagram\u003c/a> on Aug. 5. “What I’ve learned is that this illness is not something that disappears or fades with time. It is something I must continue to overcome and have not done yet.\u003c/p>\n\u003cp>“I want to thank my family, my team, and the staff at Cedars-Sinai who have been by my side the entire time,” Lovato continues. “Without them I wouldn’t be here writing this letter to all of you. I now need time to heal and focus on my sobriety and road to recovery. The love you have all shown me will never be forgotten and I look forward to the day where I can say I came out on the other side.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BmHH69KlY3L/\u003c/p>\n\u003cp>In late June, Lovato released a new single, “\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\">Sober\u003c/a>,” in which she admitted to breaking the six years of sobriety she marked \u003ca href=\"https://www.billboard.com/articles/columns/pop/8249297/demi-lovato-celebrates-6-years-sober-brooklyn-show-speech-video\">on March 15\u003c/a>. “Momma, I’m so sorry, I’m not sober anymore,” the chorus of “Sober” begins. Later in the song, she apologizes to letting down her fans: “I’m sorry for the fans I lost who watched me fall again / I wanna be a role model, but I’m only human.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/vORIohoI4m0\u003c/p>\n\u003cp>After TMZ broke the story of Lovato’s hospitalization, \u003ca href=\"http://www.tmz.com/2018/07/24/demi-lovato-heroin-overdose/\">claiming\u003c/a> it was due to an overdose of heroin, a statement from her representative on behalf of her family, \u003ca href=\"https://twitter.com/alloveranthony/status/1021922230354292738?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1021922230354292738&ref_url=http%3A%2F%2Fwww.thefader.com%2F2018%2F07%2F24%2Fdemi-lovato-overdose-family-statement\">issued July 24\u003c/a>, appeared to contradict that initial report. “Some of the information being reported is incorrect and [Lovato’s family] respectfully ask for privacy and not speculation as her health and recovery is the most important thing right now.”\u003c/p>\n\u003cp>Lovato was first admitted to treatment after \u003ca href=\"https://abcnews.go.com/Entertainment/actress-singer-demi-lovato-treatment-emotional-physical-issues/story?id=12038895\">dropping out\u003c/a> of a Jonas Brothers tour in 2010, when she was 18 years old. After completing treatment, Lovato admitted to hiding her drug use from those around her. “I went on a bender of like, two months,” Lovato admitted in the 2017 documentary \u003cem>Demi Lovato: Simply Complicated\u003c/em>. “There was one night where I used a bunch of coke and I popped a few Xanax bars and I started to choke a little bit, and my heart started racing. And I remember thinking ‘Oh my God, I might be overdosing right now.’ ”\u003c/p>\n\u003cp>“I remember we were in New York, and she clearly was on something — and she was on-air promoting this new way of life, and I was like ‘You’re so full of it,’ ” Lovato’s manager at the time, Phil McIntyre, said in \u003cem>Simply Complicated\u003c/em>. “I wasn’t equipped to be able to handle that situation — and so I got a list of several recommendations of people that specialize in this. And I ended up connected and speaking with [life coach] Mike Bayer.”\u003c/p>\n\u003cp>“It’s embarrassing to look back at the person that I was,” Lovato said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In early July, reports claimed Lovato had split with both\u003cstrong> \u003c/strong>McIntyre — who had accepted a role as Roc Nation’s president of management \u003ca href=\"https://variety.com/2018/music/news/roc-nation-phil-mcintyre-demi-lovato-manager-1202785732/\">in April\u003c/a> — and \u003ca href=\"https://people.com/music/demi-lovato-shade-life-coach-cryptic-tweet/\">Bayer\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Demi+Lovato%3A+Addiction+Is+%27Not+Something+That+Disappears%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/554475953/demi-lovato\">Demi Lovato\u003c/a>, who was hospitalized in late July following an unspecified overdose, has issued a statement addressing her ongoing struggles with addiction.\u003c/p>\n\u003cp>“I have always been transparent about my journey with addiction,” Lovato wrote in a statement \u003ca href=\"https://www.instagram.com/p/BmHH69KlY3L/\">posted to Instagram\u003c/a> on Aug. 5. “What I’ve learned is that this illness is not something that disappears or fades with time. It is something I must continue to overcome and have not done yet.\u003c/p>\n\u003cp>“I want to thank my family, my team, and the staff at Cedars-Sinai who have been by my side the entire time,” Lovato continues. “Without them I wouldn’t be here writing this letter to all of you. I now need time to heal and focus on my sobriety and road to recovery. The love you have all shown me will never be forgotten and I look forward to the day where I can say I came out on the other side.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In late June, Lovato released a new single, “\u003ca href=\"https://www.youtube.com/watch?v=vORIohoI4m0\">Sober\u003c/a>,” in which she admitted to breaking the six years of sobriety she marked \u003ca href=\"https://www.billboard.com/articles/columns/pop/8249297/demi-lovato-celebrates-6-years-sober-brooklyn-show-speech-video\">on March 15\u003c/a>. “Momma, I’m so sorry, I’m not sober anymore,” the chorus of “Sober” begins. Later in the song, she apologizes to letting down her fans: “I’m sorry for the fans I lost who watched me fall again / I wanna be a role model, but I’m only human.”\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/vORIohoI4m0'\n title='//www.youtube.com/embed/vORIohoI4m0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>After TMZ broke the story of Lovato’s hospitalization, \u003ca href=\"http://www.tmz.com/2018/07/24/demi-lovato-heroin-overdose/\">claiming\u003c/a> it was due to an overdose of heroin, a statement from her representative on behalf of her family, \u003ca href=\"https://twitter.com/alloveranthony/status/1021922230354292738?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1021922230354292738&ref_url=http%3A%2F%2Fwww.thefader.com%2F2018%2F07%2F24%2Fdemi-lovato-overdose-family-statement\">issued July 24\u003c/a>, appeared to contradict that initial report. “Some of the information being reported is incorrect and [Lovato’s family] respectfully ask for privacy and not speculation as her health and recovery is the most important thing right now.”\u003c/p>\n\u003cp>Lovato was first admitted to treatment after \u003ca href=\"https://abcnews.go.com/Entertainment/actress-singer-demi-lovato-treatment-emotional-physical-issues/story?id=12038895\">dropping out\u003c/a> of a Jonas Brothers tour in 2010, when she was 18 years old. After completing treatment, Lovato admitted to hiding her drug use from those around her. “I went on a bender of like, two months,” Lovato admitted in the 2017 documentary \u003cem>Demi Lovato: Simply Complicated\u003c/em>. “There was one night where I used a bunch of coke and I popped a few Xanax bars and I started to choke a little bit, and my heart started racing. And I remember thinking ‘Oh my God, I might be overdosing right now.’ ”\u003c/p>\n\u003cp>“I remember we were in New York, and she clearly was on something — and she was on-air promoting this new way of life, and I was like ‘You’re so full of it,’ ” Lovato’s manager at the time, Phil McIntyre, said in \u003cem>Simply Complicated\u003c/em>. “I wasn’t equipped to be able to handle that situation — and so I got a list of several recommendations of people that specialize in this. And I ended up connected and speaking with [life coach] Mike Bayer.”\u003c/p>\n\u003cp>“It’s embarrassing to look back at the person that I was,” Lovato said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In early July, reports claimed Lovato had split with both\u003cstrong> \u003c/strong>McIntyre — who had accepted a role as Roc Nation’s president of management \u003ca href=\"https://variety.com/2018/music/news/roc-nation-phil-mcintyre-demi-lovato-manager-1202785732/\">in April\u003c/a> — and \u003ca href=\"https://people.com/music/demi-lovato-shade-life-coach-cryptic-tweet/\">Bayer\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Demi+Lovato%3A+Addiction+Is+%27Not+Something+That+Disappears%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Generation Wealth' Offers Scattershot Glimpses Of Cultural Decadence",
"headTitle": "‘Generation Wealth’ Offers Scattershot Glimpses Of Cultural Decadence | KQED",
"content": "\u003cp>In the wake of the 2008 financial crisis, director Lauren Greenfield had the counterintuitive idea of understanding the recession through the declining fortunes of Florida billionaires. The result was \u003cem>The Queen of Versailles\u003c/em>, a hugely entertaining documentary about David and Jackie Siegel, a nouveau riche Orlando couple who were in middle of building a 90,000-square-foot estate, modeled after the Palace of Versailles, when the housing market collapsed. As hard as the indefatigable Jackie tried to keep things together, the Siegels were overextended and living beyond their means, and forced austerity halted the project and turned their mansion into a poop-smeared hoarder house.\u003c/p>\n\u003cp>For her follow-up, \u003cem>Generation Wealth\u003c/em>, Greenfield zooms the camera out and takes a much broader look at the excesses of American culture and how they signal an empire in its death throes. In the shift from the gaudy portraiture of \u003cem>The Queen of Versailles\u003c/em> to the essayistic sweep of \u003cem>Generation Wealth\u003c/em>, Greenfield inevitably sacrifices observational detail for a grim diagnosis of society in decline. The trade-off isn’t worth it: The Siegels’ story implies so much about unchecked greed and vanity, and the debased values that can seep into a family. By offering multiple case studies, as she does here, in support of an argument on late-capitalist decadence, the idolization of obscene wealth, the commodification of the body, and other related issues, Greenfield winds up spoon-feeding the audience some awfully thin gruel.\u003c/p>\n\u003cp>“Societies accrue their greatest wealth at the moment that they face death,” says Chris Hedges, a former \u003cem>New York Times\u003c/em> journalist, by way of introduction. And Greenfield dutifully cuts from the Great Pyramid of Giza to the tacky facsimile of the Luxor in Las Vegas, the epicenter of American indulgence. Stepping out in front of the camera herself, Greenfield reflects on her career in photography and documentary filmmaking, which has focused on the anthropological study of the ultra-wealthy. Greenfield is shown poring through half a million photos in her archives, all in an effort to assemble a new book about the peacocking of money worldwide, from debutante balls for oligarch’s daughters in Russia to status-obsessed teenagers in Beverly Hills. (The completed book, also called \u003cem>Generation Wealth\u003c/em>, lists for $75.)\u003c/p>\n\u003cp>Greenfield has an eye for the absurd, like a course where newly rich Chinese women pay $16,000 to learn how to pronounce brand names and cut bananas with a knife and a fork. But she eventually settles on a handful of subjects: Florian Homm, a former hedge-fund rogue who accumulated nearly a billion dollars before landing on the FBI’s Most Wanted list for fraud; Kacey Jordan, a retired porn star who found the wrong kind of fame through her association with Charlie Sheen; Cathy, a single mother who flew to Brazil for plastic surgeries she couldn’t afford and paid a terrible personal cost; Suzanne, another rapacious hedge-funder who put off having kids until 40; Eden Wood, a child beauty pageant contestant from \u003cem>Toddlers & Tiaras\u003c/em>; and several of the now-grown kids from Greenfield’s 1997 book \u003cem>Fast Forward\u003c/em>, about L.A. youth culture.\u003c/p>\n\u003cp>Any one of these stories suggest their own documentary, but their sum plays against Greenfield’s strengths for composition and storytelling. Her thumbnail history of the American dream, from a country that produces to a country that borrows and consumes, feels mostly persuasive, as do her assertions about the ruinous desire for exclusivity and status. But there’s not much of an organizational principle guiding \u003cem>Generation Wealth\u003c/em>, which picks through ideas like Greenfield picks through her old photos, choosing the ones she likes without necessarily figuring out how they go together. Talking heads like Hedges or Bret Easton Ellis, the author of \u003cem>Less Than Zero\u003c/em> and other fictions of money and spiritual vacancy, are there to patch the pieces like crude gobs of Elmer’s glue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The best moments in \u003cem>Generation Wealth\u003c/em> are incidental or anecdotal, like a shot of a tired Robin Leach, former host of \u003cem>Lifestyles of the Rich and Famous\u003c/em>, getting bottle service at a Vegas cabana or Homm’s son telling the story of how his father paid to have him deflowered by a prostitute in Amsterdam at 14. But Greenfield takes too heavy a hand in connecting all these stories, especially in a hopeful conclusion that airbrushes her subjects en masse and undermines her own doom-laden end-of-empire prognostications. She can’t describe a cancer that’s metastasized in the first reel and have it disappear in the last.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Generation+Wealth%27+Offers+Scattershot+Glimpses+Of+Cultural+Decadence+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of the 2008 financial crisis, director Lauren Greenfield had the counterintuitive idea of understanding the recession through the declining fortunes of Florida billionaires. The result was \u003cem>The Queen of Versailles\u003c/em>, a hugely entertaining documentary about David and Jackie Siegel, a nouveau riche Orlando couple who were in middle of building a 90,000-square-foot estate, modeled after the Palace of Versailles, when the housing market collapsed. As hard as the indefatigable Jackie tried to keep things together, the Siegels were overextended and living beyond their means, and forced austerity halted the project and turned their mansion into a poop-smeared hoarder house.\u003c/p>\n\u003cp>For her follow-up, \u003cem>Generation Wealth\u003c/em>, Greenfield zooms the camera out and takes a much broader look at the excesses of American culture and how they signal an empire in its death throes. In the shift from the gaudy portraiture of \u003cem>The Queen of Versailles\u003c/em> to the essayistic sweep of \u003cem>Generation Wealth\u003c/em>, Greenfield inevitably sacrifices observational detail for a grim diagnosis of society in decline. The trade-off isn’t worth it: The Siegels’ story implies so much about unchecked greed and vanity, and the debased values that can seep into a family. By offering multiple case studies, as she does here, in support of an argument on late-capitalist decadence, the idolization of obscene wealth, the commodification of the body, and other related issues, Greenfield winds up spoon-feeding the audience some awfully thin gruel.\u003c/p>\n\u003cp>“Societies accrue their greatest wealth at the moment that they face death,” says Chris Hedges, a former \u003cem>New York Times\u003c/em> journalist, by way of introduction. And Greenfield dutifully cuts from the Great Pyramid of Giza to the tacky facsimile of the Luxor in Las Vegas, the epicenter of American indulgence. Stepping out in front of the camera herself, Greenfield reflects on her career in photography and documentary filmmaking, which has focused on the anthropological study of the ultra-wealthy. Greenfield is shown poring through half a million photos in her archives, all in an effort to assemble a new book about the peacocking of money worldwide, from debutante balls for oligarch’s daughters in Russia to status-obsessed teenagers in Beverly Hills. (The completed book, also called \u003cem>Generation Wealth\u003c/em>, lists for $75.)\u003c/p>\n\u003cp>Greenfield has an eye for the absurd, like a course where newly rich Chinese women pay $16,000 to learn how to pronounce brand names and cut bananas with a knife and a fork. But she eventually settles on a handful of subjects: Florian Homm, a former hedge-fund rogue who accumulated nearly a billion dollars before landing on the FBI’s Most Wanted list for fraud; Kacey Jordan, a retired porn star who found the wrong kind of fame through her association with Charlie Sheen; Cathy, a single mother who flew to Brazil for plastic surgeries she couldn’t afford and paid a terrible personal cost; Suzanne, another rapacious hedge-funder who put off having kids until 40; Eden Wood, a child beauty pageant contestant from \u003cem>Toddlers & Tiaras\u003c/em>; and several of the now-grown kids from Greenfield’s 1997 book \u003cem>Fast Forward\u003c/em>, about L.A. youth culture.\u003c/p>\n\u003cp>Any one of these stories suggest their own documentary, but their sum plays against Greenfield’s strengths for composition and storytelling. Her thumbnail history of the American dream, from a country that produces to a country that borrows and consumes, feels mostly persuasive, as do her assertions about the ruinous desire for exclusivity and status. But there’s not much of an organizational principle guiding \u003cem>Generation Wealth\u003c/em>, which picks through ideas like Greenfield picks through her old photos, choosing the ones she likes without necessarily figuring out how they go together. Talking heads like Hedges or Bret Easton Ellis, the author of \u003cem>Less Than Zero\u003c/em> and other fictions of money and spiritual vacancy, are there to patch the pieces like crude gobs of Elmer’s glue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The best moments in \u003cem>Generation Wealth\u003c/em> are incidental or anecdotal, like a shot of a tired Robin Leach, former host of \u003cem>Lifestyles of the Rich and Famous\u003c/em>, getting bottle service at a Vegas cabana or Homm’s son telling the story of how his father paid to have him deflowered by a prostitute in Amsterdam at 14. But Greenfield takes too heavy a hand in connecting all these stories, especially in a hopeful conclusion that airbrushes her subjects en masse and undermines her own doom-laden end-of-empire prognostications. She can’t describe a cancer that’s metastasized in the first reel and have it disappear in the last.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Generation+Wealth%27+Offers+Scattershot+Glimpses+Of+Cultural+Decadence+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Even if you don’t watch soccer, you’ve probably heard it referred to at some point as “the beautiful game.” While the exact origin of the phrase is in some dispute (like “beatnik,” there are a few claimants), it’s become one of the default phrases employed to describe the sport as a whole. And while beauty is very much in the eye of the beholder, one need only watch a replay of the \u003ca href=\"https://www.youtube.com/watch?v=XLa9wP-BVzQ\" target=\"_blank\" rel=\"noopener noreferrer\">first goal scored\u003c/a> in the England-Croatia World Cup semifinal match by English defender Kieran Trippier—a swooping arc flying first over the heads of Croatia’s defensive “wall,” then soaring above goalkeeper Danijel Subašić to smash into the back of the net—to get a sense of the game’s \u003cem>potential\u003c/em> for beautiful moments.\u003c/p>\n\u003cp>In fact, there’s so much potential for beauty in soccer, especially at the World Cup level, that it can move an arts journalist such as myself to spend the better part of a month lurking in dark bars at 7am. As the games have progressed from knockout rounds, to the final sixteen, the final eight, the quarterfinals, and the best of the best (or sometimes just the luckiest) inching their way to this weekend’s finals, I find I can hardly resist the very theatre-like qualities of the World Cup and, particularly in large outdoor public screenings, its fans.\u003c/p>\n\u003cfigure id=\"attachment_13836997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8531-800x533.jpg\" alt=\"Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soccer has so much happening that it could be said to encompass a wide variety of art forms within its sweaty bosom. The almost balletic precision of Spain’s “tiki-taka” passing game as contrasted with the spontaneous improv of a lucky header such as that of Belgium’s Jan Vertonghen against Japan, a literal long shot turned unexpected goal. The physical beauty of athletic bodies in motion, without giant helmets or baggy trousers to mar the view. The high drama of high stakes leading to shoving matches and shouted epithets on the pitch (to say nothing of the stands), some inspired by fresh insults, some by deep-seated rivalries stretching back generations. The low humor of a ball planted squarely in England defender Kyle Walker’s \u003cem>bollocks\u003c/em> and the unabashed emotion on the faces of the Croatian team after cementing their winning goal in the 109th minute of play, particularly \u003ca href=\"https://petapixel.com/2018/07/12/photographer-gets-dog-piled-at-world-cup-and-keeps-on-shooting/\">as captured by Salvadoran photojournalist Yuri Cortez\u003c/a>, who was buried in the middle of their celebratory dogpile.\u003c/p>\n\u003cfigure id=\"attachment_13836996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836996\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8528-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sue Bierman Park, a grassy knoll sandwiched between Drumm and the Embarcadero, a crowd gathered Wednesday to watch an outdoor screening of the World Cup semi-final match between England and Croatia, a courtesy provided by San Francisco Parks and Recreation (the final will be screened at the Civic Center on Sunday, July 15). Unlike many of the bars that show World Cup games in San Francisco, these outdoor screenings have a way of drawing supporters of both teams, and yet none (that I’ve been to) have had any serious altercations. We are civil “football” fans in SF, it seems, but that doesn’t stop the pageantry, people wrapped in flags, facepaint, team colors, or the palpable tension and anticipation that rises with each unpredictable twist in plot. Folks from all walks of life come to represent and be represented. For them, as well as for the players looming on the giant screen above us, a World Cup soccer game can be emotionally challenging, physically demanding, and potentially transcendent.\u003c/p>\n\u003cfigure id=\"attachment_13837003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8558-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although at first glance, and second count, supporters of England appeared to outnumber those of Croatia at the screening, as the game progressed and Croatia’s chances improved, those few appeared to swell in number, or at least in appreciative vocalization. And while it might be inappropriate to make such sounds at a particularly stirring Symphony performance, it would certainly not be out of place after a beautifully improvised jazz solo or a fan favorite rock anthem played third on the set list at the Independent. The groans and “come ooooooon”’s of fan frustration might just as easily (though not as publicly) come out of a stage-builder’s mouth at a wayward flat or a misplaced drill bit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And what other high-stakes sporting event in San Francisco could bring groups of friends (such as SF Hibernian teammates Carly Andler and Bethany Barker, supporting Croatia and England respectively), and even families (such as that of the Takhars, England supporters, save for grandmother Dori Jafarieh, holding out for Croatia), out in force to sit together while supporting different teams, yet still maintain conviviality and an appreciation not just for results, but for the experience of the game as performance?\u003c/p>\n\u003cfigure id=\"attachment_13836986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8483-800x533.jpg\" alt=\"Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>England-born Napa resident Nicky Robert might have come out ostensibly to support Gareth Southgate’s scrappy underdogs, but really, she was just glad for a day in the sun watching them go as far as they could in enthusiastic company. As for Croatian-born Ivana Zubonja however, nothing but a Croatian win would do. Her pride for her team radiated from her checkerboard jersey, and her cheers could be heard from halfway across the park when they equalized. And do any of them find beauty in the “beautiful game”? Not everyone seemed too sure about that, but England supporter Paul Griffith, “old enough to remember when the phrase applied to the Brazilian attacking game,” certainly did.\u003c/p>\n\u003cp>“I know it’s really physics, and all that. But watching the ball curve (into the goal) seems magical.”\u003c/p>\n\u003cfigure id=\"attachment_13836992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8504-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what a performance it was. With England up a point the entire first half, it felt like Croatia was having to chip away at their strength with Sisyphean struggle, one step forward, two steps back. But their practiced slog yielded the intended result in the 68th minute, as Croatian Ivan Perišić landed a controversial goal that fired up not just the patient Croatian supporters at Sue Bierman park, but the National team, who seemed in the moment to shake off any lingering dejection to dominate the rest of the game. England’s goalkeeper Jordan Pickford often seeming like the only player really standing between Croatia and the ball, as England’s defense appeared uncertain how to stop Croatia from shooting at a goal—save for that aforementioned Kyle Walker bollock-block, a sacrifice soon forgotten as Mario Mandžukić drove in a second goal for Croatia three minutes later at the 109th minute of play. A moment that seems to burden the English team with an extra 10 years’ worth of haggard lines (though the younger team by far), just as it washed the fraught exhaustion from Croatia’s faces as they mobbed each other, and Yuri Gomez, in their beatific joy.\u003c/p>\n\u003cfigure id=\"attachment_13837006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8570-800x533.jpg\" alt=\"Ivana Zubonja, Julia Wu and friends celebrate Croatia's win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivana Zubonja, Julia Wu and friends celebrate Croatia’s win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, like any performance, it was over. And the assembled audience, with all of our assorted reasons for being there, fair-weather fans and diehard supporters alike, rose almost as one, and began to file out of the outdoor theater of the park. Back to home or offices or Napa or whatever other obligations awaited our afternoon. On my way out, I ran into Ivana Zubonja and her friends again, and we exchanged high fives. “See you at the final,” she confirmed, as we dispersed our separate ways.\u003c/p>\n\u003cp>Definitely.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch the public screening of the World Cup final at the Civic Center on Sunday, July 15, at 8am. \u003ca href=\"https://www.worldcupsf.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"title": "The Art of the Game: the Aesthetics of World Cup Soccer in San Francisco | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even if you don’t watch soccer, you’ve probably heard it referred to at some point as “the beautiful game.” While the exact origin of the phrase is in some dispute (like “beatnik,” there are a few claimants), it’s become one of the default phrases employed to describe the sport as a whole. And while beauty is very much in the eye of the beholder, one need only watch a replay of the \u003ca href=\"https://www.youtube.com/watch?v=XLa9wP-BVzQ\" target=\"_blank\" rel=\"noopener noreferrer\">first goal scored\u003c/a> in the England-Croatia World Cup semifinal match by English defender Kieran Trippier—a swooping arc flying first over the heads of Croatia’s defensive “wall,” then soaring above goalkeeper Danijel Subašić to smash into the back of the net—to get a sense of the game’s \u003cem>potential\u003c/em> for beautiful moments.\u003c/p>\n\u003cp>In fact, there’s so much potential for beauty in soccer, especially at the World Cup level, that it can move an arts journalist such as myself to spend the better part of a month lurking in dark bars at 7am. As the games have progressed from knockout rounds, to the final sixteen, the final eight, the quarterfinals, and the best of the best (or sometimes just the luckiest) inching their way to this weekend’s finals, I find I can hardly resist the very theatre-like qualities of the World Cup and, particularly in large outdoor public screenings, its fans.\u003c/p>\n\u003cfigure id=\"attachment_13836997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836997\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8531-800x533.jpg\" alt=\"Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8531-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Warren Jackson roots for England at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Soccer has so much happening that it could be said to encompass a wide variety of art forms within its sweaty bosom. The almost balletic precision of Spain’s “tiki-taka” passing game as contrasted with the spontaneous improv of a lucky header such as that of Belgium’s Jan Vertonghen against Japan, a literal long shot turned unexpected goal. The physical beauty of athletic bodies in motion, without giant helmets or baggy trousers to mar the view. The high drama of high stakes leading to shoving matches and shouted epithets on the pitch (to say nothing of the stands), some inspired by fresh insults, some by deep-seated rivalries stretching back generations. The low humor of a ball planted squarely in England defender Kyle Walker’s \u003cem>bollocks\u003c/em> and the unabashed emotion on the faces of the Croatian team after cementing their winning goal in the 109th minute of play, particularly \u003ca href=\"https://petapixel.com/2018/07/12/photographer-gets-dog-piled-at-world-cup-and-keeps-on-shooting/\">as captured by Salvadoran photojournalist Yuri Cortez\u003c/a>, who was buried in the middle of their celebratory dogpile.\u003c/p>\n\u003cfigure id=\"attachment_13836996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836996\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8528-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8528-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At Sue Bierman Park, a grassy knoll sandwiched between Drumm and the Embarcadero, a crowd gathered Wednesday to watch an outdoor screening of the World Cup semi-final match between England and Croatia, a courtesy provided by San Francisco Parks and Recreation (the final will be screened at the Civic Center on Sunday, July 15). Unlike many of the bars that show World Cup games in San Francisco, these outdoor screenings have a way of drawing supporters of both teams, and yet none (that I’ve been to) have had any serious altercations. We are civil “football” fans in SF, it seems, but that doesn’t stop the pageantry, people wrapped in flags, facepaint, team colors, or the palpable tension and anticipation that rises with each unpredictable twist in plot. Folks from all walks of life come to represent and be represented. For them, as well as for the players looming on the giant screen above us, a World Cup soccer game can be emotionally challenging, physically demanding, and potentially transcendent.\u003c/p>\n\u003cfigure id=\"attachment_13837003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837003\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8558-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8558-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although at first glance, and second count, supporters of England appeared to outnumber those of Croatia at the screening, as the game progressed and Croatia’s chances improved, those few appeared to swell in number, or at least in appreciative vocalization. And while it might be inappropriate to make such sounds at a particularly stirring Symphony performance, it would certainly not be out of place after a beautifully improvised jazz solo or a fan favorite rock anthem played third on the set list at the Independent. The groans and “come ooooooon”’s of fan frustration might just as easily (though not as publicly) come out of a stage-builder’s mouth at a wayward flat or a misplaced drill bit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And what other high-stakes sporting event in San Francisco could bring groups of friends (such as SF Hibernian teammates Carly Andler and Bethany Barker, supporting Croatia and England respectively), and even families (such as that of the Takhars, England supporters, save for grandmother Dori Jafarieh, holding out for Croatia), out in force to sit together while supporting different teams, yet still maintain conviviality and an appreciation not just for results, but for the experience of the game as performance?\u003c/p>\n\u003cfigure id=\"attachment_13836986\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836986\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8483-800x533.jpg\" alt=\"Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8483-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dori Jafarieh attends the World Cup Semi-final Viewing Party with her grandson Rohan Takhar on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>England-born Napa resident Nicky Robert might have come out ostensibly to support Gareth Southgate’s scrappy underdogs, but really, she was just glad for a day in the sun watching them go as far as they could in enthusiastic company. As for Croatian-born Ivana Zubonja however, nothing but a Croatian win would do. Her pride for her team radiated from her checkerboard jersey, and her cheers could be heard from halfway across the park when they equalized. And do any of them find beauty in the “beautiful game”? Not everyone seemed too sure about that, but England supporter Paul Griffith, “old enough to remember when the phrase applied to the Brazilian attacking game,” certainly did.\u003c/p>\n\u003cp>“I know it’s really physics, and all that. But watching the ball curve (into the goal) seems magical.”\u003c/p>\n\u003cfigure id=\"attachment_13836992\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13836992\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8504-800x533.jpg\" alt=\"The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8504-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And what a performance it was. With England up a point the entire first half, it felt like Croatia was having to chip away at their strength with Sisyphean struggle, one step forward, two steps back. But their practiced slog yielded the intended result in the 68th minute, as Croatian Ivan Perišić landed a controversial goal that fired up not just the patient Croatian supporters at Sue Bierman park, but the National team, who seemed in the moment to shake off any lingering dejection to dominate the rest of the game. England’s goalkeeper Jordan Pickford often seeming like the only player really standing between Croatia and the ball, as England’s defense appeared uncertain how to stop Croatia from shooting at a goal—save for that aforementioned Kyle Walker bollock-block, a sacrifice soon forgotten as Mario Mandžukić drove in a second goal for Croatia three minutes later at the 109th minute of play. A moment that seems to burden the English team with an extra 10 years’ worth of haggard lines (though the younger team by far), just as it washed the fraught exhaustion from Croatia’s faces as they mobbed each other, and Yuri Gomez, in their beatific joy.\u003c/p>\n\u003cfigure id=\"attachment_13837006\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13837006\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/IMG_8570-800x533.jpg\" alt=\"Ivana Zubonja, Julia Wu and friends celebrate Croatia's win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/IMG_8570-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ivana Zubonja, Julia Wu and friends celebrate Croatia’s win at the World Cup Semi-final Viewing Party on Wednesday, July 11 at Sue Bierman Park in San Francisco. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And then, like any performance, it was over. And the assembled audience, with all of our assorted reasons for being there, fair-weather fans and diehard supporters alike, rose almost as one, and began to file out of the outdoor theater of the park. Back to home or offices or Napa or whatever other obligations awaited our afternoon. On my way out, I ran into Ivana Zubonja and her friends again, and we exchanged high fives. “See you at the final,” she confirmed, as we dispersed our separate ways.\u003c/p>\n\u003cp>Definitely.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Catch the public screening of the World Cup final at the Civic Center on Sunday, July 15, at 8am. \u003ca href=\"https://www.worldcupsf.com/\">Details here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Somewhere at Donald Glover HQ, decked out in Gucci formals and the comfiest of loafers, I can imagine one of the busiest entertainers in America musing, “I got \u003cem>Atlanta\u003c/em>. Lando Calrissian was the best thing about \u003cem>Solo\u003c/em> (don’t @ me). ‘This Is America,’ a noisy \u003ca href=\"https://www.npr.org/2018/05/07/609150167/donald-glovers-this-is-america-holds-ugly-truths-to-be-self-evident\">barrage of symbolism and chaos\u003c/a>, is an unlikely (but truly bangin’) contender for the song of the summer. What else can I give the people to make this summer just a little bit more ‘Donald Glover’?”\u003c/p>\n\u003cp>How about two new \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a> songs? If you have any doubt of the vibe intended, it’s literally in the titles: “Summertime Magic” and “Feels Like Summer.” Co-written and co-produced by Childish Gambino and Ludwig Goransson, the same folks behind “This Is America,” both tracks have that far-away, steamy gaze — soft bops that simmer in steel drums, synths pads and the most gentle of guitar strums.\u003c/p>\n\u003cp>The bigger question now: Is this \u003ca href=\"https://www.npr.org/sections/allsongs/611745187/ros-wave-your-summer-soundtrack\">roséwave\u003c/a>?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Summertime Magic (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/diLp6hUqvVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Feels Like Summer (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ieL7BHjiyd8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Childish+Gambino+Wants+To+Dominate+This+Summer+And+Who+Are+We+To+Deny%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Somewhere at Donald Glover HQ, decked out in Gucci formals and the comfiest of loafers, I can imagine one of the busiest entertainers in America musing, “I got \u003cem>Atlanta\u003c/em>. Lando Calrissian was the best thing about \u003cem>Solo\u003c/em> (don’t @ me). ‘This Is America,’ a noisy \u003ca href=\"https://www.npr.org/2018/05/07/609150167/donald-glovers-this-is-america-holds-ugly-truths-to-be-self-evident\">barrage of symbolism and chaos\u003c/a>, is an unlikely (but truly bangin’) contender for the song of the summer. What else can I give the people to make this summer just a little bit more ‘Donald Glover’?”\u003c/p>\n\u003cp>How about two new \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a> songs? If you have any doubt of the vibe intended, it’s literally in the titles: “Summertime Magic” and “Feels Like Summer.” Co-written and co-produced by Childish Gambino and Ludwig Goransson, the same folks behind “This Is America,” both tracks have that far-away, steamy gaze — soft bops that simmer in steel drums, synths pads and the most gentle of guitar strums.\u003c/p>\n\u003cp>The bigger question now: Is this \u003ca href=\"https://www.npr.org/sections/allsongs/611745187/ros-wave-your-summer-soundtrack\">roséwave\u003c/a>?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Summertime Magic (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/diLp6hUqvVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Feels Like Summer (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ieL7BHjiyd8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Childish+Gambino+Wants+To+Dominate+This+Summer+And+Who+Are+We+To+Deny%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "San Rafael's Telltale Games Working on 'Stranger Things' Video Game",
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"content": "\u003cp>\u003ca href=\"https://telltale.com/\" rel=\"noopener\" target=\"_blank\">Telltale Games\u003c/a>, an independent game developer based in San Rafael, announced Wednesday that it has made a deal with Netflix to produce a video game based on the hit show, \u003ci>Stranger Things.\u003c/i>\u003c/p>\n\u003cp>Telltale Games revealed few details about the game, announcing the news while also announcing that Netflix would be streaming an interactive version of Telltale’s game \u003ci>Minecraft: Story Mode.\u003c/i> Telltale had little to say about either project.\u003c/p>\n\u003cp>“Our partnership with Netflix is something we’re incredibly proud of, and while we don’t have anything more to share right now, we’re excited to reveal details on these projects later in the year,” Telltale \u003ca href=\"https://twitter.com/telltalegames/status/1006996305082630144\" rel=\"noopener\" target=\"_blank\">posted on Twitter \u003c/a>Wednesday.\u003c/p>\n\u003cp>Three former LucasArts employees — Dan Connors, Kevin Bruner and Troy Molander — founded Telltale in 2004, following LucasArts’s cancellation of a game they worked on together called \u003ci>Sam & Max Hit the Road.\u003c/i> The company went on to create games for movies such as \u003cem>Back to the Future\u003c/em> and \u003cem>Jurassic Park\u003c/em>. But Telltale saw its first big success with the episodic game it created based on \u003ci>The Walking Dead\u003c/i> comic and television series. Upon its release in 2012, the game sold a million copies in 20 days. Telltale went on to develop four more games in the series.\u003c/p>\n\u003cfigure id=\"attachment_13835104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg\" alt=\"Screenshot from 'Minecraft: Story Mode'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot from ‘Minecraft: Story Mode.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Building on its cinematic, episodic style developed for the \u003ci>The Walking Dead\u003c/i> games, it then produced games for notable properties such as \u003ci>Game of Thrones\u003c/i> and \u003ci>Guardians of the Galaxy.\u003c/i> Continuing successes led the company to grow to 400 employees, but the company couldn’t sustain the staffing level and it \u003ca href=\"https://www.usgamer.net/articles/exclusive-how-a-culture-of-crunch-brought-telltale-from-critical-darlings-to-layoffs\" rel=\"noopener\" target=\"_blank\">laid off 90 employees\u003c/a> — 25 percent of its staff — last year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The deal Telltale inked with Netflix means two different products for the two licensed properties, \u003ci> Minecraft\u003c/i> and \u003ci>Stranger Things.\u003c/i>\u003ca href=\"https://www.techradar.com/news/netflix-to-add-games-to-its-service-including-stranger-things-and-minecraft\" rel=\"noopener\" target=\"_blank\"> TechRadar reports\u003c/a> that \u003cem>Minecraft: Story Mode\u003c/em> is a five-part interactive story series similar to other Netflix properties. \u003c/p>\n\u003cp>“It’s an extension of our other interactive stories we have on our service like \u003cem>Stretch Armstrong: The Breakout\u003c/em>, \u003cem>Puss in Book: Trapped in an Epic Tale\u003c/em> and \u003cem>Buddy Thunderstruck: The Maybe Pile\u003c/em>,” a Netflix representative \u003ca href=\"https://www.polygon.com/tv/2018/6/13/17460834/netflix-telltale-minecraft-story-mode-stranger-things-game\" rel=\"noopener\" target=\"_blank\">told Polygon\u003c/a>. \u003c/p>\n\u003cp>However, the \u003ci>Stranger Things\u003c/i> game will not be available for streaming on Netflix, as it is just a part of the streaming service’s marketing strategy.\u003c/p>\n\u003cp>“We don’t have any plans to get into gaming,” Netflix told TechRadar. “There’s a broad spectrum of entertainment available today. Games have become increasingly cinematic, but we view this as interactive narrative storytelling on our service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stranger Things,\u003c/i> a sci-fi horror series steeped in ’80s nostalgia, premiered on Netflix in 2016, becoming a sensation practically overnight. The third season of the show is currently in production.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://telltale.com/\" rel=\"noopener\" target=\"_blank\">Telltale Games\u003c/a>, an independent game developer based in San Rafael, announced Wednesday that it has made a deal with Netflix to produce a video game based on the hit show, \u003ci>Stranger Things.\u003c/i>\u003c/p>\n\u003cp>Telltale Games revealed few details about the game, announcing the news while also announcing that Netflix would be streaming an interactive version of Telltale’s game \u003ci>Minecraft: Story Mode.\u003c/i> Telltale had little to say about either project.\u003c/p>\n\u003cp>“Our partnership with Netflix is something we’re incredibly proud of, and while we don’t have anything more to share right now, we’re excited to reveal details on these projects later in the year,” Telltale \u003ca href=\"https://twitter.com/telltalegames/status/1006996305082630144\" rel=\"noopener\" target=\"_blank\">posted on Twitter \u003c/a>Wednesday.\u003c/p>\n\u003cp>Three former LucasArts employees — Dan Connors, Kevin Bruner and Troy Molander — founded Telltale in 2004, following LucasArts’s cancellation of a game they worked on together called \u003ci>Sam & Max Hit the Road.\u003c/i> The company went on to create games for movies such as \u003cem>Back to the Future\u003c/em> and \u003cem>Jurassic Park\u003c/em>. But Telltale saw its first big success with the episodic game it created based on \u003ci>The Walking Dead\u003c/i> comic and television series. Upon its release in 2012, the game sold a million copies in 20 days. Telltale went on to develop four more games in the series.\u003c/p>\n\u003cfigure id=\"attachment_13835104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg\" alt=\"Screenshot from 'Minecraft: Story Mode'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot from ‘Minecraft: Story Mode.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Building on its cinematic, episodic style developed for the \u003ci>The Walking Dead\u003c/i> games, it then produced games for notable properties such as \u003ci>Game of Thrones\u003c/i> and \u003ci>Guardians of the Galaxy.\u003c/i> Continuing successes led the company to grow to 400 employees, but the company couldn’t sustain the staffing level and it \u003ca href=\"https://www.usgamer.net/articles/exclusive-how-a-culture-of-crunch-brought-telltale-from-critical-darlings-to-layoffs\" rel=\"noopener\" target=\"_blank\">laid off 90 employees\u003c/a> — 25 percent of its staff — last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The deal Telltale inked with Netflix means two different products for the two licensed properties, \u003ci> Minecraft\u003c/i> and \u003ci>Stranger Things.\u003c/i>\u003ca href=\"https://www.techradar.com/news/netflix-to-add-games-to-its-service-including-stranger-things-and-minecraft\" rel=\"noopener\" target=\"_blank\"> TechRadar reports\u003c/a> that \u003cem>Minecraft: Story Mode\u003c/em> is a five-part interactive story series similar to other Netflix properties. \u003c/p>\n\u003cp>“It’s an extension of our other interactive stories we have on our service like \u003cem>Stretch Armstrong: The Breakout\u003c/em>, \u003cem>Puss in Book: Trapped in an Epic Tale\u003c/em> and \u003cem>Buddy Thunderstruck: The Maybe Pile\u003c/em>,” a Netflix representative \u003ca href=\"https://www.polygon.com/tv/2018/6/13/17460834/netflix-telltale-minecraft-story-mode-stranger-things-game\" rel=\"noopener\" target=\"_blank\">told Polygon\u003c/a>. \u003c/p>\n\u003cp>However, the \u003ci>Stranger Things\u003c/i> game will not be available for streaming on Netflix, as it is just a part of the streaming service’s marketing strategy.\u003c/p>\n\u003cp>“We don’t have any plans to get into gaming,” Netflix told TechRadar. “There’s a broad spectrum of entertainment available today. Games have become increasingly cinematic, but we view this as interactive narrative storytelling on our service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stranger Things,\u003c/i> a sci-fi horror series steeped in ’80s nostalgia, premiered on Netflix in 2016, becoming a sensation practically overnight. The third season of the show is currently in production.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Eight-year-old Yoyoka Soma’s favorite drummer is John Bonham, so for her entry into the 2018 \u003ca href=\"https://hitlikeagirlcontest.com/\" target=\"_blank\" rel=\"noopener\">Hit Like A Girl\u003c/a> drum contest, she covered Bonham’s part on \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin’s\u003c/a> “Good Times Bad Times.”\u003c/p>\n\u003cp>The video, \u003ca href=\"https://vimeo.com/263985244?ref=fb-share&1\" target=\"_blank\" rel=\"noopener\">which features Soma playing along to the 1969 hit\u003c/a>, earned her a spot in the international competition’s final round. She didn’t take home the gold, but she did win our hearts.\u003c/p>\n\u003cp>She absolutely smashes through the song with three foot pedals and polka dot socks putting in bass work. She’s even got the facials and head banging down. And the dampening of the cymbal is a detail only a tenured drummer like herself could add.\u003c/p>\n\u003cp>Soma has been playing drums since the tender age of 2. At 4, she started performing at concerts, and now she’s been on over 100 stages. She’s a member of her family band, Kaneaiyoyoka, where she contributes keyboard and vocals in addition to drums. She even composes her own lyrics and music.\u003c/p>\n\u003cp>“I want to be an artist who can do anything: playing all instruments, recording music, mixing the sound and designing the CD album jackets,” she said in a statement accompanying her entry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She’s even studying English, knowing that future world-wide tours will take her from Japan to all parts of the globe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My dream is to be the best drummer in the world,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Watch+This+8-Year-Old+Girl+Crush+Led+Zeppelin%27s+%27Good+Times+Bad+Times%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Eight-year-old Yoyoka Soma’s favorite drummer is John Bonham, so for her entry into the 2018 \u003ca href=\"https://hitlikeagirlcontest.com/\" target=\"_blank\" rel=\"noopener\">Hit Like A Girl\u003c/a> drum contest, she covered Bonham’s part on \u003ca href=\"https://www.npr.org/artists/15396553/led-zeppelin\">Led Zeppelin’s\u003c/a> “Good Times Bad Times.”\u003c/p>\n\u003cp>The video, \u003ca href=\"https://vimeo.com/263985244?ref=fb-share&1\" target=\"_blank\" rel=\"noopener\">which features Soma playing along to the 1969 hit\u003c/a>, earned her a spot in the international competition’s final round. She didn’t take home the gold, but she did win our hearts.\u003c/p>\n\u003cp>She absolutely smashes through the song with three foot pedals and polka dot socks putting in bass work. She’s even got the facials and head banging down. And the dampening of the cymbal is a detail only a tenured drummer like herself could add.\u003c/p>\n\u003cp>Soma has been playing drums since the tender age of 2. At 4, she started performing at concerts, and now she’s been on over 100 stages. She’s a member of her family band, Kaneaiyoyoka, where she contributes keyboard and vocals in addition to drums. She even composes her own lyrics and music.\u003c/p>\n\u003cp>“I want to be an artist who can do anything: playing all instruments, recording music, mixing the sound and designing the CD album jackets,” she said in a statement accompanying her entry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She’s even studying English, knowing that future world-wide tours will take her from Japan to all parts of the globe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“My dream is to be the best drummer in the world,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Watch+This+8-Year-Old+Girl+Crush+Led+Zeppelin%27s+%27Good+Times+Bad+Times%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=615752582&mediaId=615791546\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Black Thought rarely unmasks.\u003c/p>\n\u003cp>Not even in our in-depth interview, which lasted more than an hour, did he remove the shades that enable him to observe the world — and reflect a bit of its pain – while concealing his own. Yet the story he shared of personal trauma and transcendence reveals so much more.\u003c/p>\n\u003cp>His moniker, Black Thought, has always been a double-entendre that felt like it belonged to all of us for the way it communicates a collective angst and rage, darkness and genius. For the South Philly-bred co-founder of The Roots, born Tariq Trotter, that nuance is equally reflected in his life and rhymes. It’s lent him a depth and duality rare in this age. To find his equal, one almost must look beyond the confines of rap.\u003c/p>\n\u003cp>Onstage at Washington D.C.’s Kennedy Center in April at a dramatic stage reading of Ta-Nehisi Coates’ book \u003cem>Between the World and Me\u003c/em>, Black Thought delivered a gripping remix of his \u003ca href=\"https://www.youtube.com/watch?v=M8DxO-66jrA\">Harvard University freestyle\u003c/a> at the climactic high point of the performance:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Black as oblivion\u003c/em>\u003cbr>\n\u003cem>Black as obsidian\u003c/em>\u003cbr>\n\u003cem>Black as the sky at midnight ante meridian\u003c/em>\u003cbr>\n\u003cem>I am black as a portrait with Diddy, 2Pac and Biggie in\u003c/em>\u003cbr>\n\u003cem>Black as the influence on the culture we living in\u003c/em>\u003c/p>\n\u003cp>When Coates took the stage near the program’s conclusion, the celebrated chronicler of contemporary black American life paused first to pay respect to his literary peer. Looking over at the bearded and brimmed Black Thought, Coates nodded and told the crowd, “I wish I wrote them Thought verses. I’d trade this whole book for that, man.”\u003c/p>\n\u003cp>It was a huge accolade from one clear-eyed realist to another.\u003c/p>\n\u003cp>Black Thought’s been basking in overdue props lately. The viral \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/15/571088054/heres-why-black-thoughts-10-minute-freestyle-is-so-remarkable\">Hot 97 freestyle\u003c/a> that sent the Internet into a tizzy six months ago made him something of an anomaly — a hip-hop vet, 30 years into his career, finally recognized for being at the top of his game.\u003c/p>\n\u003cp>Now, with the release of his first side project, \u003cem>Streams of Thought Vol. 1\u003c/em> (produced by 9th Wonder and The Soul Council), he’s further emerging from the shadows. It’s a new reckoning for an artful dodger who’s always excelled at drawing complex illustrations while disappearing into his own canvas, but he stops short of calling \u003cem>Streams of Thought\u003c/em> a solo project. For Black Thought, the appeal of a collaborative series featuring a rotating cast of producers is less about hogging the spotlight than delivering stream-of-consciousness flows without the meticulous plotting associated with The Roots’ high-concept approach.\u003c/p>\n\u003cp>But there’s a bigger reveal behind Black Thought’s album release, and it drove our conversation, which took place in Manhattan in April. By 16, he’d lost both parents and found his life’s calling. It became his saving grace. At 46, he’s beginning to unmask in music and life. And it feels like the self-professed introvert is honing in on another growth spurt, 30 years later.\u003c/p>\n\u003cp>There’s a line from \u003cem>Between the World and Me\u003c/em> in which Coates writes to his son, “Part of me thinks that your very vulnerability brings you closer to the meaning of life.” After a career spent processing all our angst and pain, Black Thought is finding comfort with baring open to the world his whole soul.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Black Thought on Ta-Nehisi Coates saying he’d trade \u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> for Black Thought’s verses\u003c/strong>\u003c/p>\n\u003cp>For me it lent a certain sort of validity to what I’m doing, what I’ve been doing. We communicate via social media and had been doing so for the past couple of years. But we met in person earlier in the week at the same sort of event at the Apollo, and it was there that he kind of revealed to me that during that time in his life when he was still trying to become a writer and trying to be a writer, that my style of writing on a particular record — I think it was the \u003cem>Things Fall Apart\u003c/em> album — was what he was kind of modeling his style of writing after. He was trying to capture a similar voice. So I was super-impressed by that and I just felt like it was a moment in which things had sort of come full circle. Because I’ve definitely been inspired by the book and by his writing. So, to come to the realization that my work inspired the work that, in turn, re-inspired — it was just a dope sort of revelation.\u003c/p>\n\u003cp>\u003cstrong>On learning later in life of his father’s connections to the Philly Black Mafia\u003c/strong>\u003c/p>\n\u003cp>I was, I want to say, 6 or 7 or so when I really began to realize my father was murdered. But as far back as I can remember I’d always known that he had passed away. Even now, I continue to just acquire little tidbits of information. I might run into somebody on the street who’s like, “I’m a big fan. By the way, I was a good friend of your father’s.” And they’ll give me some information, something that I may not have ever known about my father in the way he was. Just because it was the ’70s at the time that I lost my father — there wasn’t as much documentation. There were a couple stories, like newspaper clippings, that were around the time that his body was found. But this is the era of microfiche as opposed to just being able to Google what had taken place. There have been some books that have come out over the years about the Philly Black Mafia, or an organization called Black Brothers, Inc. And just information that has come out in more recent years about a particular mosque in Philly, Mosque No. 12 in the Philadelphia Islamic community at that time, that has shed a little bit more light on my father and what his sort of dealings were — one side of what his dealings were. But there’s still very much that remains a mystery to me, even to this day.\u003c/p>\n\u003cp>\u003cstrong>On the harsh reality of losing his mother as a teenager\u003c/strong>\u003c/p>\n\u003cp>Knowing that she was a fighter, I know that she put up as much of a fight as she could. But we lost her. No one had heard from her for about three or four days, which seemed strange. She would go on binges; she would disappear sometimes for 24 hours, maybe 48 hours at a time. But when you start hitting three days, four days, it’s like, what’s up. And the sad part about growing up where I did and when I did is, when you haven’t heard from someone for a couple of days, the first thing we do instinctively is start the search. We start with the hospitals and then we start with the jails and then we start, you know, beyond that it’s the morgue, you know what I mean. So as we expanded our search, my mother was found to have been in the morgue. And it was it was crazy. Our gut told us that we had found her, but she wasn’t identifiable. We had to identify her by some old dental records. So it was crazy, it was messy, and we couldn’t have an open-casket funeral. The worst that you could expect is the end that she met.”\u003c/p>\n\u003cp>\u003cstrong>On using art to heal personal tragedy\u003c/strong>\u003c/p>\n\u003cp>For me, the arts has always been sort of my saving grace. The moments in life that I cherish most were those brief moments when I would get to escape: either like mentally I would get to escape, because I would be deep in the creative process, or physically — I would leave the neighborhood for a little bit to go to art class on Saturday mornings, or in the summertime my mom would sign me up for art camp, and that took place out in the middle of Fairmount Park in Philly. So just those little small pockets of getting away from the neighborhood gave me just a different perspective when I returned. Yeah, it’s always been, for me, about the arts.\u003c/p>\n\u003cp>\u003cstrong>On overcoming his early doubts about The Roots\u003c/strong>\u003c/p>\n\u003cp>We had reached a point during that time where it was like, ahh, maybe this isn’t the best idea. Maybe live instrumentation with me rapping over it wasn’t the best plan. There weren’t very many other artists who were doing that at the time and, I don’t know, sometimes you second-guess yourself. You, know you think, “Well, I think I should just get a DJ, because that would be a better format within which to showcase my skills.” I felt like the band at the time, like just how cumbersome the instruments were — a huge upright bass and then Questlove, you know, a big dude on the drums — I felt like that was all taking away, sort of, from the focus on me. That being said, we took it to the streets sort of as a last resort — like, “Well, let’s just go and see if this works out.”\u003c/p>\n\u003cp>\u003cstrong>On the overwhelming response to his Hot 97 freestyle\u003c/strong>\u003c/p>\n\u003cp>The art of lyricism is now in its greatest decline. That’s why it’s like, somebody comes out and you drop some bars of substance, it’s like it’s amazing. It’s like a unicorn. But, you know, I come from a school. People who have known me for years, they were less than impressed. Like, “I’ve seen you do better.” You know what I mean? They pick out little mistakes: “Oh, you faltered here. This syllable came out weird.” And that’s cool, you know what I’m saying — because that’s how they know me. But I feel like the standard, like the bar right now, is particularly low. So I’m continually trying to raise the bar.”\u003c/p>\n\u003cp>\u003cstrong>On putting off solo pursuits for years out of obligation to The Roots as a collective\u003c/strong>\u003c/p>\n\u003cp>It’s always been about the greater good of our organization for me. All those solo efforts that I’ve announced, it breathes new life into the awareness of me as an artist. The Roots brand always has to be maintained, and we’re just at a place now where prime-time TV affords us a different sort of visibility and I’m able to kind of take a step back and focus on some of the other creative energy that I still need to get out. None of this is my solo album. It’s just a chance to see me in a different light doing a different thing.\u003c/p>\n\u003cp>\u003cstrong>On whether his rap moniker, Black Thought, is too black for TV\u003c/strong>\u003c/p>\n\u003cp>It has presented \u003cem>some\u003c/em> internal conflict, and the way I address it is just maintaining that separatism. The fact that Jimmy refers to me only as Tariq on prime-time television is right on par with me making a conscious effort to be more vulnerable and show more vulnerability and to be more human and to be more accessible to my audience. In the beginning, I stopped wearing sunglasses and everything. When we started the show, that was short-lived. But yeah, I was trying to just be more transparent in that way. I feel like Black Thought is a name that has so much meaning and depth, not only to me but to my fans, that it’s something that I wanted to hold onto a little bit tighter. At the onset of late night with Jimmy Fallon when it was like, “What are we going to refer to you guys as?” I don’t know, I chose to [be] Tariq.\u003c/p>\n\u003cp>\u003cstrong>On frequently being mistaken for Rick Ross\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Something that is funny, that I use sometimes if I’m doing comedy, is the fact that I’m now often mistaken for the rapper Rick Ross. And I don’t know that I’ve ever corrected anyone — like I’ve never said, “No no, I’m not Rick Ross, I’m Black Thought from The Roots.” Sometimes little kids come up to me shaking: “You mind if I take a picture?” And I’ll take a picture and I’ll hear one whisper to the other: ‘I \u003cem>love \u003c/em>Rick Ross.” Or someone will come up to me on the street, you know, and say “bawse.” Just a couple weeks ago I went to Puerto Rico to do a benefit concert down there. I arrived at the hotel, the doorman came and opened the car door and I stepped out, and dude was talking and I just heard him — in broken English because he had, like, a Spanish accent — I heard him, just, “\u003cem>Welcome, Mr. Ross\u003c/em>.” I’d rather not correct them. I let people have that moment, because for them it’s just as special. I don’t say, “No, no. It’s me, the dude from The Roots.” But sometimes I’ve had people come in [and] talk to me for you know five, seven, 10 minutes about how I’ve impacted their lives and, you know, how important my music has been. And I might start to assume that they recognize me. And then they’ll get to the end and it’s like, you know, ‘Thank you, Rick.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Between+The+World+And+Black+Thought&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"800\" height=\"450\" src=\"https://www.npr.org/templates/event/embeddedVideo.php?storyId=615752582&mediaId=615791546\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Black Thought rarely unmasks.\u003c/p>\n\u003cp>Not even in our in-depth interview, which lasted more than an hour, did he remove the shades that enable him to observe the world — and reflect a bit of its pain – while concealing his own. Yet the story he shared of personal trauma and transcendence reveals so much more.\u003c/p>\n\u003cp>His moniker, Black Thought, has always been a double-entendre that felt like it belonged to all of us for the way it communicates a collective angst and rage, darkness and genius. For the South Philly-bred co-founder of The Roots, born Tariq Trotter, that nuance is equally reflected in his life and rhymes. It’s lent him a depth and duality rare in this age. To find his equal, one almost must look beyond the confines of rap.\u003c/p>\n\u003cp>Onstage at Washington D.C.’s Kennedy Center in April at a dramatic stage reading of Ta-Nehisi Coates’ book \u003cem>Between the World and Me\u003c/em>, Black Thought delivered a gripping remix of his \u003ca href=\"https://www.youtube.com/watch?v=M8DxO-66jrA\">Harvard University freestyle\u003c/a> at the climactic high point of the performance:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Black as oblivion\u003c/em>\u003cbr>\n\u003cem>Black as obsidian\u003c/em>\u003cbr>\n\u003cem>Black as the sky at midnight ante meridian\u003c/em>\u003cbr>\n\u003cem>I am black as a portrait with Diddy, 2Pac and Biggie in\u003c/em>\u003cbr>\n\u003cem>Black as the influence on the culture we living in\u003c/em>\u003c/p>\n\u003cp>When Coates took the stage near the program’s conclusion, the celebrated chronicler of contemporary black American life paused first to pay respect to his literary peer. Looking over at the bearded and brimmed Black Thought, Coates nodded and told the crowd, “I wish I wrote them Thought verses. I’d trade this whole book for that, man.”\u003c/p>\n\u003cp>It was a huge accolade from one clear-eyed realist to another.\u003c/p>\n\u003cp>Black Thought’s been basking in overdue props lately. The viral \u003ca href=\"https://www.npr.org/sections/therecord/2017/12/15/571088054/heres-why-black-thoughts-10-minute-freestyle-is-so-remarkable\">Hot 97 freestyle\u003c/a> that sent the Internet into a tizzy six months ago made him something of an anomaly — a hip-hop vet, 30 years into his career, finally recognized for being at the top of his game.\u003c/p>\n\u003cp>Now, with the release of his first side project, \u003cem>Streams of Thought Vol. 1\u003c/em> (produced by 9th Wonder and The Soul Council), he’s further emerging from the shadows. It’s a new reckoning for an artful dodger who’s always excelled at drawing complex illustrations while disappearing into his own canvas, but he stops short of calling \u003cem>Streams of Thought\u003c/em> a solo project. For Black Thought, the appeal of a collaborative series featuring a rotating cast of producers is less about hogging the spotlight than delivering stream-of-consciousness flows without the meticulous plotting associated with The Roots’ high-concept approach.\u003c/p>\n\u003cp>But there’s a bigger reveal behind Black Thought’s album release, and it drove our conversation, which took place in Manhattan in April. By 16, he’d lost both parents and found his life’s calling. It became his saving grace. At 46, he’s beginning to unmask in music and life. And it feels like the self-professed introvert is honing in on another growth spurt, 30 years later.\u003c/p>\n\u003cp>There’s a line from \u003cem>Between the World and Me\u003c/em> in which Coates writes to his son, “Part of me thinks that your very vulnerability brings you closer to the meaning of life.” After a career spent processing all our angst and pain, Black Thought is finding comfort with baring open to the world his whole soul.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>Black Thought on Ta-Nehisi Coates saying he’d trade \u003c/strong>\u003cstrong>\u003cem>Between the World and Me\u003c/em>\u003c/strong>\u003cstrong> for Black Thought’s verses\u003c/strong>\u003c/p>\n\u003cp>For me it lent a certain sort of validity to what I’m doing, what I’ve been doing. We communicate via social media and had been doing so for the past couple of years. But we met in person earlier in the week at the same sort of event at the Apollo, and it was there that he kind of revealed to me that during that time in his life when he was still trying to become a writer and trying to be a writer, that my style of writing on a particular record — I think it was the \u003cem>Things Fall Apart\u003c/em> album — was what he was kind of modeling his style of writing after. He was trying to capture a similar voice. So I was super-impressed by that and I just felt like it was a moment in which things had sort of come full circle. Because I’ve definitely been inspired by the book and by his writing. So, to come to the realization that my work inspired the work that, in turn, re-inspired — it was just a dope sort of revelation.\u003c/p>\n\u003cp>\u003cstrong>On learning later in life of his father’s connections to the Philly Black Mafia\u003c/strong>\u003c/p>\n\u003cp>I was, I want to say, 6 or 7 or so when I really began to realize my father was murdered. But as far back as I can remember I’d always known that he had passed away. Even now, I continue to just acquire little tidbits of information. I might run into somebody on the street who’s like, “I’m a big fan. By the way, I was a good friend of your father’s.” And they’ll give me some information, something that I may not have ever known about my father in the way he was. Just because it was the ’70s at the time that I lost my father — there wasn’t as much documentation. There were a couple stories, like newspaper clippings, that were around the time that his body was found. But this is the era of microfiche as opposed to just being able to Google what had taken place. There have been some books that have come out over the years about the Philly Black Mafia, or an organization called Black Brothers, Inc. And just information that has come out in more recent years about a particular mosque in Philly, Mosque No. 12 in the Philadelphia Islamic community at that time, that has shed a little bit more light on my father and what his sort of dealings were — one side of what his dealings were. But there’s still very much that remains a mystery to me, even to this day.\u003c/p>\n\u003cp>\u003cstrong>On the harsh reality of losing his mother as a teenager\u003c/strong>\u003c/p>\n\u003cp>Knowing that she was a fighter, I know that she put up as much of a fight as she could. But we lost her. No one had heard from her for about three or four days, which seemed strange. She would go on binges; she would disappear sometimes for 24 hours, maybe 48 hours at a time. But when you start hitting three days, four days, it’s like, what’s up. And the sad part about growing up where I did and when I did is, when you haven’t heard from someone for a couple of days, the first thing we do instinctively is start the search. We start with the hospitals and then we start with the jails and then we start, you know, beyond that it’s the morgue, you know what I mean. So as we expanded our search, my mother was found to have been in the morgue. And it was it was crazy. Our gut told us that we had found her, but she wasn’t identifiable. We had to identify her by some old dental records. So it was crazy, it was messy, and we couldn’t have an open-casket funeral. The worst that you could expect is the end that she met.”\u003c/p>\n\u003cp>\u003cstrong>On using art to heal personal tragedy\u003c/strong>\u003c/p>\n\u003cp>For me, the arts has always been sort of my saving grace. The moments in life that I cherish most were those brief moments when I would get to escape: either like mentally I would get to escape, because I would be deep in the creative process, or physically — I would leave the neighborhood for a little bit to go to art class on Saturday mornings, or in the summertime my mom would sign me up for art camp, and that took place out in the middle of Fairmount Park in Philly. So just those little small pockets of getting away from the neighborhood gave me just a different perspective when I returned. Yeah, it’s always been, for me, about the arts.\u003c/p>\n\u003cp>\u003cstrong>On overcoming his early doubts about The Roots\u003c/strong>\u003c/p>\n\u003cp>We had reached a point during that time where it was like, ahh, maybe this isn’t the best idea. Maybe live instrumentation with me rapping over it wasn’t the best plan. There weren’t very many other artists who were doing that at the time and, I don’t know, sometimes you second-guess yourself. You, know you think, “Well, I think I should just get a DJ, because that would be a better format within which to showcase my skills.” I felt like the band at the time, like just how cumbersome the instruments were — a huge upright bass and then Questlove, you know, a big dude on the drums — I felt like that was all taking away, sort of, from the focus on me. That being said, we took it to the streets sort of as a last resort — like, “Well, let’s just go and see if this works out.”\u003c/p>\n\u003cp>\u003cstrong>On the overwhelming response to his Hot 97 freestyle\u003c/strong>\u003c/p>\n\u003cp>The art of lyricism is now in its greatest decline. That’s why it’s like, somebody comes out and you drop some bars of substance, it’s like it’s amazing. It’s like a unicorn. But, you know, I come from a school. People who have known me for years, they were less than impressed. Like, “I’ve seen you do better.” You know what I mean? They pick out little mistakes: “Oh, you faltered here. This syllable came out weird.” And that’s cool, you know what I’m saying — because that’s how they know me. But I feel like the standard, like the bar right now, is particularly low. So I’m continually trying to raise the bar.”\u003c/p>\n\u003cp>\u003cstrong>On putting off solo pursuits for years out of obligation to The Roots as a collective\u003c/strong>\u003c/p>\n\u003cp>It’s always been about the greater good of our organization for me. All those solo efforts that I’ve announced, it breathes new life into the awareness of me as an artist. The Roots brand always has to be maintained, and we’re just at a place now where prime-time TV affords us a different sort of visibility and I’m able to kind of take a step back and focus on some of the other creative energy that I still need to get out. None of this is my solo album. It’s just a chance to see me in a different light doing a different thing.\u003c/p>\n\u003cp>\u003cstrong>On whether his rap moniker, Black Thought, is too black for TV\u003c/strong>\u003c/p>\n\u003cp>It has presented \u003cem>some\u003c/em> internal conflict, and the way I address it is just maintaining that separatism. The fact that Jimmy refers to me only as Tariq on prime-time television is right on par with me making a conscious effort to be more vulnerable and show more vulnerability and to be more human and to be more accessible to my audience. In the beginning, I stopped wearing sunglasses and everything. When we started the show, that was short-lived. But yeah, I was trying to just be more transparent in that way. I feel like Black Thought is a name that has so much meaning and depth, not only to me but to my fans, that it’s something that I wanted to hold onto a little bit tighter. At the onset of late night with Jimmy Fallon when it was like, “What are we going to refer to you guys as?” I don’t know, I chose to [be] Tariq.\u003c/p>\n\u003cp>\u003cstrong>On frequently being mistaken for Rick Ross\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Something that is funny, that I use sometimes if I’m doing comedy, is the fact that I’m now often mistaken for the rapper Rick Ross. And I don’t know that I’ve ever corrected anyone — like I’ve never said, “No no, I’m not Rick Ross, I’m Black Thought from The Roots.” Sometimes little kids come up to me shaking: “You mind if I take a picture?” And I’ll take a picture and I’ll hear one whisper to the other: ‘I \u003cem>love \u003c/em>Rick Ross.” Or someone will come up to me on the street, you know, and say “bawse.” Just a couple weeks ago I went to Puerto Rico to do a benefit concert down there. I arrived at the hotel, the doorman came and opened the car door and I stepped out, and dude was talking and I just heard him — in broken English because he had, like, a Spanish accent — I heard him, just, “\u003cem>Welcome, Mr. Ross\u003c/em>.” I’d rather not correct them. I let people have that moment, because for them it’s just as special. I don’t say, “No, no. It’s me, the dude from The Roots.” But sometimes I’ve had people come in [and] talk to me for you know five, seven, 10 minutes about how I’ve impacted their lives and, you know, how important my music has been. And I might start to assume that they recognize me. And then they’ll get to the end and it’s like, you know, ‘Thank you, Rick.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Between+The+World+And+Black+Thought&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Onstage at the Billboard Music Awards, Janet Jackson finally got her due.\u003c/p>\n\u003cp>In the 14 years since the “wardrobe malfunction” incident at the 2004 Super Bowl, \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener\">fans have drawn attention to the music industry’s blackball of Jackson\u003c/a> as a clear case of sexist double standards, considering that Justin Timberlake, who was actively involved in the incident, emerged unscathed. Meanwhile, a mix of racism, sexism and the abstinence-only cultural climate of the Bush era meant that the media dragged Jackson’s name through the mud, and the five-time Grammy winning artist receded from the spotlight.\u003c/p>\n\u003cp>Now, with the ongoing #TimesUp movement against gender inequality in the music industry, the moment is ripe for Jackson to have her long overdue comeback.\u003c/p>\n\u003cp>https://twitter.com/BBMAs/status/998386324699688966\u003c/p>\n\u003cp>Sunday at the Billboard Music Awards, Jackson became the first black female artist to receive the Icon Award, which honors an artist “whose body of work has made a profound influence over pop music on a global level.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We live at a glorious moment in history,” Jackson said as she accepted the award. “It’s a moment when at long last women have made it clear that we will no longer be controlled, manipulated or abused. I stand with those women and with those men equally outraged by discrimination who support us in heart and mind.”\u003c/p>\n\u003cp>https://twitter.com/essencefest/status/998385619469414401\u003c/p>\n\u003cp>Jackson then delivered her first television performance in nine years—a powerful display of female solidarity, with dancers of diverse body types and ethnicities on the stage. “Nasty” particularly struck a chord, when the dancers fiercely assembled (got in formation?) along the steps of a pyramid with Jackson at the top. The song is a warning to disrespectful dudes, and the anti-Trump reclamation of the “nasty woman” epithet also came to mind as Jackson and the dancers stared boldly at the audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With this inspiring night and Jackson’s upcoming headlining set at \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in San Francisco this August, 2018 is proving to be her year.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Onstage at the Billboard Music Awards, Janet Jackson finally got her due.\u003c/p>\n\u003cp>In the 14 years since the “wardrobe malfunction” incident at the 2004 Super Bowl, \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener\">fans have drawn attention to the music industry’s blackball of Jackson\u003c/a> as a clear case of sexist double standards, considering that Justin Timberlake, who was actively involved in the incident, emerged unscathed. Meanwhile, a mix of racism, sexism and the abstinence-only cultural climate of the Bush era meant that the media dragged Jackson’s name through the mud, and the five-time Grammy winning artist receded from the spotlight.\u003c/p>\n\u003cp>Now, with the ongoing #TimesUp movement against gender inequality in the music industry, the moment is ripe for Jackson to have her long overdue comeback.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Sunday at the Billboard Music Awards, Jackson became the first black female artist to receive the Icon Award, which honors an artist “whose body of work has made a profound influence over pop music on a global level.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We live at a glorious moment in history,” Jackson said as she accepted the award. “It’s a moment when at long last women have made it clear that we will no longer be controlled, manipulated or abused. I stand with those women and with those men equally outraged by discrimination who support us in heart and mind.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Jackson then delivered her first television performance in nine years—a powerful display of female solidarity, with dancers of diverse body types and ethnicities on the stage. “Nasty” particularly struck a chord, when the dancers fiercely assembled (got in formation?) along the steps of a pyramid with Jackson at the top. The song is a warning to disrespectful dudes, and the anti-Trump reclamation of the “nasty woman” epithet also came to mind as Jackson and the dancers stared boldly at the audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With this inspiring night and Jackson’s upcoming headlining set at \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in San Francisco this August, 2018 is proving to be her year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'This Is America' Earns Donald Glover His First No. 1 Hit",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/tags/494394643/donald-glover\">Donald Glover\u003c/a>‘s latest Childish Gambino release “This Is America,” which dropped in the late hours of Saturday, May 5 alongside a jarring, symbol-rich music video, has sparked hot takes, debate and abounding \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\">think pieces\u003c/a> since its release. Now, the art has the metrics to back up the rhetoric: “This Is America” debuted at the \u003ca href=\"https://www.billboard.com/charts/hot-100\">No.1 spot on the Billboard Hot 100\u003c/a>, bumping Drake to the No. 2 spot and marking the first No. 1 song in the 34-year-old’s music career.\u003c/p>\n\u003cp>https://youtu.be/VYOjWnS4cMY\u003c/p>\n\u003cp>Before Glover nudged Drizzy off the leaderboard, the Canadian rapper held the top spot for 15 weeks straight, first with “\u003ca href=\"https://www.npr.org/sections/allsongs/2018/02/16/586450750/drake-sprinkles-good-deeds-across-miami-in-video-for-god-s-plan\">God’s Plan\u003c/a>” ruling for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1063267\">11 weeks \u003c/a>and then with “\u003ca href=\"https://www.npr.org/event/music/600527206/drake-bounces-looking-to-uplift-single-women-as-they-drop-it-low\">Nice For What\u003c/a>” holding steady for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1072670\">four weeks\u003c/a>. In addition to claiming the No. 1 spot on the Hot 100, the song also simultaneously hit another high, with the Hiro Murai-directed video \u003ca href=\"https://www.billboard.com/articles/news/8456014/childish-gambino-this-is-america-youtube-statistics\">becoming\u003c/a> YouTube’s biggest first-week debut of 2018 so far. The four-minute clip garnered 85.3 million views in its first week on the site and is currently at 119 million views and counting — well above its stream count on Spotify.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em>‘s \u003ca href=\"https://www.billboard.com/articles/news/8427967/billboard-changes-streaming-weighting-hot-100-billboard-200\">chart requirements\u003c/a> currently weigh subscription streams from on-demand sites like Apple Music, Amazon Music and Spotify and YouTube greater than streaming sites like Pandora, where listeners are unable to jump song-to-song as they wish. But starting this summer, plays on paid subscription-based services will be given more weight in chart calculations than plays on ad-supported services, like Spotify’s free tier and YouTube. As of Jan. 2017, YouTube Red, the video site’s own subscription service, reportedly accounted for \u003ca href=\"http://www.businessinsider.com/heres-where-youtube-red-stands-after-one-year-2017-1\">less than 5 percent of the site’s total revenue\u003c/a>. These chart calculation changes will likely make it harder for a song to skip the line and land at No. 1 based heavily on the video going forward.\u003c/p>\n\u003cp>Beyond chart technicalities, Glover’s dethroning of Drake is also notable considering the fact that the ascents of both of Drake’s recent anthems were aided by conversation-starting visuals. But while Drake played the roles of Miami’s guardian angel and an advocate for independent women — both worthy causes — Glover’s video is one that takes marksman-like aim at issues foremost in the minds of many these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glover delivered a trenchant message beautifully, and timed it exceptionally, releasing the material literally in the middle of co-hosting \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/06/608874886/donald-glover-brings-his-black-renaissance-to-saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>, a precursor to both the second-season finale of his award-winning \u003ca href=\"https://www.npr.org/2016/11/01/500225189/donald-glover-challenges-stereotypes-about-rappers-in-atlanta\">show \u003cem>Atlanta\u003c/em> \u003c/a>and a co-starring role in a new Star Wars movie. Who knew that’s all it would take to knock the planet that is Aubrey Graham out of orbit?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Is+America%27+Earns+Donald+Glover+His+First+No.+1+Hit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Donald Glover's latest release as Childish Gambino was a perfect storm, sparking a cultural conversation and expertly wielding his spotlight.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/tags/494394643/donald-glover\">Donald Glover\u003c/a>‘s latest Childish Gambino release “This Is America,” which dropped in the late hours of Saturday, May 5 alongside a jarring, symbol-rich music video, has sparked hot takes, debate and abounding \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\">think pieces\u003c/a> since its release. Now, the art has the metrics to back up the rhetoric: “This Is America” debuted at the \u003ca href=\"https://www.billboard.com/charts/hot-100\">No.1 spot on the Billboard Hot 100\u003c/a>, bumping Drake to the No. 2 spot and marking the first No. 1 song in the 34-year-old’s music career.\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/VYOjWnS4cMY'\n title='//www.youtube.com/embed/VYOjWnS4cMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before Glover nudged Drizzy off the leaderboard, the Canadian rapper held the top spot for 15 weeks straight, first with “\u003ca href=\"https://www.npr.org/sections/allsongs/2018/02/16/586450750/drake-sprinkles-good-deeds-across-miami-in-video-for-god-s-plan\">God’s Plan\u003c/a>” ruling for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1063267\">11 weeks \u003c/a>and then with “\u003ca href=\"https://www.npr.org/event/music/600527206/drake-bounces-looking-to-uplift-single-women-as-they-drop-it-low\">Nice For What\u003c/a>” holding steady for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1072670\">four weeks\u003c/a>. In addition to claiming the No. 1 spot on the Hot 100, the song also simultaneously hit another high, with the Hiro Murai-directed video \u003ca href=\"https://www.billboard.com/articles/news/8456014/childish-gambino-this-is-america-youtube-statistics\">becoming\u003c/a> YouTube’s biggest first-week debut of 2018 so far. The four-minute clip garnered 85.3 million views in its first week on the site and is currently at 119 million views and counting — well above its stream count on Spotify.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em>‘s \u003ca href=\"https://www.billboard.com/articles/news/8427967/billboard-changes-streaming-weighting-hot-100-billboard-200\">chart requirements\u003c/a> currently weigh subscription streams from on-demand sites like Apple Music, Amazon Music and Spotify and YouTube greater than streaming sites like Pandora, where listeners are unable to jump song-to-song as they wish. But starting this summer, plays on paid subscription-based services will be given more weight in chart calculations than plays on ad-supported services, like Spotify’s free tier and YouTube. As of Jan. 2017, YouTube Red, the video site’s own subscription service, reportedly accounted for \u003ca href=\"http://www.businessinsider.com/heres-where-youtube-red-stands-after-one-year-2017-1\">less than 5 percent of the site’s total revenue\u003c/a>. These chart calculation changes will likely make it harder for a song to skip the line and land at No. 1 based heavily on the video going forward.\u003c/p>\n\u003cp>Beyond chart technicalities, Glover’s dethroning of Drake is also notable considering the fact that the ascents of both of Drake’s recent anthems were aided by conversation-starting visuals. But while Drake played the roles of Miami’s guardian angel and an advocate for independent women — both worthy causes — Glover’s video is one that takes marksman-like aim at issues foremost in the minds of many these days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glover delivered a trenchant message beautifully, and timed it exceptionally, releasing the material literally in the middle of co-hosting \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/06/608874886/donald-glover-brings-his-black-renaissance-to-saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>, a precursor to both the second-season finale of his award-winning \u003ca href=\"https://www.npr.org/2016/11/01/500225189/donald-glover-challenges-stereotypes-about-rappers-in-atlanta\">show \u003cem>Atlanta\u003c/em> \u003c/a>and a co-starring role in a new Star Wars movie. Who knew that’s all it would take to knock the planet that is Aubrey Graham out of orbit?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Is+America%27+Earns+Donald+Glover+His+First+No.+1+Hit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Christina Aguilera at the Paramount Theater, Oakland",
"headTitle": "Ticket Alert: Christina Aguilera at the Paramount Theater, Oakland | KQED",
"content": "\u003cp>Christina Aguilera will forever be cemented in history for her epic vocal runs on “Lady Marmalade,” and for wearing some of the \u003ca href=\"https://www.cosmopolitan.com/style-beauty/fashion/news/a63216/i-tried-christina-aguileras-best-looks/\" target=\"_blank\" rel=\"noopener\">lowest pants of the early 2000s\u003c/a>. And though she hasn’t appeared on the charts since 2013’s piano ballad “Say Something,” she’s currently plotting a comeback: she recently released her Kanye West-produced single “Accelerate” featuring 2 Chainz and Ty Dolla $ign, gearing up for her new album, \u003cem>Liberation\u003c/em>, due out June 15.\u003c/p>\n\u003cp>On Wednesday, Aguilera announced her first major tour in over a decade. It comes to Oakland’s Paramount Theatre on Oct. 22, and as usual, buying tickets is a labyrinth of promotions, presale codes, and tie-ins. Here’s what you need to know.\u003c/p>\n\u003cp>Tickets go on sale to the general public on May 18, but there’s a presale for American Express cardholders on May 14. There’s also an artist presale and a Spotify presale on May 16 (for the artist one, we suggest joining her \u003ca href=\"https://www.christinaaguilera.com/\" target=\"_blank\" rel=\"noopener\">mailing list\u003c/a>; for Spotify, make sure to follow her on the streaming service). May 17 is the Live Nation presale (the codes are \u003ca href=\"https://zumic.com/events/christina-aguilera-paramount-theatre-oakland-oakland-oct-22-2018\" target=\"_blank\" rel=\"noopener\">rumored\u003c/a> to be COVERT for the mobile app and PLAYLIST for web), as well as Ticketmaster and Paramount Theatre (check back on the venue’s \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" target=\"_blank\" rel=\"noopener\">website\u003c/a> for codes for the latter).\u003c/p>\n\u003cp>https://youtu.be/DSRSgMp5X1w\u003c/p>\n\u003cp>As far as what to expect from the Liberation Tour: Aguilera seems to be going in a few different directions. On one hand, her recent \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-5546657/Christina-Aguilera-unrecognizable-no-makeup-on.html\" target=\"_blank\" rel=\"noopener\">makeup-free looks\u003c/a> suggest a more stripped-down, introspective approach. But her video for “Accelerate,” which sounds like it could have been written for Iggy Azalea, is anything but subtle, with Aguilera licking a glittery, viscous substance (cringe) as the camera zooms in on her tape-covered nipples.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The trap-pop track has all signs of trying too hard (why is Aguilera singing with a Migos flow?), but we’ll have to wait ’til the May 20 Billboard Music Awards, where she’ll debut her next single with Demi Lovato, to glean more clues about \u003cem>Liberation\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christina Aguilera will forever be cemented in history for her epic vocal runs on “Lady Marmalade,” and for wearing some of the \u003ca href=\"https://www.cosmopolitan.com/style-beauty/fashion/news/a63216/i-tried-christina-aguileras-best-looks/\" target=\"_blank\" rel=\"noopener\">lowest pants of the early 2000s\u003c/a>. And though she hasn’t appeared on the charts since 2013’s piano ballad “Say Something,” she’s currently plotting a comeback: she recently released her Kanye West-produced single “Accelerate” featuring 2 Chainz and Ty Dolla $ign, gearing up for her new album, \u003cem>Liberation\u003c/em>, due out June 15.\u003c/p>\n\u003cp>On Wednesday, Aguilera announced her first major tour in over a decade. It comes to Oakland’s Paramount Theatre on Oct. 22, and as usual, buying tickets is a labyrinth of promotions, presale codes, and tie-ins. Here’s what you need to know.\u003c/p>\n\u003cp>Tickets go on sale to the general public on May 18, but there’s a presale for American Express cardholders on May 14. There’s also an artist presale and a Spotify presale on May 16 (for the artist one, we suggest joining her \u003ca href=\"https://www.christinaaguilera.com/\" target=\"_blank\" rel=\"noopener\">mailing list\u003c/a>; for Spotify, make sure to follow her on the streaming service). May 17 is the Live Nation presale (the codes are \u003ca href=\"https://zumic.com/events/christina-aguilera-paramount-theatre-oakland-oakland-oct-22-2018\" target=\"_blank\" rel=\"noopener\">rumored\u003c/a> to be COVERT for the mobile app and PLAYLIST for web), as well as Ticketmaster and Paramount Theatre (check back on the venue’s \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" target=\"_blank\" rel=\"noopener\">website\u003c/a> for codes for the latter).\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/DSRSgMp5X1w'\n title='//www.youtube.com/embed/DSRSgMp5X1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As far as what to expect from the Liberation Tour: Aguilera seems to be going in a few different directions. On one hand, her recent \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-5546657/Christina-Aguilera-unrecognizable-no-makeup-on.html\" target=\"_blank\" rel=\"noopener\">makeup-free looks\u003c/a> suggest a more stripped-down, introspective approach. But her video for “Accelerate,” which sounds like it could have been written for Iggy Azalea, is anything but subtle, with Aguilera licking a glittery, viscous substance (cringe) as the camera zooms in on her tape-covered nipples.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Kehlani is Queering Mainstream Pop, and the Bay Area is Here for It",
"headTitle": "Kehlani is Queering Mainstream Pop, and the Bay Area is Here for It | KQED",
"content": "\u003cp>In Charlie Puth’s music video for “Done for Me,” his dance single featuring Kehlani, the camera cuts to Kehlani dancing on a love interest under dim disco lights. As she cozies up next to the young woman in a hot tub and, later, on a silk comforter, Kehlani’s body language conveys an easy, natural affection — and not one contrived for shock value, like Katy Perry’s “I Kissed a Girl” and other gay-for-a-day displays in mainstream pop.\u003c/p>\n\u003cp>https://youtu.be/TdyllLZeviY\u003c/p>\n\u003cp>Kehlani has long been candid \u003ca href=\"http://www.thefader.com/2015/08/04/kehlani-cover-story-interview\" target=\"_blank\" rel=\"noopener\">in interviews\u003c/a> about her fluid sexuality and history of dating various genders. But with her recent exposure to a broader audience — opening for Demi Lovato’s tour, a feature on Cardi B’s \u003cem>Invasion of Privacy\u003c/em> — some newer fans seemed to have questions about her sexuality.\u003c/p>\n\u003cp>On Apr. 22, Kehlani \u003ca href=\"https://www.billboard.com/articles/news/pride/8367038/kehlani-sexuality-queer-twitter\" target=\"_blank\" rel=\"noopener\">took to Twitter\u003c/a> to clarify: “cuz i keep geddin asked.. i’m queer. not bi, not straight. i’m attracted to women, men, REALLY attracted to queer men, non binary people, intersex people, trans people. lil poly pansexual papi hello good morning. does that answer your questions?” (The tweet has since been deleted.)\u003c/p>\n\u003cp>The 23-year-old singer’s flexible definition of her sexuality resonates with an increasing number of young people. According to a recent study, \u003ca href=\"https://www.out.com/news-opinion/2016/3/11/less-50-teens-identify-straight-says-new-study\" target=\"_blank\" rel=\"noopener\">less than half of U.S. teenagers\u003c/a> identify as straight. And in the Bay Area, it’s more common to meet people who call themselves “\u003ca href=\"http://www.slate.com/blogs/outward/2016/12/20/young_queer_women_don_t_like_lesbian_as_a_name_here_s_why.html\" target=\"_blank\" rel=\"noopener\">queer\u003c/a>” — as opposed to more traditional orientations like gay, lesbian or bisexual — to signify a greater fluidity and inclusion of trans and \u003ca href=\"https://www.kqed.org/futureofyou/335790/boy-girl-both-neither-a-new-generation-overthrows-gender\" target=\"_blank\" rel=\"noopener\">non-binary\u003c/a> people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love that Kehlani came out as queer as opposed to coming out as bi or lesbian or straight,” says Kelly Lovemonster, the queer-identifying promoter behind the popular Bay Area LGBTQ party Swagger Like Us. “I think the queer identity is a very important one and it’s also one that, for me, is infused with politics.”\u003c/p>\n\u003cp>He continues, “To identify as queer is to say you actively are aware of folks who live on the margins; you try your best to think outside of a [gender] binary.”\u003c/p>\n\u003cp>Historically speaking, young, female pop artists have striven to appeal to the straight, male gaze. Kehlani’s declaration that she’s “least attracted to straight men” in a follow-up Apr. 22 tweet is a clear break from this tradition, one that gives other young, female artists permission to be themselves.\u003c/p>\n\u003cp>“I think it’s amazing, not only how open she is, but the fact that she is someone who looks relatable,” says Rayana Jay, one of the Bay Area’s most buzzed-about new R&B artists. “She looks like us. A woman of color, tattooed, from home. I mean, it just makes it so much more real when you can relate to the person it’s coming from.”\u003c/p>\n\u003cp>https://youtu.be/_wVB6pfWwnE\u003c/p>\n\u003cp>Jay says she’s still unsure how she identifies, but she says that Kehlani’s recent statements showed her that “we’re not alone in this self-discovery, and we discover ourselves through other people.”\u003c/p>\n\u003cp>Siri, an Oakland rapper and singer who recently opened for tUnE-yArDs at the Fox Theater, says Kehlani’s new openness with her sexuality in her lyrics has inspired her to write songs about love interests other than men. (Kehlani’s 2017 single “Honey” is an earnest love song about a woman: “I like my girls just like I like my honey; sweet / A little selfish.”)\u003c/p>\n\u003cp>“[Kehlani’s] work opens up a lane for people to write what they want and be a part of the narrative,” says Siri. “We’re telling stories for people who don’t feel like their stories are being told or could be told.”\u003c/p>\n\u003cp>As other LGBTQ artists — especially those who are visibly gender non-conforming, like Big Freedia — continue to be \u003ca href=\"https://noisey.vice.com/en_us/article/59j4xn/big-freedia-drake-beyonce-essay\" target=\"_blank\" rel=\"noopener\">sidelined from the music industry\u003c/a>, let’s hope Kehlani’s trans-inclusive queerness starts necessary, long-overdue dialogues about sexuality and gender in the music industry — and which musicians are allowed to succeed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"excerpt": "The Oakland-raised singer's declaration of queer identity is paving the way for others to be themselves. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Charlie Puth’s music video for “Done for Me,” his dance single featuring Kehlani, the camera cuts to Kehlani dancing on a love interest under dim disco lights. As she cozies up next to the young woman in a hot tub and, later, on a silk comforter, Kehlani’s body language conveys an easy, natural affection — and not one contrived for shock value, like Katy Perry’s “I Kissed a Girl” and other gay-for-a-day displays in mainstream pop.\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/TdyllLZeviY'\n title='//www.youtube.com/embed/TdyllLZeviY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kehlani has long been candid \u003ca href=\"http://www.thefader.com/2015/08/04/kehlani-cover-story-interview\" target=\"_blank\" rel=\"noopener\">in interviews\u003c/a> about her fluid sexuality and history of dating various genders. But with her recent exposure to a broader audience — opening for Demi Lovato’s tour, a feature on Cardi B’s \u003cem>Invasion of Privacy\u003c/em> — some newer fans seemed to have questions about her sexuality.\u003c/p>\n\u003cp>On Apr. 22, Kehlani \u003ca href=\"https://www.billboard.com/articles/news/pride/8367038/kehlani-sexuality-queer-twitter\" target=\"_blank\" rel=\"noopener\">took to Twitter\u003c/a> to clarify: “cuz i keep geddin asked.. i’m queer. not bi, not straight. i’m attracted to women, men, REALLY attracted to queer men, non binary people, intersex people, trans people. lil poly pansexual papi hello good morning. does that answer your questions?” (The tweet has since been deleted.)\u003c/p>\n\u003cp>The 23-year-old singer’s flexible definition of her sexuality resonates with an increasing number of young people. According to a recent study, \u003ca href=\"https://www.out.com/news-opinion/2016/3/11/less-50-teens-identify-straight-says-new-study\" target=\"_blank\" rel=\"noopener\">less than half of U.S. teenagers\u003c/a> identify as straight. And in the Bay Area, it’s more common to meet people who call themselves “\u003ca href=\"http://www.slate.com/blogs/outward/2016/12/20/young_queer_women_don_t_like_lesbian_as_a_name_here_s_why.html\" target=\"_blank\" rel=\"noopener\">queer\u003c/a>” — as opposed to more traditional orientations like gay, lesbian or bisexual — to signify a greater fluidity and inclusion of trans and \u003ca href=\"https://www.kqed.org/futureofyou/335790/boy-girl-both-neither-a-new-generation-overthrows-gender\" target=\"_blank\" rel=\"noopener\">non-binary\u003c/a> people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I love that Kehlani came out as queer as opposed to coming out as bi or lesbian or straight,” says Kelly Lovemonster, the queer-identifying promoter behind the popular Bay Area LGBTQ party Swagger Like Us. “I think the queer identity is a very important one and it’s also one that, for me, is infused with politics.”\u003c/p>\n\u003cp>He continues, “To identify as queer is to say you actively are aware of folks who live on the margins; you try your best to think outside of a [gender] binary.”\u003c/p>\n\u003cp>Historically speaking, young, female pop artists have striven to appeal to the straight, male gaze. Kehlani’s declaration that she’s “least attracted to straight men” in a follow-up Apr. 22 tweet is a clear break from this tradition, one that gives other young, female artists permission to be themselves.\u003c/p>\n\u003cp>“I think it’s amazing, not only how open she is, but the fact that she is someone who looks relatable,” says Rayana Jay, one of the Bay Area’s most buzzed-about new R&B artists. “She looks like us. A woman of color, tattooed, from home. I mean, it just makes it so much more real when you can relate to the person it’s coming from.”\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/_wVB6pfWwnE'\n title='//www.youtube.com/embed/_wVB6pfWwnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jay says she’s still unsure how she identifies, but she says that Kehlani’s recent statements showed her that “we’re not alone in this self-discovery, and we discover ourselves through other people.”\u003c/p>\n\u003cp>Siri, an Oakland rapper and singer who recently opened for tUnE-yArDs at the Fox Theater, says Kehlani’s new openness with her sexuality in her lyrics has inspired her to write songs about love interests other than men. (Kehlani’s 2017 single “Honey” is an earnest love song about a woman: “I like my girls just like I like my honey; sweet / A little selfish.”)\u003c/p>\n\u003cp>“[Kehlani’s] work opens up a lane for people to write what they want and be a part of the narrative,” says Siri. “We’re telling stories for people who don’t feel like their stories are being told or could be told.”\u003c/p>\n\u003cp>As other LGBTQ artists — especially those who are visibly gender non-conforming, like Big Freedia — continue to be \u003ca href=\"https://noisey.vice.com/en_us/article/59j4xn/big-freedia-drake-beyonce-essay\" target=\"_blank\" rel=\"noopener\">sidelined from the music industry\u003c/a>, let’s hope Kehlani’s trans-inclusive queerness starts necessary, long-overdue dialogues about sexuality and gender in the music industry — and which musicians are allowed to succeed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"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?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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