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"content": "\u003cp>Billie Eilish has extended her Hit Me Hard and Soft Tour to include two dates at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/chase-center\">Chase Center\u003c/a> on Nov. 22 and 23, 2025, and we’ve got details on how to get tickets.\u003c/p>\n\u003cp>Normally, popular stars like Eilish have three or four different presales for tickets, including a fan club presale, a Live Nation presale, a venue presale, a CitiCard presale, and a Certified Member of Some Elite Club You’ve Never Heard Of And Will Never Get Into® presale.\u003c/p>\n\u003cp>Tickets for Eilish’s shows in San Francisco are simpler and a little more egalitarian.\u003c/p>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg\" alt=\"Billie Eilish performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a presale for American Express cardholders on Tuesday, May 20, starting at noon. Then there’s a general onsale starting Thursday, May 22, at noon. Links for both are \u003ca href=\"https://www.ticketmaster.com/billie-eilish-tickets/artist/2257710?_ga=2.193644591.386331962.1747690777-1717370913.1739293577&_gl=1*c7mxrb*_ga*MTcxNzM3MDkxMy4xNzM5MjkzNTc3*_ga_C1T806G4DF*czE3NDc2OTA3NzYkbzIyJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkZG14clpyRFFZQnVYQlNKT05RRzQ4RGJnRnVZdktQQUhYUQ..*_ga_H1KKSGW33X*czE3NDc2OTA3NzYkbzIxJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkV3VramdCcUpoS2FmTTM0ZmI2S1p3eGJCYnV4ekJTT3RsZw..*_gcl_dc*R0NMLjE3NDQ5NDI2OTEuMmViNWJjNmU5NGNmMWI0MDhjYmRkNDZmMjE5ZWI4Yzc.*_gcl_au*MTI0MDI3OTk4OS4xNzQ3MTYzNTcz\">here\u003c/a>. That’s it.\u003c/p>\n\u003cp>Tickets \u003cem>can\u003c/em> be bought via a fan club presale, but presale codes have already been emailed by Ticketmaster to select fans who happened to sign up for Billie Eilish alerts. If you haven’t gotten that email by now, with a presale code unique to you and your Ticketmaster account, it’s likely you cannot access the fan presale. (You could try the \u003ca href=\"https://store.billieeilish.com/pages/tour\">“Sign Up for Info” link on this page\u003c/a>, I suppose, but no guarantees.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='forum_2010101892062']Options also exist for “Changemaker” tickets, which are essentially Platinum Tickets — far, far more expensive, with “a portion” of the proceeds going to charity. (Q: How much of a portion? A: ¯\\_(ツ)_/¯)\u003c/p>\n\u003cp>Notably, and laudably, Eilish has requested that resale tickets — think Stubhub, or Ticketmaster’s own ticket-scalping feature — \u003cstrong>only be sold for face value\u003c/strong>. According to the press release:\u003c/p>\n\u003cblockquote>\u003cp>Billie Eilish wants to give fans, not scalpers, the best chance to buy tickets at face value. To make this possible, they have chosen to use Ticketmaster’s Face Value Exchange. If fans purchase tickets for a show and can’t attend, they’ll have the option to resell them to other fans on Ticketmaster at the original price paid. To ensure Face Value Exchange works as intended, Billie Eilish has requested all tickets be mobile only and restricted from transfer.\u003c/p>\u003c/blockquote>\n\u003cp>(Laws in certain states, like New York, Illinois, Colorado, Virginia, Utah and Connecticut, allow people to resell tickets for any amount no matter how astronomical, but not California.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ticket links and more details for the two Chase Center shows can be found \u003ca href=\"https://www.ticketmaster.com/billie-eilish-tickets/artist/2257710?_ga=2.193644591.386331962.1747690777-1717370913.1739293577&_gl=1*c7mxrb*_ga*MTcxNzM3MDkxMy4xNzM5MjkzNTc3*_ga_C1T806G4DF*czE3NDc2OTA3NzYkbzIyJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkZG14clpyRFFZQnVYQlNKT05RRzQ4RGJnRnVZdktQQUhYUQ..*_ga_H1KKSGW33X*czE3NDc2OTA3NzYkbzIxJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkV3VramdCcUpoS2FmTTM0ZmI2S1p3eGJCYnV4ekJTT3RsZw..*_gcl_dc*R0NMLjE3NDQ5NDI2OTEuMmViNWJjNmU5NGNmMWI0MDhjYmRkNDZmMjE5ZWI4Yzc.*_gcl_au*MTI0MDI3OTk4OS4xNzQ3MTYzNTcz\">here\u003c/a>.\u003c/p>\n\n",
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"excerpt": "The singer’s ’Hit Me Hard and Soft Tour’ comes to San Francisco in November — here's how to score tickets.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billie Eilish has extended her Hit Me Hard and Soft Tour to include two dates at San Francisco’s \u003ca href=\"https://www.kqed.org/arts/tag/chase-center\">Chase Center\u003c/a> on Nov. 22 and 23, 2025, and we’ve got details on how to get tickets.\u003c/p>\n\u003cp>Normally, popular stars like Eilish have three or four different presales for tickets, including a fan club presale, a Live Nation presale, a venue presale, a CitiCard presale, and a Certified Member of Some Elite Club You’ve Never Heard Of And Will Never Get Into® presale.\u003c/p>\n\u003cp>Tickets for Eilish’s shows in San Francisco are simpler and a little more egalitarian.\u003c/p>\n\u003cfigure id=\"attachment_13838671\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13838671\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg\" alt=\"Billie Eilish performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_6946-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs at the Outside Lands music festival in San Francisco, Aug. 10, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a presale for American Express cardholders on Tuesday, May 20, starting at noon. Then there’s a general onsale starting Thursday, May 22, at noon. Links for both are \u003ca href=\"https://www.ticketmaster.com/billie-eilish-tickets/artist/2257710?_ga=2.193644591.386331962.1747690777-1717370913.1739293577&_gl=1*c7mxrb*_ga*MTcxNzM3MDkxMy4xNzM5MjkzNTc3*_ga_C1T806G4DF*czE3NDc2OTA3NzYkbzIyJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkZG14clpyRFFZQnVYQlNKT05RRzQ4RGJnRnVZdktQQUhYUQ..*_ga_H1KKSGW33X*czE3NDc2OTA3NzYkbzIxJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkV3VramdCcUpoS2FmTTM0ZmI2S1p3eGJCYnV4ekJTT3RsZw..*_gcl_dc*R0NMLjE3NDQ5NDI2OTEuMmViNWJjNmU5NGNmMWI0MDhjYmRkNDZmMjE5ZWI4Yzc.*_gcl_au*MTI0MDI3OTk4OS4xNzQ3MTYzNTcz\">here\u003c/a>. That’s it.\u003c/p>\n\u003cp>Tickets \u003cem>can\u003c/em> be bought via a fan club presale, but presale codes have already been emailed by Ticketmaster to select fans who happened to sign up for Billie Eilish alerts. If you haven’t gotten that email by now, with a presale code unique to you and your Ticketmaster account, it’s likely you cannot access the fan presale. (You could try the \u003ca href=\"https://store.billieeilish.com/pages/tour\">“Sign Up for Info” link on this page\u003c/a>, I suppose, but no guarantees.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Options also exist for “Changemaker” tickets, which are essentially Platinum Tickets — far, far more expensive, with “a portion” of the proceeds going to charity. (Q: How much of a portion? A: ¯\\_(ツ)_/¯)\u003c/p>\n\u003cp>Notably, and laudably, Eilish has requested that resale tickets — think Stubhub, or Ticketmaster’s own ticket-scalping feature — \u003cstrong>only be sold for face value\u003c/strong>. According to the press release:\u003c/p>\n\u003cblockquote>\u003cp>Billie Eilish wants to give fans, not scalpers, the best chance to buy tickets at face value. To make this possible, they have chosen to use Ticketmaster’s Face Value Exchange. If fans purchase tickets for a show and can’t attend, they’ll have the option to resell them to other fans on Ticketmaster at the original price paid. To ensure Face Value Exchange works as intended, Billie Eilish has requested all tickets be mobile only and restricted from transfer.\u003c/p>\u003c/blockquote>\n\u003cp>(Laws in certain states, like New York, Illinois, Colorado, Virginia, Utah and Connecticut, allow people to resell tickets for any amount no matter how astronomical, but not California.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ticket links and more details for the two Chase Center shows can be found \u003ca href=\"https://www.ticketmaster.com/billie-eilish-tickets/artist/2257710?_ga=2.193644591.386331962.1747690777-1717370913.1739293577&_gl=1*c7mxrb*_ga*MTcxNzM3MDkxMy4xNzM5MjkzNTc3*_ga_C1T806G4DF*czE3NDc2OTA3NzYkbzIyJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkZG14clpyRFFZQnVYQlNKT05RRzQ4RGJnRnVZdktQQUhYUQ..*_ga_H1KKSGW33X*czE3NDc2OTA3NzYkbzIxJGcxJHQxNzQ3NjkxMTE5JGo2MCRsMCRoMCRkV3VramdCcUpoS2FmTTM0ZmI2S1p3eGJCYnV4ekJTT3RsZw..*_gcl_dc*R0NMLjE3NDQ5NDI2OTEuMmViNWJjNmU5NGNmMWI0MDhjYmRkNDZmMjE5ZWI4Yzc.*_gcl_au*MTI0MDI3OTk4OS4xNzQ3MTYzNTcz\">here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘Swarm’ is About How We’re Doing Fandom Wrong",
"headTitle": "‘Swarm’ is About How We’re Doing Fandom Wrong | KQED",
"content": "\u003cp>\u003cem>Many spoilers for Season 1 of \u003c/em>Swarm \u003cem>lie ahead. \u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13925147']Once upon a time, not so long ago, an internet personality dared to publicly criticize a very famous musician with an overly zealous fanbase. Those stans descended upon the critic swiftly, hopping into their mentions and DMs to talk trash and even go so far as to post death and rape threats. The involved parties shall remain nameless here because I’m not particularly interested in dealing with these stans myself. But let’s just say said artist — whose admirers are collectively named after a popular children’s toy — has elicited and even encouraged this behavior many times before. It’s one of the more nightmarish scenarios that can play out on the internet, an all-too-common “love” language spoken across fandoms of all kinds.\u003c/p>\n\u003cp>\u003cem>Swarm\u003c/em>, a bizarre new series created by \u003ca href=\"https://www.imdb.com/name/nm3958656/\">Janine Nabers\u003c/a> and Donald Glover and streaming on Prime Video, takes that nightmare and pushes it to its most extreme limits, concocting a thriller that serves as a spikey admonishment of celebrity worship. Like Glover’s previous project \u003cem>Atlanta\u003c/em> (which Nabers also contributed to), it expresses a discomfort with and cynical attitude toward social media and fame to sometimes frustrating results.\u003c/p>\n\u003ch3>Hive mind\u003c/h3>\n\u003cp>An excellent Dominique Fishback plays Dre, a socially inept retail worker with just two interests in life: Her sister Marissa (Chloe Bailey), an up-and-coming makeup artist, and the global pop superstar Ni’Jah (Nirine S. Brown). As kids, Dre and Marissa bonded over their shared love for Ni’Jah, but now that they’re both young adults rooming together and with bills to pay, Dre’s fandom remains in arrested development; she speaks breathlessly of the artist, and she takes anything that registers as less than glowing praise of the singer as a very personal affront. She can barely sustain a conversation without mentioning Ni’Jah and spends half of the rent on tickets to a concert, a surprise for Marissa’s birthday. From the get-go, it’s clear something is \u003cem>off\u003c/em> about Dre.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SDHxie2QcJI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the end of the first episode, Marissa is dead (she dies by suicide after finding out her boyfriend Khalid, played by Damson Idris, cheated on her) and Dre’s already simmering obsession with Ni’Jah boils over into fully unhinged. She sets off on a killing spree, hopping around various cities under assumed aliases and identities; most of her victims have spoken ill of Ni’Jah either online or in Dre’s presence. “Who’s your favorite artist?” she baits them. If they don’t say Ni’Jah or fail to muster up much enthusiasm for her artistry — which is often — they’re doomed.\u003c/p>\n\u003cp>Unlike me, the writers of \u003cem>Swarm \u003c/em>are far less opaque in their references to a pop culture icon and their devoted followers: Ni’Jah’s legion of fans are known as “The Swarm,” and the bumblebee emoji is their insignia; she’s revered as a \u003cem>queen \u003c/em>and a \u003cem>goddess\u003c/em>. She’s won dozens of Grammys; her husband is a famous rapper with whom she’s done a joint tour called “Running Scared.” There’s surveillance camera footage of said husband being attacked by a woman in an elevator while an expressionless Ni’Jah stands by and does nothing.\u003c/p>\n\u003cp>[aside postid='arts_13831328']She is an obvious, translucently veiled analog for the real-life \u003cem>queen\u003c/em> and \u003cem>goddess\u003c/em> Beyoncé Giselle Knowles-Carter — right down to the show’s clever depiction of a notoriously odd incident \u003ca href=\"https://www.essence.com/gallery/rihanna-was-the-fashion-queen-of-the-night-at-the-2023-oscars/\">long rumored to have involved the actress Sanaa Lathan\u003c/a>. Yet for all the highly specific Beyhive Easter eggs — or honeycombs? … actually, let me not force this metaphor — strewn throughout, there’s the dreadful understanding that this is only about Beyoncé in an abstract sense. Really, it’s about taking the idea of the devoted fan and stretching it to its limits, in calling upon the tendencies of obsessive fans and sadistic serial killers both fictional and real — like \u003cem>Misery\u003c/em>’s Annie Wilkes, Mark David Chapman, Jeffrey Dahmer, and \u003ca href=\"https://www.npr.org/2023/03/09/1162167877/you-is-back-and-joe-is-still-chaotic-evil\">\u003cem>You’\u003c/em>s Joe Goldberg\u003c/a> — and putting them in the shoes of a Black woman. To add to the surrealness of it all, Marissa’s ghost seems to be “communicating” with Dre via text message, egging her on like the dog that “inspired” the Son of Sam.\u003c/p>\n\u003ch3>‘Falling Through the Cracks’\u003c/h3>\n\u003cp>There’s been a small uptick in amoral or morally dubious Black women TV characters lately (see \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry’\u003c/em>s Harper\u003c/a>, for one), but there’s something especially notable about \u003cem>Swarm\u003c/em>, and its creators are absolutely aware of it. In the first couple of episodes, it falls into the trappings of many serial killer narratives by leaning into the shock value and novelty of a Black woman dropping bodies left and right; Dre is seen primarily through a series of tics (binge eating, rattling off Ni’Jah’s accomplishments) and a singlemindedness to commit murder.\u003c/p>\n\u003cp>Nevertheless, Fishback is mesmerizing and clearly committed to the role. And the show begins to find its groove a bit later when Dre ends up at a commune made up of woo-woo influencer types, including one played by Billie Eilish, who coerces Dre into unpacking her traumas and confronting, to some extent, her crimes. It feels like a direct reference to \u003cem>Get Out\u003c/em>’s Sunken Place, allowing a bit of Dre’s humanity to crack through to the surface and for us to more deeply contemplate what it means to form an attachment to an iconic figure you have no real interpersonal connection to.\u003c/p>\n\u003cfigure id=\"attachment_13926524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-800x534.png\" alt=\"A young Black woman sits in front of a campfire, a serene expression on her face. A white woman sits nearby, a half-smile on her face.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM.png 1518w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominique Fishback in ‘Swarm.’ \u003ccite>(Quantrell D. Colbert/Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The series suggests Dre has been able to get away with her crimes largely because of her invisibility as a Black woman, and the penultimate episode (one of the show’s best) is a faux crime documentary show-within-the-show called “Falling Through the Cracks.” It profiles a Black detective named Loretta Greene, who presents herself as uniquely capable of recognizing a Black woman serial killer based on explicit cultural clues like Hot Cheetos and shea butter.\u003c/p>\n\u003cp>[aside postid='arts_13925365']That Dre is ultimately seen in this way by another Black woman echoes how the show attempts to be in dialogue with its audience — it’s a very specific type of viewer who will recognize the irony in casting Paris Jackson in a cameo as a stripper who claims to be Black on her dad’s side. (As well as this kicker: “That’s why my stage name is \u003ca href=\"https://www.allure.com/story/halsey-cover-interview-august-2021\">Halsey\u003c/a>.”) Like the fandoms it’s satirizing and critiquing, it speaks a language all its own, one that requires being constantly online, knowing your memes, and staying up on your Black celeb gossip to even begin to unpack it.\u003c/p>\n\u003ch3>“Stan correct”\u003c/h3>\n\u003cp>Even if the reference points are plentiful and Dre is a refreshing spin on the sociopathic serial killer, what should we make of this funhouse mirror interpretation of fandom’s twisted facets? A bit can be gleaned from the second episode of \u003cem>Atlanta\u003c/em>, where local rapper Paper Boi (Brian Tyree Henry) encounters a fan at a restaurant. The interaction starts friendly enough, but then the fan’s tone gets more serious, almost grave: “Don’t let me down, man. If you let me down – I don’t know what I’d do.” Paper Boi’s confused and creeped out, as he should be.\u003c/p>\n\u003cp>The moment moves on quickly, but the man’s plea to the stranger he admires says a lot about how many of us project onto artists and perceive intimacy with them where none exists. Dre embodies that Paper Boi fan to the nth degree. Her relentless preoccupation ostensibly leads to a complete break from reality upon the death of her sister Marissa, and we’re left wondering whether what we’ve witnessed is only a product of Dre’s troubled mind: In the final moments of the last episode, Dre makes her way into a Ni’Jah concert, jumps on stage and stops the show. Ni’Jah encourages Dre to sing, though in a shocking reveal, the face of Marissa is now superimposed upon Ni’Jah’s body. Then Ni’Jah whisks Dre away into a limo and cradles her in her arms. Dre seems, finally, at peace.\u003c/p>\n\u003cfigure id=\"attachment_13926517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-800x533.jpg\" alt=\"A young Black woman wearing a low-cut, sequined lilac top looks inside a black envelope with the word Ni'Jah on the front, and smiles.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fishback in the Beyoncé-inspired thriller series. \u003ccite>(Warrick Page/Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the most time we spend in the presence of “Ni’Jah” for the entire series; heretofore, she’s only been refracted as a flat symbol, a montage of fleeting images, musical snippets, social media reactions and glowing adjectives. Who Ni’Jah really is as an artist is less important to Dre and the story than who she supposedly represents to her and other starry-eyed fans — and that, \u003cem>Swarm \u003c/em>implies, is the problem. The show’s tagline is “Stan correct,” a play on words that could possess multiple meanings; one that takes on the perspective of Dre and her ilk or one that points the finger at Dre and her ilk.\u003c/p>\n\u003cp>Curiously, this also makes it so that all the onus falls on the stans and that the many ways artists can fuel these responses, either directly or indirectly, are left uninterrogated. (It’s perhaps not a coincidence that Donald Glover and Chloe Bailey have had close working relationships with Beyoncé. It’s also probably not a coincidence that Glover once \u003ca href=\"https://www.interviewmagazine.com/culture/donald-glover-interviews-donald-glover\">infamously and irritatingly interviewed himself\u003c/a>.)\u003c/p>\n\u003cp>But \u003cem>Swarm \u003c/em>is at its best when it leans into the absurdities of social media and the ease of slippage between internet selves and “real” selves. Ultimately \u003cem>Swarm \u003c/em>seems to want viewers to recognize a bit of themselves in Dre — the part that might put a little too much stock in celebrity, the part that may occasionally forget that everyone, including those strangers you argue with on the internet, is human, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Swarm%27+is+about+how+we%27re+doing+fandom+wrong&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Swarm’ is streaming on Prime Video now. \u003ca href=\"https://www.amazon.com/Swarm-Season-1/dp/B0B8NLVH1L\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"excerpt": "The bizarre new thriller created by Janine Nabers and Donald Glover serves as a spikey admonishment of celebrity worship.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Many spoilers for Season 1 of \u003c/em>Swarm \u003cem>lie ahead. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Once upon a time, not so long ago, an internet personality dared to publicly criticize a very famous musician with an overly zealous fanbase. Those stans descended upon the critic swiftly, hopping into their mentions and DMs to talk trash and even go so far as to post death and rape threats. The involved parties shall remain nameless here because I’m not particularly interested in dealing with these stans myself. But let’s just say said artist — whose admirers are collectively named after a popular children’s toy — has elicited and even encouraged this behavior many times before. It’s one of the more nightmarish scenarios that can play out on the internet, an all-too-common “love” language spoken across fandoms of all kinds.\u003c/p>\n\u003cp>\u003cem>Swarm\u003c/em>, a bizarre new series created by \u003ca href=\"https://www.imdb.com/name/nm3958656/\">Janine Nabers\u003c/a> and Donald Glover and streaming on Prime Video, takes that nightmare and pushes it to its most extreme limits, concocting a thriller that serves as a spikey admonishment of celebrity worship. Like Glover’s previous project \u003cem>Atlanta\u003c/em> (which Nabers also contributed to), it expresses a discomfort with and cynical attitude toward social media and fame to sometimes frustrating results.\u003c/p>\n\u003ch3>Hive mind\u003c/h3>\n\u003cp>An excellent Dominique Fishback plays Dre, a socially inept retail worker with just two interests in life: Her sister Marissa (Chloe Bailey), an up-and-coming makeup artist, and the global pop superstar Ni’Jah (Nirine S. Brown). As kids, Dre and Marissa bonded over their shared love for Ni’Jah, but now that they’re both young adults rooming together and with bills to pay, Dre’s fandom remains in arrested development; she speaks breathlessly of the artist, and she takes anything that registers as less than glowing praise of the singer as a very personal affront. She can barely sustain a conversation without mentioning Ni’Jah and spends half of the rent on tickets to a concert, a surprise for Marissa’s birthday. From the get-go, it’s clear something is \u003cem>off\u003c/em> about Dre.\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/SDHxie2QcJI'\n title='//www.youtube.com/embed/SDHxie2QcJI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the end of the first episode, Marissa is dead (she dies by suicide after finding out her boyfriend Khalid, played by Damson Idris, cheated on her) and Dre’s already simmering obsession with Ni’Jah boils over into fully unhinged. She sets off on a killing spree, hopping around various cities under assumed aliases and identities; most of her victims have spoken ill of Ni’Jah either online or in Dre’s presence. “Who’s your favorite artist?” she baits them. If they don’t say Ni’Jah or fail to muster up much enthusiasm for her artistry — which is often — they’re doomed.\u003c/p>\n\u003cp>Unlike me, the writers of \u003cem>Swarm \u003c/em>are far less opaque in their references to a pop culture icon and their devoted followers: Ni’Jah’s legion of fans are known as “The Swarm,” and the bumblebee emoji is their insignia; she’s revered as a \u003cem>queen \u003c/em>and a \u003cem>goddess\u003c/em>. She’s won dozens of Grammys; her husband is a famous rapper with whom she’s done a joint tour called “Running Scared.” There’s surveillance camera footage of said husband being attacked by a woman in an elevator while an expressionless Ni’Jah stands by and does nothing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She is an obvious, translucently veiled analog for the real-life \u003cem>queen\u003c/em> and \u003cem>goddess\u003c/em> Beyoncé Giselle Knowles-Carter — right down to the show’s clever depiction of a notoriously odd incident \u003ca href=\"https://www.essence.com/gallery/rihanna-was-the-fashion-queen-of-the-night-at-the-2023-oscars/\">long rumored to have involved the actress Sanaa Lathan\u003c/a>. Yet for all the highly specific Beyhive Easter eggs — or honeycombs? … actually, let me not force this metaphor — strewn throughout, there’s the dreadful understanding that this is only about Beyoncé in an abstract sense. Really, it’s about taking the idea of the devoted fan and stretching it to its limits, in calling upon the tendencies of obsessive fans and sadistic serial killers both fictional and real — like \u003cem>Misery\u003c/em>’s Annie Wilkes, Mark David Chapman, Jeffrey Dahmer, and \u003ca href=\"https://www.npr.org/2023/03/09/1162167877/you-is-back-and-joe-is-still-chaotic-evil\">\u003cem>You’\u003c/em>s Joe Goldberg\u003c/a> — and putting them in the shoes of a Black woman. To add to the surrealness of it all, Marissa’s ghost seems to be “communicating” with Dre via text message, egging her on like the dog that “inspired” the Son of Sam.\u003c/p>\n\u003ch3>‘Falling Through the Cracks’\u003c/h3>\n\u003cp>There’s been a small uptick in amoral or morally dubious Black women TV characters lately (see \u003ca href=\"https://www.npr.org/2020/12/03/941425173/hbos-industry-features-the-most-fascinating-character-on-tv-right-now\">\u003cem>Industry’\u003c/em>s Harper\u003c/a>, for one), but there’s something especially notable about \u003cem>Swarm\u003c/em>, and its creators are absolutely aware of it. In the first couple of episodes, it falls into the trappings of many serial killer narratives by leaning into the shock value and novelty of a Black woman dropping bodies left and right; Dre is seen primarily through a series of tics (binge eating, rattling off Ni’Jah’s accomplishments) and a singlemindedness to commit murder.\u003c/p>\n\u003cp>Nevertheless, Fishback is mesmerizing and clearly committed to the role. And the show begins to find its groove a bit later when Dre ends up at a commune made up of woo-woo influencer types, including one played by Billie Eilish, who coerces Dre into unpacking her traumas and confronting, to some extent, her crimes. It feels like a direct reference to \u003cem>Get Out\u003c/em>’s Sunken Place, allowing a bit of Dre’s humanity to crack through to the surface and for us to more deeply contemplate what it means to form an attachment to an iconic figure you have no real interpersonal connection to.\u003c/p>\n\u003cfigure id=\"attachment_13926524\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926524\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-800x534.png\" alt=\"A young Black woman sits in front of a campfire, a serene expression on her face. A white woman sits nearby, a half-smile on her face.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-800x534.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-1020x681.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM-768x513.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/Screen-Shot-2023-03-20-at-11.38.09-AM.png 1518w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dominique Fishback in ‘Swarm.’ \u003ccite>(Quantrell D. Colbert/Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The series suggests Dre has been able to get away with her crimes largely because of her invisibility as a Black woman, and the penultimate episode (one of the show’s best) is a faux crime documentary show-within-the-show called “Falling Through the Cracks.” It profiles a Black detective named Loretta Greene, who presents herself as uniquely capable of recognizing a Black woman serial killer based on explicit cultural clues like Hot Cheetos and shea butter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That Dre is ultimately seen in this way by another Black woman echoes how the show attempts to be in dialogue with its audience — it’s a very specific type of viewer who will recognize the irony in casting Paris Jackson in a cameo as a stripper who claims to be Black on her dad’s side. (As well as this kicker: “That’s why my stage name is \u003ca href=\"https://www.allure.com/story/halsey-cover-interview-august-2021\">Halsey\u003c/a>.”) Like the fandoms it’s satirizing and critiquing, it speaks a language all its own, one that requires being constantly online, knowing your memes, and staying up on your Black celeb gossip to even begin to unpack it.\u003c/p>\n\u003ch3>“Stan correct”\u003c/h3>\n\u003cp>Even if the reference points are plentiful and Dre is a refreshing spin on the sociopathic serial killer, what should we make of this funhouse mirror interpretation of fandom’s twisted facets? A bit can be gleaned from the second episode of \u003cem>Atlanta\u003c/em>, where local rapper Paper Boi (Brian Tyree Henry) encounters a fan at a restaurant. The interaction starts friendly enough, but then the fan’s tone gets more serious, almost grave: “Don’t let me down, man. If you let me down – I don’t know what I’d do.” Paper Boi’s confused and creeped out, as he should be.\u003c/p>\n\u003cp>The moment moves on quickly, but the man’s plea to the stranger he admires says a lot about how many of us project onto artists and perceive intimacy with them where none exists. Dre embodies that Paper Boi fan to the nth degree. Her relentless preoccupation ostensibly leads to a complete break from reality upon the death of her sister Marissa, and we’re left wondering whether what we’ve witnessed is only a product of Dre’s troubled mind: In the final moments of the last episode, Dre makes her way into a Ni’Jah concert, jumps on stage and stops the show. Ni’Jah encourages Dre to sing, though in a shocking reveal, the face of Marissa is now superimposed upon Ni’Jah’s body. Then Ni’Jah whisks Dre away into a limo and cradles her in her arms. Dre seems, finally, at peace.\u003c/p>\n\u003cfigure id=\"attachment_13926517\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13926517\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-800x533.jpg\" alt=\"A young Black woman wearing a low-cut, sequined lilac top looks inside a black envelope with the word Ni'Jah on the front, and smiles.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/03/yllw_s1_ut_101_220322_pagwar_00129rc3_3000_custom-8b665313d191d451f55e985192df1d65f1f6dca4-scaled-e1679337819834.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Fishback in the Beyoncé-inspired thriller series. \u003ccite>(Warrick Page/Prime Video)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the most time we spend in the presence of “Ni’Jah” for the entire series; heretofore, she’s only been refracted as a flat symbol, a montage of fleeting images, musical snippets, social media reactions and glowing adjectives. Who Ni’Jah really is as an artist is less important to Dre and the story than who she supposedly represents to her and other starry-eyed fans — and that, \u003cem>Swarm \u003c/em>implies, is the problem. The show’s tagline is “Stan correct,” a play on words that could possess multiple meanings; one that takes on the perspective of Dre and her ilk or one that points the finger at Dre and her ilk.\u003c/p>\n\u003cp>Curiously, this also makes it so that all the onus falls on the stans and that the many ways artists can fuel these responses, either directly or indirectly, are left uninterrogated. (It’s perhaps not a coincidence that Donald Glover and Chloe Bailey have had close working relationships with Beyoncé. It’s also probably not a coincidence that Glover once \u003ca href=\"https://www.interviewmagazine.com/culture/donald-glover-interviews-donald-glover\">infamously and irritatingly interviewed himself\u003c/a>.)\u003c/p>\n\u003cp>But \u003cem>Swarm \u003c/em>is at its best when it leans into the absurdities of social media and the ease of slippage between internet selves and “real” selves. Ultimately \u003cem>Swarm \u003c/em>seems to want viewers to recognize a bit of themselves in Dre — the part that might put a little too much stock in celebrity, the part that may occasionally forget that everyone, including those strangers you argue with on the internet, is human, too.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Swarm%27+is+about+how+we%27re+doing+fandom+wrong&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Swarm’ is streaming on Prime Video now. \u003ca href=\"https://www.amazon.com/Swarm-Season-1/dp/B0B8NLVH1L\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala",
"headTitle": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala | KQED",
"content": "\u003cp>When the Met Gala provides celebrities and designers with a clear-cut theme, the results tend to be stunning. Think 2018’s \u003ci>Heavenly Bodies: Fashion and the Catholic Imagination\u003c/i> with its spectacular plays on religious iconography. (\u003ca href=\"https://www.thecut.com/2018/05/met-gala-2018-rihanna-pope-hat.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna wore a pearl-encrusted pope hat!\u003c/a>) Or 2019’s \u003ci>Camp: Notes on Fashion\u003c/i> with its unabashedly kitsch and kooky couture experiments. (Like \u003ca href=\"https://www.youtube.com/watch?v=8WuC-kUe6c0\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga’s iconic hot pink striptease\u003c/a>.)\u003c/p>\n\u003cp>Last night’s Met Gala was guided only by the phrase (and \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2021/in-america\" target=\"_blank\" rel=\"noopener noreferrer\">exhibition title\u003c/a>) \u003ci>In America: A Lexicon of Fashion\u003c/i>. And its vagueness was evident all over the red carpet.\u003c/p>\n\u003cp>Billie Eilish took the opportunity to run straight towards old-school Hollywood glamour in a divine Oscar de la Renta gown. “I’m so excited. I have butterflies,” Eilish told E! News. “I couldn’t be happier.” Same, Billie. Same.\u003c/p>\n\u003cfigure id=\"attachment_13902996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902996\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1536x1083.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-2048x1444.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1920x1354.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish came as a heavenly goddess. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Ratajkowski took that “lexicon” and read it as vamp, in Vera Wang:\u003c/p>\n\u003cfigure id=\"attachment_13903002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-2048x1639.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1920x1536.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Ratajkowski in her form-fitting lacy Vera Wang gown. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few people embraced the “America” part of the theme. Like Debbie Harry in her flag stripes and blue denim:\u003c/p>\n\u003cfigure id=\"attachment_13903003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Harry, stunning as ever, in her all-American Zac Posen ensemble. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Pharrell Williams and his wife Helen Lasichanh, who did a matching leather cowboy thing:\u003c/p>\n\u003cfigure id=\"attachment_13903009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chanel meets ‘Bonanza’. Yee-haw! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if I’d have had to guess what the theme of the evening was last night, I’d have said \u003ci>Glamping: Survivalist-Wear For a Post-COVID World\u003c/i>. Nowhere was this more visible than in the ensembles of Rihanna and A$AP Rocky.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s RiRi in her black, survivalist Balenciaga sleeping bag, and A$AP in a high-end grandma quilt made by ERL. (Every time I eat outdoors at night in San Francisco, I will dream of the warmth contained in both of these outfits.)\u003c/p>\n\u003cfigure id=\"attachment_13902997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg\" alt=\"(L-R) A$AP Rocky and Rihanna.\" width=\"800\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-768x688.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1536x1376.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-2048x1834.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1920x1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 1 and Cozy 2. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whoopi Goldberg showed up in a Valentino getup, working hard to get an invite to the Rihanna and A$AP campgrounds, in this raincoat-cum-sleeping bag:\u003c/p>\n\u003cfigure id=\"attachment_13902998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg\" alt=\"\" width=\"800\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1447x2048.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1920x2718.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-scaled.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi Goldberg in her Valentino ruffled duvet. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Normani—also in Valentino—was on hand to demonstrate how to don a sleeping bag and shoulder pillows, \u003cem>and\u003c/em> make it sexy:\u003c/p>\n\u003cfigure id=\"attachment_13903011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903011\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Normani: You wouldn’t lose this dress on a mountainside at night. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janet Mock, also in Valentino, was on the exact same page:\u003c/p>\n\u003cfigure id=\"attachment_13903025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 3. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presumably in that photo, she’s eyeing up Tessa Thompson, who came dressed in Iris Van Herpen, as the most alluring campfire in all of history.\u003c/p>\n\u003cfigure id=\"attachment_13903000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson being straight fire in a short red cocktail dress with cowboy accessories. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like RiRi, A$AP, Whoopi and Normani, Lil Nas X arrived as posh bedding…\u003c/p>\n\u003cfigure id=\"attachment_13903019\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 4. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulled a fast one by transforming, first, into an C-3PO campfire lunchbox…\u003c/p>\n\u003cfigure id=\"attachment_13903022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1920x1312.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shazam! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before revealing himself as a sneaky little snake invader! And yes, actually, come hiss at us, you slinky love muffin:\u003c/p>\n\u003cfigure id=\"attachment_13903013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X slithering on up to RiRi’s campgrounds. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Levy cared not about nearby snakes, for he chose to fully embrace his inner survivalist, in a LOEWE outfit that combined pajamas, hiking boots, some floatation devices, and—actual genius!—maps. (Why didn’t anyone else think of that?)\u003c/p>\n\u003cfigure id=\"attachment_13903048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Levy: The floofiest survivalist in all the land. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, of course, no camping trip would be complete without something terrifying lurking in the shadows. And last night, Balenciaga dressed Kim Kardashian as that one dark patch behind that tree over there, that might just be a shadow, but also might well be a serial killer.\u003c/p>\n\u003cfigure id=\"attachment_13903010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-2048x1355.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1920x1271.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Kardashian in an outfit even scarier than that flowery Givenchy couch cover she wore in 2013. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Until 2022, fashion fans!\u003c/p>\n\n",
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"excerpt": "Sleeping bag couture was embraced by Rihanna, A$AP Rocky, Janet Mock and more...",
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"title": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala | KQED",
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"headline": "Celebs Mostly Interpreted ‘America: A Lexicon of Fashion’ as ‘Glamping,’ at the 2021 Met Gala",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the Met Gala provides celebrities and designers with a clear-cut theme, the results tend to be stunning. Think 2018’s \u003ci>Heavenly Bodies: Fashion and the Catholic Imagination\u003c/i> with its spectacular plays on religious iconography. (\u003ca href=\"https://www.thecut.com/2018/05/met-gala-2018-rihanna-pope-hat.html\" target=\"_blank\" rel=\"noopener noreferrer\">Rihanna wore a pearl-encrusted pope hat!\u003c/a>) Or 2019’s \u003ci>Camp: Notes on Fashion\u003c/i> with its unabashedly kitsch and kooky couture experiments. (Like \u003ca href=\"https://www.youtube.com/watch?v=8WuC-kUe6c0\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga’s iconic hot pink striptease\u003c/a>.)\u003c/p>\n\u003cp>Last night’s Met Gala was guided only by the phrase (and \u003ca href=\"https://www.metmuseum.org/exhibitions/listings/2021/in-america\" target=\"_blank\" rel=\"noopener noreferrer\">exhibition title\u003c/a>) \u003ci>In America: A Lexicon of Fashion\u003c/i>. And its vagueness was evident all over the red carpet.\u003c/p>\n\u003cp>Billie Eilish took the opportunity to run straight towards old-school Hollywood glamour in a divine Oscar de la Renta gown. “I’m so excited. I have butterflies,” Eilish told E! News. “I couldn’t be happier.” Same, Billie. Same.\u003c/p>\n\u003cfigure id=\"attachment_13902996\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902996\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg\" alt=\"\" width=\"800\" height=\"564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1536x1083.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-2048x1444.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340169495-1920x1354.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish came as a heavenly goddess. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Emily Ratajkowski took that “lexicon” and read it as vamp, in Vera Wang:\u003c/p>\n\u003cfigure id=\"attachment_13903002\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903002\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg\" alt=\"\" width=\"800\" height=\"640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-800x640.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1020x816.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-768x615.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1536x1229.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-2048x1639.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340147917-1920x1536.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Ratajkowski in her form-fitting lacy Vera Wang gown. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A few people embraced the “America” part of the theme. Like Debbie Harry in her flag stripes and blue denim:\u003c/p>\n\u003cfigure id=\"attachment_13903003\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903003\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340160855-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Debbie Harry, stunning as ever, in her all-American Zac Posen ensemble. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And Pharrell Williams and his wife Helen Lasichanh, who did a matching leather cowboy thing:\u003c/p>\n\u003cfigure id=\"attachment_13903009\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903009\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340168467-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chanel meets ‘Bonanza’. Yee-haw! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But if I’d have had to guess what the theme of the evening was last night, I’d have said \u003ci>Glamping: Survivalist-Wear For a Post-COVID World\u003c/i>. Nowhere was this more visible than in the ensembles of Rihanna and A$AP Rocky.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s RiRi in her black, survivalist Balenciaga sleeping bag, and A$AP in a high-end grandma quilt made by ERL. (Every time I eat outdoors at night in San Francisco, I will dream of the warmth contained in both of these outfits.)\u003c/p>\n\u003cfigure id=\"attachment_13902997\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902997\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg\" alt=\"(L-R) A$AP Rocky and Rihanna.\" width=\"800\" height=\"716\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-800x716.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1020x914.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-160x143.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-768x688.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1536x1376.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-2048x1834.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340176852-1920x1720.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 1 and Cozy 2. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Whoopi Goldberg showed up in a Valentino getup, working hard to get an invite to the Rihanna and A$AP campgrounds, in this raincoat-cum-sleeping bag:\u003c/p>\n\u003cfigure id=\"attachment_13902998\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13902998\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg\" alt=\"\" width=\"800\" height=\"1132\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-800x1132.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1020x1444.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-768x1087.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1085x1536.jpg 1085w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1447x2048.jpg 1447w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-1920x2718.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340150934-scaled.jpg 1809w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Whoopi Goldberg in her Valentino ruffled duvet. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Meanwhile, Normani—also in Valentino—was on hand to demonstrate how to don a sleeping bag and shoulder pillows, \u003cem>and\u003c/em> make it sexy:\u003c/p>\n\u003cfigure id=\"attachment_13903011\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903011\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340156770-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Normani: You wouldn’t lose this dress on a mountainside at night. \u003ccite>(Dimitrios Kambouris/Getty Images for The Met Museum/Vogue)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Janet Mock, also in Valentino, was on the exact same page:\u003c/p>\n\u003cfigure id=\"attachment_13903025\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903025\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-1920x2881.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340157987-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 3. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Presumably in that photo, she’s eyeing up Tessa Thompson, who came dressed in Iris Van Herpen, as the most alluring campfire in all of history.\u003c/p>\n\u003cfigure id=\"attachment_13903000\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903000\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg\" alt=\"\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-1920x2880.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340146962-scaled.jpg 1706w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Thompson being straight fire in a short red cocktail dress with cowboy accessories. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like RiRi, A$AP, Whoopi and Normani, Lil Nas X arrived as posh bedding…\u003c/p>\n\u003cfigure id=\"attachment_13903019\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903019\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131424-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cozy 4. \u003ccite>(Theo Wargo/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pulled a fast one by transforming, first, into an C-3PO campfire lunchbox…\u003c/p>\n\u003cfigure id=\"attachment_13903022\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903022\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg\" alt=\"\" width=\"800\" height=\"547\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1020x697.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1536x1050.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-2048x1400.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340131427-1920x1312.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shazam! \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Before revealing himself as a sneaky little snake invader! And yes, actually, come hiss at us, you slinky love muffin:\u003c/p>\n\u003cfigure id=\"attachment_13903013\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903013\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340130135-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lil Nas X slithering on up to RiRi’s campgrounds. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dan Levy cared not about nearby snakes, for he chose to fully embrace his inner survivalist, in a LOEWE outfit that combined pajamas, hiking boots, some floatation devices, and—actual genius!—maps. (Why didn’t anyone else think of that?)\u003c/p>\n\u003cfigure id=\"attachment_13903048\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1340154032-1920x1279.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Dan Levy: The floofiest survivalist in all the land. \u003ccite>(Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, of course, no camping trip would be complete without something terrifying lurking in the shadows. And last night, Balenciaga dressed Kim Kardashian as that one dark patch behind that tree over there, that might just be a shadow, but also might well be a serial killer.\u003c/p>\n\u003cfigure id=\"attachment_13903010\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13903010\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg\" alt=\"\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-800x529.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1536x1016.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-2048x1355.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/GettyImages-1235256182-1920x1271.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kim Kardashian in an outfit even scarier than that flowery Givenchy couch cover she wore in 2013. \u003ccite>(ANGELA WEISS/AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>Until 2022, fashion fans!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ever since COVID-19 forced NPR’s Tiny Desk concerts out of the office and into the personal domains of musicians, the backdrops to the sets have consistently displayed a delightful degree of creativity.\u003c/p>\n\u003cp>Dua Lipa took desks out of the equation altogether and brought the atmosphere of a very polished \u003ca href=\"https://www.youtube.com/watch?v=F4neLJQC1_E\" target=\"_blank\" rel=\"noopener noreferrer\">living room jam session\u003c/a>. Jazmine Sullivan created a \u003ca href=\"https://www.youtube.com/watch?v=KgrCYvVYSRE\" target=\"_blank\" rel=\"noopener noreferrer\">backroom bar\u003c/a> vibe for her set earlier this month. And Lous and the Yakuza created their very own \u003ca href=\"https://www.npr.org/2021/01/27/960903886/lous-and-the-yakuza-tiny-desk-home-concert\" rel=\"noopener noreferrer\" target=\"_blank\">tiny home studio\u003c/a>.\u003c/p>\n\u003cp>This week, Miley Cyrus took Billie Eilish’s idea of a \u003ca href=\"https://www.youtube.com/watch?v=4sZ2_aGsLKU\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Bedroom set\u003c/a> and brought it to a distinctly Miley Cyrus place. Miley’s room was awash with riot grrrl aesthetics—all tween pinks and purples intermingled with scruffy homemade posters—and constructed on a playhouse scale.\u003c/p>\n\u003cp>Landing in the middle of it all, with the distinctly 1970s rock ‘n’ roll bravado she’s embraced of late, Cyrus brought back childhood memories for anyone who spent their formative years playing dress-up and singing along to records in their room. The passionate set was comprised of a cover of Mazzy Star’s “\u003ca href=\"https://www.youtube.com/watch?v=ImKY6TZEyrI\" target=\"_blank\" rel=\"noopener noreferrer\">Fade Into You\u003c/a>,” followed by two tracks from her \u003cem>Plastic Hearts\u003c/em> album, “Golden G String” and “Prisoner.” Needless to say, the final result will have you looking for the nearest pair of leopard print pants.\u003c/p>\n\u003cp>You can watch Miley Cyrus’ Tiny Desk (Home) Concert in full, below.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W5-yezpcZNU\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ever since COVID-19 forced NPR’s Tiny Desk concerts out of the office and into the personal domains of musicians, the backdrops to the sets have consistently displayed a delightful degree of creativity.\u003c/p>\n\u003cp>Dua Lipa took desks out of the equation altogether and brought the atmosphere of a very polished \u003ca href=\"https://www.youtube.com/watch?v=F4neLJQC1_E\" target=\"_blank\" rel=\"noopener noreferrer\">living room jam session\u003c/a>. Jazmine Sullivan created a \u003ca href=\"https://www.youtube.com/watch?v=KgrCYvVYSRE\" target=\"_blank\" rel=\"noopener noreferrer\">backroom bar\u003c/a> vibe for her set earlier this month. And Lous and the Yakuza created their very own \u003ca href=\"https://www.npr.org/2021/01/27/960903886/lous-and-the-yakuza-tiny-desk-home-concert\" rel=\"noopener noreferrer\" target=\"_blank\">tiny home studio\u003c/a>.\u003c/p>\n\u003cp>This week, Miley Cyrus took Billie Eilish’s idea of a \u003ca href=\"https://www.youtube.com/watch?v=4sZ2_aGsLKU\" target=\"_blank\" rel=\"noopener noreferrer\">Tiny Bedroom set\u003c/a> and brought it to a distinctly Miley Cyrus place. Miley’s room was awash with riot grrrl aesthetics—all tween pinks and purples intermingled with scruffy homemade posters—and constructed on a playhouse scale.\u003c/p>\n\u003cp>Landing in the middle of it all, with the distinctly 1970s rock ‘n’ roll bravado she’s embraced of late, Cyrus brought back childhood memories for anyone who spent their formative years playing dress-up and singing along to records in their room. The passionate set was comprised of a cover of Mazzy Star’s “\u003ca href=\"https://www.youtube.com/watch?v=ImKY6TZEyrI\" target=\"_blank\" rel=\"noopener noreferrer\">Fade Into You\u003c/a>,” followed by two tracks from her \u003cem>Plastic Hearts\u003c/em> album, “Golden G String” and “Prisoner.” Needless to say, the final result will have you looking for the nearest pair of leopard print pants.\u003c/p>\n\u003cp>You can watch Miley Cyrus’ Tiny Desk (Home) Concert in full, below.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "How Animated Music Videos Are Helping Artists Dream Big in the Pandemic",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]T[/dropcap]he video for Tom Misch and Yussef Dayes’ “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=ImllpvDwbQ8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Nightrider\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” featuring Freddie Gibbs opens with a familiar scene: Three friends drive down a road in a burnt orange convertible, smoking and vibing out to the track as the world glows with the teals, pinks and yellows of dusk. The simple visual is steeped in nostalgia, and it’s easy to escape into Misch and Dayes’ world as we reminisce about better times before quarantine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only difference from our memories? Everything is animated.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/ImllpvDwbQ8\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Since the beginnings of the COVID-19 outbreak in the U.S. in March, animated music videos have appeared everywhere. Misch and Dayes followed “Nightrider” with another fully animated video, “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=o-llwv4pLrg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Tidal Wave\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Billie Eilish released “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Dm9Zf1WYQ_A\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">my future\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” as an animated video in collaboration with Takashi Murakami. The Weeknd imagined “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=G0JKdFjWkLA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Snowchild\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” in an ethereal, otherworldly anime landscape. Dua Lipa personified a modern-day Betty Boop in her video for “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=qcZ7e9EOQTY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Hallucinate\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Lil Wayne returned to his skater days in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=On8aAWz5s98\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">I Don’t Sleep\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Doja Cat and Victoria Monet blurred realities in their hybrid half live-action, half-3D animation in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XEJLuJyxLDE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Like That\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” and “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=unniQzo65W8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Jaguar\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\">” respectively. And Grimes took the trend even further, dabbling in a 3D, video game-like space in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=6CfJFKaL8-0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Darkseid\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">”\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/Dm9Zf1WYQ_A\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Animation in music isn’t a novel concept, but the pandemic has given it new relevance. Animated music videos saw their \u003c/span>\u003ca href=\"https://journal.animationstudies.org/gunnar-strm-the-two-golden-ages-of-animated-music-video/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">first meaningful boom in the ’80s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And stars of the 2000s, including Kanye West and Gorillaz, helped popularize the 2D format even further.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In recent years, artists who grew up in the ’90s watching \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sailor Moon\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Naruto\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and Adult Swim’s Toonami have shown animation’s lasting influence on their work (\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=F4XRpodWaKI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lil Uzi Vert\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lkQ6uHr0TQE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Megan Thee Stallion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, for starters), but the medium hasn’t been as mainstream as it is now. With limitations and increased costs due to COVID-19 precautions, shooting live-action videos has been less feasible, opening the door for the massive rise in animated music videos we’ve seen in the last few months.\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/6CfJFKaL8-0\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">Across the industry, animation has gotten this huge uptick in production. Because of the way animation is produced, everyone can work from home easily, whereas with live action you need to be there with your co-stars, the production crew and all this other stuff,” Arthell Isom explains. Based in Tokyo, Isom is co-founder of \u003c/span>\u003ca href=\"https://www.instagram.com/dartshtajio/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">D’ART Shtajio\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the first Black-owned anime studio in Japan and the creators of The Weeknd’s “Snowchild” video. “Artists still want to get their music out and make videos, and animation is a vehicle to do that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]M[/dropcap]any videos originally planned as live-action were actually adapted into animation after COVID-19 restrictions rolled out. For London-based animator \u003c/span>\u003ca href=\"https://www.instagram.com/jbanimation/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Jack Brown\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who animated and directed both “Nightrider” and “Tidal Wave,” quarantine became a rare opportunity to work for an artist he had long admired—and a chance to break down barriers in the music industry around animated work. \u003c/span>\u003c/p>\n\u003cp>https://youtu.be/G0JKdFjWkLA\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“We’re so used to us [animators] emailing people like, ‘Hey, does your band want an animated music video?’ and them going ‘No, it’s too weird, it doesn’t fit with the image,’” says Brown. “And all of a sudden these people are emailing us back and going, ‘Actually, we changed our minds.’ It was a noticeable flip of a switch.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both Isom and Brown hope that animation in music will continue to grow, even as live-action production starts up again. The way they see it, animation offers a freedom beyond what’s possible in reality, and they want to share that with viewers. \u003c/span>\u003cspan style=\"font-weight: 400\">For artists and fans alike, the ability to both create and escape into an alternate reality is incredibly enticing—especially at a moment when climate disasters, political tumult and a highly-infectious pandemic are sweeping the globe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">L.A. musician \u003c/span>\u003ca href=\"https://www.instagram.com/michiguerrero/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Michi Guerrero \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">recently released an animated music video for her single “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=r8wSlxuT5nI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Escondida\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” in collaboration with Spanish animator Maria Medem and creative director Haley Appell, and she’s found respite in creating a world that transcends barriers when real life feels full of them. \u003c/span>\u003cspan style=\"font-weight: 400\">“I had imagined [the ‘Escondida’ video] being live,” Guerrero says. “But as it went on, [I realized] we literally have so much freedom within animation. It’s still that collaborative working together, and what we envision is still there, just in a different medium.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Working in animation created the opportunity for an international collaboration, which helped Guerrero dream bigger than she could when shooting videos locally. “It’s all about finding the positives,” she says. “We’re not completely stripped of everything.”\u003c/span>\u003c/p>\n\u003cp>https://youtu.be/r8wSlxuT5nI\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[dropcap]P[/dropcap]sychologically, the freedom to go beyond reality can also positively impact mental health—another reason why many of us have gravitated towards cartoons in during the pandemic. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Avatar: The Last Airbender\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> became the top-streamed show\u003c/span>\u003ca href=\"https://www.newsweek.com/avatar-last-airbender-show-netflix-chart-top-10-record-1519004\">\u003cspan style=\"font-weight: 400\"> on Netflix\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> after it was added in May, for instance, even though it hadn’t had a new episode in 12 years.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In an article for \u003c/span>\u003ca href=\"https://www.vice.com/en/article/d7e9xa/therapists-explain-how-cartoons-affect-your-mental-health\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">VICE\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 2017\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Elizabeth Sherman spoke with New York psychotherapist Dr. Laurel Steinberg about the psychological benefits of watching animation. “Cartoons model higher frustration tolerance and activate a person’s problem solving abilities,” said Steinberg. She believes that building up these basic problem-solving skills can improve life circumstances and alleviate anxiety and depression in the long term. [aside postid='arts_13887169,arts_13887401,arts_13887427' label='More Arts and Culture']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the United States, we’re just now starting to shift away from the idea that cartoons are only for children—a crucial bridge we must cross in order to understand animation’s true potential as an artistic medium. By creating mostly adult animes, D’ART Shtajio operates constantly in that space and hopes to challenge those stereotypes in their work. The slow, R&B vibe of “Snowchild,” for instance, took much greater emotional expression than a fast-paced hip-hop video like their \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Kd-6pO79JH4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">2018 release featuring Bad Bunny, Future and Anuel AA for Spiff TV\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Anime in the West was traditionally viewed as a vehicle for telling stories to younger audiences. That’s what we’re interested in at D’ART Shtajio—trying to switch that concept,” Isom shares. “Animation is really just a medium; it’s a tool you can tell any story in. How do we break that barrier so that adults can sit down, watch and take this story seriously?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finding hope, comfort and freedom in our everyday lives is more important now than ever. And if animated music videos help give us a small glimpse of those feelings, we must recognize their value, celebrate them and also keep making them, even after we can gather again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hayao Miyazaki said animation smooths the hard lines of reality. I’ve definitely butchered that,” Brown laughs. “But it’s so true. Everything down to actual hard lines—things can be softer. Brighter.”\u003c/span>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He adds, “People always complain about doing animation over live action because you have to sit there and draw everything and it’s exhausting. But the reality is…you’re creating something completely from scratch. From a white piece of paper. You can fly. You can do whatever. You can create whatever you want to.”\u003c/span>\u003c/p>\n\n",
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"excerpt": "Animated music videos are having a resurgence because of COVID-19 limitations on filming. Their creators hope that trend is here to stay.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">T\u003c/span>\u003c/p>\u003cp>he video for Tom Misch and Yussef Dayes’ “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=ImllpvDwbQ8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Nightrider\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” featuring Freddie Gibbs opens with a familiar scene: Three friends drive down a road in a burnt orange convertible, smoking and vibing out to the track as the world glows with the teals, pinks and yellows of dusk. The simple visual is steeped in nostalgia, and it’s easy to escape into Misch and Dayes’ world as we reminisce about better times before quarantine. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The only difference from our memories? Everything is animated.\u003c/span>\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/ImllpvDwbQ8'\n title='//www.youtube.com/embed/ImllpvDwbQ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Since the beginnings of the COVID-19 outbreak in the U.S. in March, animated music videos have appeared everywhere. Misch and Dayes followed “Nightrider” with another fully animated video, “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=o-llwv4pLrg\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Tidal Wave\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Billie Eilish released “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Dm9Zf1WYQ_A\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">my future\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” as an animated video in collaboration with Takashi Murakami. The Weeknd imagined “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=G0JKdFjWkLA\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Snowchild\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” in an ethereal, otherworldly anime landscape. Dua Lipa personified a modern-day Betty Boop in her video for “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=qcZ7e9EOQTY\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Hallucinate\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Lil Wayne returned to his skater days in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=On8aAWz5s98\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">I Don’t Sleep\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">” Doja Cat and Victoria Monet blurred realities in their hybrid half live-action, half-3D animation in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=XEJLuJyxLDE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Like That\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” and “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=unniQzo65W8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Jaguar\u003c/span>\u003c/a>,\u003cspan style=\"font-weight: 400\">” respectively. And Grimes took the trend even further, dabbling in a 3D, video game-like space in “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=6CfJFKaL8-0\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Darkseid\u003c/span>\u003c/a>.\u003cspan style=\"font-weight: 400\">”\u003c/span>\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/Dm9Zf1WYQ_A'\n title='//www.youtube.com/embed/Dm9Zf1WYQ_A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Animation in music isn’t a novel concept, but the pandemic has given it new relevance. Animated music videos saw their \u003c/span>\u003ca href=\"https://journal.animationstudies.org/gunnar-strm-the-two-golden-ages-of-animated-music-video/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">first meaningful boom in the ’80s\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">. And stars of the 2000s, including Kanye West and Gorillaz, helped popularize the 2D format even further.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In recent years, artists who grew up in the ’90s watching \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Sailor Moon\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Naruto\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, and Adult Swim’s Toonami have shown animation’s lasting influence on their work (\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=F4XRpodWaKI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Lil Uzi Vert\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> and \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=lkQ6uHr0TQE\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Megan Thee Stallion\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, for starters), but the medium hasn’t been as mainstream as it is now. With limitations and increased costs due to COVID-19 precautions, shooting live-action videos has been less feasible, opening the door for the massive rise in animated music videos we’ve seen in the last few months.\u003c/span>\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/6CfJFKaL8-0'\n title='//www.youtube.com/embed/6CfJFKaL8-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">“\u003c/span>\u003cspan style=\"font-weight: 400\">Across the industry, animation has gotten this huge uptick in production. Because of the way animation is produced, everyone can work from home easily, whereas with live action you need to be there with your co-stars, the production crew and all this other stuff,” Arthell Isom explains. Based in Tokyo, Isom is co-founder of \u003c/span>\u003ca href=\"https://www.instagram.com/dartshtajio/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">D’ART Shtajio\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, the first Black-owned anime studio in Japan and the creators of The Weeknd’s “Snowchild” video. “Artists still want to get their music out and make videos, and animation is a vehicle to do that.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">M\u003c/span>\u003c/p>\u003cp>any videos originally planned as live-action were actually adapted into animation after COVID-19 restrictions rolled out. For London-based animator \u003c/span>\u003ca href=\"https://www.instagram.com/jbanimation/?hl=en\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Jack Brown\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, who animated and directed both “Nightrider” and “Tidal Wave,” quarantine became a rare opportunity to work for an artist he had long admired—and a chance to break down barriers in the music industry around animated work. \u003c/span>\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/G0JKdFjWkLA'\n title='//www.youtube.com/embed/G0JKdFjWkLA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">“We’re so used to us [animators] emailing people like, ‘Hey, does your band want an animated music video?’ and them going ‘No, it’s too weird, it doesn’t fit with the image,’” says Brown. “And all of a sudden these people are emailing us back and going, ‘Actually, we changed our minds.’ It was a noticeable flip of a switch.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Both Isom and Brown hope that animation in music will continue to grow, even as live-action production starts up again. The way they see it, animation offers a freedom beyond what’s possible in reality, and they want to share that with viewers. \u003c/span>\u003cspan style=\"font-weight: 400\">For artists and fans alike, the ability to both create and escape into an alternate reality is incredibly enticing—especially at a moment when climate disasters, political tumult and a highly-infectious pandemic are sweeping the globe. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">L.A. musician \u003c/span>\u003ca href=\"https://www.instagram.com/michiguerrero/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Michi Guerrero \u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">recently released an animated music video for her single “\u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=r8wSlxuT5nI\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">Escondida\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">” in collaboration with Spanish animator Maria Medem and creative director Haley Appell, and she’s found respite in creating a world that transcends barriers when real life feels full of them. \u003c/span>\u003cspan style=\"font-weight: 400\">“I had imagined [the ‘Escondida’ video] being live,” Guerrero says. “But as it went on, [I realized] we literally have so much freedom within animation. It’s still that collaborative working together, and what we envision is still there, just in a different medium.”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Working in animation created the opportunity for an international collaboration, which helped Guerrero dream bigger than she could when shooting videos locally. “It’s all about finding the positives,” she says. “We’re not completely stripped of everything.”\u003c/span>\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/r8wSlxuT5nI'\n title='//www.youtube.com/embed/r8wSlxuT5nI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">P\u003c/span>\u003c/p>\u003cp>sychologically, the freedom to go beyond reality can also positively impact mental health—another reason why many of us have gravitated towards cartoons in during the pandemic. \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Avatar: The Last Airbender\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> became the top-streamed show\u003c/span>\u003ca href=\"https://www.newsweek.com/avatar-last-airbender-show-netflix-chart-top-10-record-1519004\">\u003cspan style=\"font-weight: 400\"> on Netflix\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> after it was added in May, for instance, even though it hadn’t had a new episode in 12 years.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In an article for \u003c/span>\u003ca href=\"https://www.vice.com/en/article/d7e9xa/therapists-explain-how-cartoons-affect-your-mental-health\" target=\"_blank\" rel=\"noopener noreferrer\">\u003ci>\u003cspan style=\"font-weight: 400\">VICE\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\"> in 2017\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, Elizabeth Sherman spoke with New York psychotherapist Dr. Laurel Steinberg about the psychological benefits of watching animation. “Cartoons model higher frustration tolerance and activate a person’s problem solving abilities,” said Steinberg. She believes that building up these basic problem-solving skills can improve life circumstances and alleviate anxiety and depression in the long term. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">In the United States, we’re just now starting to shift away from the idea that cartoons are only for children—a crucial bridge we must cross in order to understand animation’s true potential as an artistic medium. By creating mostly adult animes, D’ART Shtajio operates constantly in that space and hopes to challenge those stereotypes in their work. The slow, R&B vibe of “Snowchild,” for instance, took much greater emotional expression than a fast-paced hip-hop video like their \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=Kd-6pO79JH4\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cspan style=\"font-weight: 400\">2018 release featuring Bad Bunny, Future and Anuel AA for Spiff TV\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Anime in the West was traditionally viewed as a vehicle for telling stories to younger audiences. That’s what we’re interested in at D’ART Shtajio—trying to switch that concept,” Isom shares. “Animation is really just a medium; it’s a tool you can tell any story in. How do we break that barrier so that adults can sit down, watch and take this story seriously?”\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Finding hope, comfort and freedom in our everyday lives is more important now than ever. And if animated music videos help give us a small glimpse of those feelings, we must recognize their value, celebrate them and also keep making them, even after we can gather again.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">“Hayao Miyazaki said animation smooths the hard lines of reality. I’ve definitely butchered that,” Brown laughs. “But it’s so true. Everything down to actual hard lines—things can be softer. Brighter.”\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">He adds, “People always complain about doing animation over live action because you have to sit there and draw everything and it’s exhausting. But the reality is…you’re creating something completely from scratch. From a white piece of paper. You can fly. You can do whatever. You can create whatever you want to.”\u003c/span>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Where is America’s Outpouring of Grief Over COVID-19?",
"headTitle": "Where is America’s Outpouring of Grief Over COVID-19? | KQED",
"content": "\u003cp>[dropcap]A[/dropcap]merica has a long history of coming together to grieve after a national tragedy. It was visible in the days after 9/11 when stars and stripes suddenly filled the windows of shopfronts and homes across America. It was overwhelming after the Sandy Hook mass shooting in 2012, when \u003ca href=\"https://www.thetrace.org/2015/12/sandy-hook-shooting-donations/\" target=\"_blank\" rel=\"noopener noreferrer\">65,000 teddy bears and 500,000 letters\u003c/a> were sent to Newtown, Connecticut. And the grief that Americans shared after the assassination of President Lincoln was so immense, it’s \u003ca href=\"https://marthahodes.com/book-detail.php?recordID=4\" target=\"_blank\" rel=\"noopener noreferrer\">still with us in a variety of forms\u003c/a> more than a century and a half later.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" class=\"alignright size-full wp-image-13882786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">Yet, a public display of collective grief for the more than 70,000 American lives lost to COVID-19 remains largely absent. We are willing to make \u003ca href=\"https://www.kron4.com/health/coronavirus/howling-for-healthcare-workers-across-the-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">noise for healthcare workers\u003c/a>, put \u003ca href=\"https://abc7news.com/teddy-bear-hunts-hunt-we-are-going-on-a-window-bears/6055934/\" target=\"_blank\" rel=\"noopener noreferrer\">teddy bears in windows\u003c/a> for children, and we might even make and distribute face masks. But when it comes to the lives of the thousands we’ve lost, few people are yet ready to look directly into the eye of that particular storm, and deal with all the mourning that will inevitably come with it.\u003c/p>\n\u003cp>What we as a nation usually do after a tragedy is look straight to the victims of it. When there are high profile mass shootings, for example, we spend days learning the names and life stories of those lost in the tragedy. We get to know the dead through news reports and newspaper profiles and testimonies from friends told to journalists. We take time to think of these people; we look at their faces; we weep for their families.\u003c/p>\n\u003cp>But with COVID-19, we’ve all become suddenly much more interested in statistical analysis. Although it’s worth noting that NBC managed to tell \u003ca href=\"https://www.nbcnews.com/news/obituaries/coronavirus-deaths-60-stories-victims-around-country-n1194396\" target=\"_blank\" rel=\"noopener noreferrer\">the stories of 60\u003c/a> people killed by COVID-19, and CNN is gathering \u003ca href=\"https://www.cnn.com/interactive/2020/health/coronavirus-victims-memories/\" target=\"_blank\" rel=\"noopener noreferrer\">obituaries from loved ones\u003c/a> on an ongoing basis, this pandemic has largely been framed in the media by data, not sorrow.\u003c/p>\n\u003cp>There are two likely reasons for this. The first is that the danger remains at large, and it’s more comfortable to prioritize facts over feelings right now. Americans are still worrying about their likelihood of contracting the virus, trying to learn the best practices to stay safe, and worrying about their bank balances after catastrophic job losses.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The second is an issue of the sheer, unfathomable numbers involved. COVID-19 has now killed \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/04/28/846701304/pandemic-death-toll-in-u-s-now-exceeds-vietnam-wars-u-s-fatalities\" target=\"_blank\" rel=\"noopener noreferrer\">more Americans than the Vietnam War\u003c/a>—thousands more, in fact—in a tiny fraction of the time. That number is (currently) roughly the equivalent of 24 9/11s. For many people trying to keep their heads above water, their families safe and their friends in check, it’s simply too much loss to contemplate on top of everything else.\u003c/p>\n\u003cp>Under the circumstances, when Americans do allow themselves to feel emotional, it is often directed towards healthcare workers. As the very personification of the crisis, doctors, nurses and first responders represent the bravery and tenacity we look for in all American heroes. They give us reasons to feel grateful—for both the work they do, and the relief we feel to not be the ones doing it. And we turn to them because it puts some kind of barrier between us and the true, gruesome nightmare of the situation.\u003c/p>\n\u003cp>America has done this before. In the aftermath of 9/11, we looked to the firefighters in much the same way. Because it was easier to filter our own shock, horror and sadness through the heroes still on the ground, than it was to ponder the thousands of bodies in the rubble that they were tirelessly searching for. (Let’s just hope our healthcare workers are given more support down the line than\u003ca href=\"https://www.youtube.com/watch?v=_uYpDC3SRpM\" target=\"_blank\" rel=\"noopener noreferrer\"> the firefighters\u003c/a> were.)\u003c/p>\n\u003cp>At some point, the gravity and grief of this strangest of periods will inevitably catch up to us all. Publicly acknowledging it together and gathering in some way—whether that’s in-person when this is all finally over, or virtually, online, sooner than that—is a necessary step on the path to our nation’s recovery. Coming together to feel and acknowledge the loss of so many people isn’t just the right thing to do for the thousands of families who’ve been affected, it’s the right thing to do for a nation in shock and struggling to comprehend the enormity of what’s just happened.\u003c/p>\n\u003cp>Though the inherent dangers of the virus are obviously an impediment to any kind of public gathering, most of us have the means to share an experience remotely. On April 18, Global Citizen demonstrated this with the \u003cem>\u003ca href=\"https://www.globalcitizen.org/en/connect/togetherathome/\" target=\"_blank\" rel=\"noopener noreferrer\">One World: Together at Home\u003c/a>\u003c/em> event, curated by Lady Gaga. Virtual performances from the likes of Taylor Swift, the Rolling Stones, Billie Eilish and Stevie Wonder connected 270 million viewers worldwide and helped raise over $127 million.\u003c/p>\n\u003cp>What’s more, prior national tragedies have proven that we don’t need to physically gather in one location to share a meaningful, healing moment. In 1986, after the nation witnessed the explosion of the Challenger space shuttle live on TV, America grieved together by once again gathering around televisions and giving full attention to the astronauts’ memorial service.\u003c/p>\n\u003cp>The following day—Feb. 1, 1986—the \u003ca href=\"https://www.nytimes.com/1986/02/01/us/anger-confusion-and-fear-in-the-nation-s-grief.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em> \u003c/a>wrote about the necessity of sharing grief, especially in times of national crisis. UC San Francisco psychiatrist Dr. Mardi Horowitz was quoted as saying: “The psychological purpose of ritual is not just to honor the dead but to re-establish a common bond and counter the sense of being alone in a hostile universe.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That sense of being alone in an inhospitable landscape is familiar to many of us now. Alienation has become the status quo while we shelter in place away from our communities. And because grief heightens the need to connect with others, it’s no wonder we’ve been avoiding these feelings out of a sense of self-preservation. But the circumstances surrounding the coronavirus pandemic make the need for collective mourning more important than ever. The longer we reduce the agony of families across the nation to mere numbers on graphs, the harder it will be to reunify as a country when this tragedy is all over.\u003c/p>\n\n",
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"excerpt": "Historically, America is very good at uniting and grieving national tragedies as one. That has yet to happen for the pandemic. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">A\u003c/span>\u003c/p>\u003cp>merica has a long history of coming together to grieve after a national tragedy. It was visible in the days after 9/11 when stars and stripes suddenly filled the windows of shopfronts and homes across America. It was overwhelming after the Sandy Hook mass shooting in 2012, when \u003ca href=\"https://www.thetrace.org/2015/12/sandy-hook-shooting-donations/\" target=\"_blank\" rel=\"noopener noreferrer\">65,000 teddy bears and 500,000 letters\u003c/a> were sent to Newtown, Connecticut. And the grief that Americans shared after the assassination of President Lincoln was so immense, it’s \u003ca href=\"https://marthahodes.com/book-detail.php?recordID=4\" target=\"_blank\" rel=\"noopener noreferrer\">still with us in a variety of forms\u003c/a> more than a century and a half later.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg\" alt=\"\" width=\"180\" height=\"198\" class=\"alignright size-full wp-image-13882786\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final.jpg 180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/07/Rae-Alexandra-KQED_180_final-160x176.jpg 160w\" sizes=\"(max-width: 180px) 100vw, 180px\">Yet, a public display of collective grief for the more than 70,000 American lives lost to COVID-19 remains largely absent. We are willing to make \u003ca href=\"https://www.kron4.com/health/coronavirus/howling-for-healthcare-workers-across-the-bay-area/\" target=\"_blank\" rel=\"noopener noreferrer\">noise for healthcare workers\u003c/a>, put \u003ca href=\"https://abc7news.com/teddy-bear-hunts-hunt-we-are-going-on-a-window-bears/6055934/\" target=\"_blank\" rel=\"noopener noreferrer\">teddy bears in windows\u003c/a> for children, and we might even make and distribute face masks. But when it comes to the lives of the thousands we’ve lost, few people are yet ready to look directly into the eye of that particular storm, and deal with all the mourning that will inevitably come with it.\u003c/p>\n\u003cp>What we as a nation usually do after a tragedy is look straight to the victims of it. When there are high profile mass shootings, for example, we spend days learning the names and life stories of those lost in the tragedy. We get to know the dead through news reports and newspaper profiles and testimonies from friends told to journalists. We take time to think of these people; we look at their faces; we weep for their families.\u003c/p>\n\u003cp>But with COVID-19, we’ve all become suddenly much more interested in statistical analysis. Although it’s worth noting that NBC managed to tell \u003ca href=\"https://www.nbcnews.com/news/obituaries/coronavirus-deaths-60-stories-victims-around-country-n1194396\" target=\"_blank\" rel=\"noopener noreferrer\">the stories of 60\u003c/a> people killed by COVID-19, and CNN is gathering \u003ca href=\"https://www.cnn.com/interactive/2020/health/coronavirus-victims-memories/\" target=\"_blank\" rel=\"noopener noreferrer\">obituaries from loved ones\u003c/a> on an ongoing basis, this pandemic has largely been framed in the media by data, not sorrow.\u003c/p>\n\u003cp>There are two likely reasons for this. The first is that the danger remains at large, and it’s more comfortable to prioritize facts over feelings right now. Americans are still worrying about their likelihood of contracting the virus, trying to learn the best practices to stay safe, and worrying about their bank balances after catastrophic job losses.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The second is an issue of the sheer, unfathomable numbers involved. COVID-19 has now killed \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/04/28/846701304/pandemic-death-toll-in-u-s-now-exceeds-vietnam-wars-u-s-fatalities\" target=\"_blank\" rel=\"noopener noreferrer\">more Americans than the Vietnam War\u003c/a>—thousands more, in fact—in a tiny fraction of the time. That number is (currently) roughly the equivalent of 24 9/11s. For many people trying to keep their heads above water, their families safe and their friends in check, it’s simply too much loss to contemplate on top of everything else.\u003c/p>\n\u003cp>Under the circumstances, when Americans do allow themselves to feel emotional, it is often directed towards healthcare workers. As the very personification of the crisis, doctors, nurses and first responders represent the bravery and tenacity we look for in all American heroes. They give us reasons to feel grateful—for both the work they do, and the relief we feel to not be the ones doing it. And we turn to them because it puts some kind of barrier between us and the true, gruesome nightmare of the situation.\u003c/p>\n\u003cp>America has done this before. In the aftermath of 9/11, we looked to the firefighters in much the same way. Because it was easier to filter our own shock, horror and sadness through the heroes still on the ground, than it was to ponder the thousands of bodies in the rubble that they were tirelessly searching for. (Let’s just hope our healthcare workers are given more support down the line than\u003ca href=\"https://www.youtube.com/watch?v=_uYpDC3SRpM\" target=\"_blank\" rel=\"noopener noreferrer\"> the firefighters\u003c/a> were.)\u003c/p>\n\u003cp>At some point, the gravity and grief of this strangest of periods will inevitably catch up to us all. Publicly acknowledging it together and gathering in some way—whether that’s in-person when this is all finally over, or virtually, online, sooner than that—is a necessary step on the path to our nation’s recovery. Coming together to feel and acknowledge the loss of so many people isn’t just the right thing to do for the thousands of families who’ve been affected, it’s the right thing to do for a nation in shock and struggling to comprehend the enormity of what’s just happened.\u003c/p>\n\u003cp>Though the inherent dangers of the virus are obviously an impediment to any kind of public gathering, most of us have the means to share an experience remotely. On April 18, Global Citizen demonstrated this with the \u003cem>\u003ca href=\"https://www.globalcitizen.org/en/connect/togetherathome/\" target=\"_blank\" rel=\"noopener noreferrer\">One World: Together at Home\u003c/a>\u003c/em> event, curated by Lady Gaga. Virtual performances from the likes of Taylor Swift, the Rolling Stones, Billie Eilish and Stevie Wonder connected 270 million viewers worldwide and helped raise over $127 million.\u003c/p>\n\u003cp>What’s more, prior national tragedies have proven that we don’t need to physically gather in one location to share a meaningful, healing moment. In 1986, after the nation witnessed the explosion of the Challenger space shuttle live on TV, America grieved together by once again gathering around televisions and giving full attention to the astronauts’ memorial service.\u003c/p>\n\u003cp>The following day—Feb. 1, 1986—the \u003ca href=\"https://www.nytimes.com/1986/02/01/us/anger-confusion-and-fear-in-the-nation-s-grief.html\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>New York Times\u003c/em> \u003c/a>wrote about the necessity of sharing grief, especially in times of national crisis. UC San Francisco psychiatrist Dr. Mardi Horowitz was quoted as saying: “The psychological purpose of ritual is not just to honor the dead but to re-establish a common bond and counter the sense of being alone in a hostile universe.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That sense of being alone in an inhospitable landscape is familiar to many of us now. Alienation has become the status quo while we shelter in place away from our communities. And because grief heightens the need to connect with others, it’s no wonder we’ve been avoiding these feelings out of a sense of self-preservation. But the circumstances surrounding the coronavirus pandemic make the need for collective mourning more important than ever. The longer we reduce the agony of families across the nation to mere numbers on graphs, the harder it will be to reunify as a country when this tragedy is all over.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Billie Eilish is being \u003ca href=\"https://twitter.com/i/events/1237401235562659841\" target=\"_blank\" rel=\"noopener noreferrer\">praised\u003c/a> for a new video in which she calls out those who criticize her appearance. The clip, which played during an interlude at her Monday night concert in Miami, shows the Grammy winner slowly shedding most of her clothes, before sinking beneath black water. Over the visuals, her voice can be heard dispassionately explaining that, when it comes to her appearance, she’s damned if she does and damned if she doesn’t. Its impact is undeniable.\u003c/p>\n\u003cp>“You have opinions—about my opinions, about my music, about my clothes, about my body,” she begins. “Some people hate what I wear, some people praise it, some people use it to shame others, some people use it to shame me, but I feel you watching—always—and nothing I do goes unseen.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cIpYrDHzYbs\u003c/p>\n\u003cp>She continues: “If I wear what is comfortable, I am not a woman. If I shed the layers, I’m a slut. Though you’ve never seen my body, you still judge it and judge me for it.” [aside postid='arts_13875462']\u003c/p>\n\u003cp>For Eilish, fashion has always been symbolic. Last year, in a video made for the #MYCALVINS campaign, the singer stated clearly why she favors loose-fitting clothing—she uses it as a form of protection. “I never want the world to know everything about me,” she says in the promo. “I mean, that’s why I wear big baggy clothes. Nobody can have an opinion because they haven’t seen what’s underneath.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=JeMmUglv6wA\u003c/p>\n\u003cp>What happened in Miami—though undoubtedly a powerful middle-finger to critics—was a watershed moment. Essentially, we just witnessed the exact instant that Billie Eilish realized the one thing she’s been relying on to protect her, could no longer do so. [aside postid='arts_13875053']\u003c/p>\n\u003cp>Less than a month ago, Eilish spoke on British television about the bullying she has increasingly experienced, and how it has recently forced her offline. “The cooler the things you get to do are, the more people hate you,” she told \u003cem>BBC Breakfast\u003c/em>. “It’s way worse than it’s ever been right now… The internet is ruining my life.”\u003c/p>\n\u003cp>https://twitter.com/watticedis/status/1229872298515222528\u003c/p>\n\u003cp>Eilish’s dedication to wearing everything oversized has always been part of her allure. Her look was never anti-fashion, or just weird for the sake of it—it was Gucci and Burberry and Chanel in gender-defying forms that sought to carve out a new means of self-expression. It refused to succumb to old-fashioned beauty standards. Eilish has also been careful to always make sure her style wasn’t used to shame other women.\u003c/p>\n\u003cp>“The positive comments about how I dress have this slut-shaming element. Like, ‘I am so glad that you’re dressing like a boy, so other girls can dress like boys, so that they aren’t sluts’,” \u003ca href=\"https://vmagazine.com/article/v121-billie-eilish-by-pharrell-part-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Eilish told \u003c/a>\u003cem>V Magazine\u003c/em> last year. “That’s basically what it sounds like to me. And I can’t overstate how strongly I do not appreciate that, at all.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Usually when a pop star performs a metamorphosis like this, they do so as part of a new album cycle. Eilish has done it out of the blue and just weeks after noting an increase in online hate directed at her. As such, it’s hard not to wonder if that was the motivation. Though, smart and tenacious as ever, she successfully managed to put an empowering spin on it, that doesn’t necessarily mean we should celebrate. Going by her own words, she essentially just threw her hands up and abandoned her security blanket.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Billie Eilish is being \u003ca href=\"https://twitter.com/i/events/1237401235562659841\" target=\"_blank\" rel=\"noopener noreferrer\">praised\u003c/a> for a new video in which she calls out those who criticize her appearance. The clip, which played during an interlude at her Monday night concert in Miami, shows the Grammy winner slowly shedding most of her clothes, before sinking beneath black water. Over the visuals, her voice can be heard dispassionately explaining that, when it comes to her appearance, she’s damned if she does and damned if she doesn’t. Its impact is undeniable.\u003c/p>\n\u003cp>“You have opinions—about my opinions, about my music, about my clothes, about my body,” she begins. “Some people hate what I wear, some people praise it, some people use it to shame others, some people use it to shame me, but I feel you watching—always—and nothing I do goes unseen.”\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/cIpYrDHzYbs'\n title='//www.youtube.com/embed/cIpYrDHzYbs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She continues: “If I wear what is comfortable, I am not a woman. If I shed the layers, I’m a slut. Though you’ve never seen my body, you still judge it and judge me for it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For Eilish, fashion has always been symbolic. Last year, in a video made for the #MYCALVINS campaign, the singer stated clearly why she favors loose-fitting clothing—she uses it as a form of protection. “I never want the world to know everything about me,” she says in the promo. “I mean, that’s why I wear big baggy clothes. Nobody can have an opinion because they haven’t seen what’s underneath.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Less than a month ago, Eilish spoke on British television about the bullying she has increasingly experienced, and how it has recently forced her offline. “The cooler the things you get to do are, the more people hate you,” she told \u003cem>BBC Breakfast\u003c/em>. “It’s way worse than it’s ever been right now… The internet is ruining my life.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Eilish’s dedication to wearing everything oversized has always been part of her allure. Her look was never anti-fashion, or just weird for the sake of it—it was Gucci and Burberry and Chanel in gender-defying forms that sought to carve out a new means of self-expression. It refused to succumb to old-fashioned beauty standards. Eilish has also been careful to always make sure her style wasn’t used to shame other women.\u003c/p>\n\u003cp>“The positive comments about how I dress have this slut-shaming element. Like, ‘I am so glad that you’re dressing like a boy, so other girls can dress like boys, so that they aren’t sluts’,” \u003ca href=\"https://vmagazine.com/article/v121-billie-eilish-by-pharrell-part-2/\" target=\"_blank\" rel=\"noopener noreferrer\">Eilish told \u003c/a>\u003cem>V Magazine\u003c/em> last year. “That’s basically what it sounds like to me. And I can’t overstate how strongly I do not appreciate that, at all.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Usually when a pop star performs a metamorphosis like this, they do so as part of a new album cycle. Eilish has done it out of the blue and just weeks after noting an increase in online hate directed at her. As such, it’s hard not to wonder if that was the motivation. Though, smart and tenacious as ever, she successfully managed to put an empowering spin on it, that doesn’t necessarily mean we should celebrate. Going by her own words, she essentially just threw her hands up and abandoned her security blanket.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Past Year in Music Listening: Video Rules, The Boy's Club Remains",
"headTitle": "The Past Year in Music Listening: Video Rules, The Boy’s Club Remains | KQED",
"content": "\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Grammy Nominees For Best New Artist Point to a Sea Change in Pop",
"headTitle": "The Grammy Nominees For Best New Artist Point to a Sea Change in Pop | KQED",
"content": "\u003cp>The Grammy Awards’ category for new artists has always been the\u003ca href=\"https://harrypotter.fandom.com/wiki/Hufflepuff\"> Hufflepuff\u003c/a> house of the event, a mishmash of eccentrics, high achievers and hard-working young music industry favorites. (Notorious category winners\u003ca href=\"https://gizmodo.com/20-years-ago-today-milli-vanilli-lost-their-grammy-for-5694574\"> Milli Vanilli\u003c/a> did work hard, just not at singing.) Rarely has the field clearly pointed toward an exciting new musical era. But this year, that’s exactly what it suggests.\u003c/p>\n\u003cp>Three breakthrough pop stars, each of whom embodies creativity and influence in the streaming age—and who, together, garnered this year’s most Grammy nominations across the board—compete with three women exploding the boundaries of genres that might have previously held them back, alongside two groups with major grassroots followings and a powerful way of defying categorization. These musicians are fluent in the style-defying language of 21st-century sounds; their members look like America, and beyond its borders, the changing pop world; and they all released genuinely great music in 2019. Whoever wins in this category will deserve it— and will likely play a role in shaping popular music for a long time.\u003c/p>\n\u003cp>\u003cstrong>Black Pumas\u003c/strong>\u003c/p>\n\u003cp>This Austin-based duo-plus represents what bands are becoming in the new century: versatile, open-ended partnerships forged by adept experimenting with form. Singer Eric Burton learned his chops both auditioning for \u003cem>American Idol\u003c/em> and busking on L.A.’s Santa Monica Pier; producer-multi-instrumentalist Adrian Quesada is a Latinx music veteran (he’s \u003ca href=\"https://www.grammy.com/search/grupo%20fantasma\">won\u003c/a> a Grammy as a member of the funk orchestra Grupo Fantasma). Together, they’re reinventing Southwestern soul with a blend that honors the region’s funky historical fusions while incorporating a hip-hop vibe. The sum of their experience makes them a great live act, the key to success as a band in 2019.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ptWQ_-xmvXY&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Billie Eilish\u003c/strong>\u003c/p>\n\u003cp>At 17 years old, Eilish is the youngest-ever multiple Grammy nominee across the top four categories: best new artist, record, album and song of the year. She could pull this off because, like the SoundCloud rappers who’ve inspired her, she writes her own material with her brother, Finneas—mostly eschewing teen pop’s starmaking machinery. (She was quietly signed to a major-label development deal at age fourteen, but she and Finneas recorded the bulk of the songs that have made her a star\u003ca href=\"https://www.prosoundnetwork.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom\"> at home\u003c/a>.) Homeschooled by Hollywood-savvy parents, enraptured by SoundCloud rappers like Tyler, The Creator but equally indebted to Avril Lavigne, vocally ultrafeminine but otherwise androgynous—Eilish embodies the erasure of binary thinking about music, emotion and the self: she is the living essence of Generation Z.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-PZsSWwc9xA&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Lil Nas X\u003c/strong>\u003c/p>\n\u003cp>If new technologies generate the stars they deserve, the social media platform TikTok must be particularly blessed, because its breakthrough star is absolutely fabulous. Montero Lamar Hill, now 20, was just another kid trying to get Internet famous when he discovered a beat made by a Dutch kid and bought it\u003ca href=\"https://www.cnbc.com/2019/07/23/lil-nas-x-bought-the-beat-used-in-old-town-road-for-30-on-beatstars.html\"> for $30\u003c/a>. Around it, he built “Old Town Road,” the single biggest challenge to old music biz ways issued in recent memory. Country music will never be the same, but neither will pop or hip-hop. His irresistible hit is the\u003ca href=\"https://www.rollingstone.com/music/music-news/ray-charles-whatd-i-say-origin-842880/\"> “What’d I Say”\u003c/a> of our time, refusing to be contained—as does Lil Nas X himself, as much a comedian, conceptualist and burgeoning fashion icon as he is a musician. Like TikTok itself—a tool for capturing teens’ mobile imaginations—Lil Nas X takes us all into brand-new territory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w2Ov5jzm3j8&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Lizzo\u003c/strong>\u003c/p>\n\u003cp>With two albums already under her sparkly belt, Lizzo is the kind of slow-burning phenomenon whose presence may seem odd in the best new artist category, but she belongs here—until 2019, the world was not entirely ready for her. The Houston-born, Minneapolis-nurtured rapper, singer and all-around generator of good vibes, challenges all kinds of preconceived notions about women’s pleasure, power and beauty, proudly queering the pitch of pop without being strident or politically correct. And she’s a band nerd who’s single-handedly revived the flute as a cool high school accessory. A comic artist with a serious mission, Lizzo defines America’s pleasure principle right now—her bold excessiveness is to 2019 is what cock-rock was to the 1970s, minus all the macho power plays. Prince loved her, and through her success, his spirit lives on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P00HMxdsVZI&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>To comprehend the bond this 25-year-old singer-songwriter-rocker-dance queen has with her fans, just check out her Wikipedia page, which reads, “Maggie Rogers is known for being a\u003ca href=\"https://maggierogers.store/apparel/magg010017-maggie-rogers-witchy-feminist-t-shirt-black/\"> Witchy Feminist Rockstar\u003c/a> and a legend.” That kind of enthusiasm can’t be manufactured, and anyone who’s seen Rogers bound across a stage as thousands of young women shout her lyrics won’t doubt its veracity. As a teen, Rogers pursued a conventional singer-songwriter role, but time spent in Berlin led her to dance music; she explored that intersection as a student at NYU’s Clive Davis Institute of Recorded Music, where her teacher, NPR Music contributor Jason King, introduced her to Pharrell one day. The rest is a classic discovery story—except that like Billie Eilish, Rogers resisted being molded by the major label who signed her. An infectiously enthusiastic songwriter and performer, she expresses a spirit of resistance that runs through the best pop music now—the refusal to be too polished or predictable.\u003c/p>\n\u003cp>\u003cstrong>Rosalía\u003c/strong>\u003c/p>\n\u003cp>As EDM’s influence \u003ca href=\"778532395\">fades\u003c/a> and hip-hop settles into position as pop’s foundation, the universe of Latin rhythm and melody is revitalizing the Top 40. Rosalía is the Catalan auteur leading the way. Like many young artists, she’s not abandoning her roots, but reimagining them. Her music is rooted in the folkloric, theatrical lineage of \u003cem>flamenco\u003c/em>, which she studied seriously for a decade before fashioning her hybrid urban Latin sound. Her 2018 album, \u003cem>El Mal Querer—\u003c/em>inspired by a 14th-century novel of “dark love”—won the hearts of critics and influencers, and she went on to collaborate with Latin pop superstar J Balvin on the song “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\">Con Altura\u003c/a>,” which became a worldwide smash. Rosalía’s fluidity in combining experimental and mainstream elements distinguishes her, as does the fact that she sings in Spanish—she’s the first artist who performs solely in that language to be nominated as best new artist.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rht7rBHuXW8&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Tank and the Bangas\u003c/strong>\u003c/p>\n\u003cp>As much as 21st-century pop often floats forth from an unmoored Internet, it’s also generated within local communities whose reach grows through unprecedented platforms. NPR Music’s own\u003ca href=\"https://www.youtube.com/watch?v=QKzobTCIRDw\"> Tiny Desk\u003c/a> is one such platform, as New Orleans collective Tank and the Bangas discovered in the wake of winning our Tiny Desk Contest in 2017. By then, the group, led by slam poet and joy generator Tarriona “Tank” Ball on lead vocals, had come to embody what one writer called “\u003ca href=\"https://www.ft.com/content/9cba849c-057c-11e6-9b51-0fb5e65703ce\">New Orleans now\u003c/a>“: jazz-kissed but not old-timey, letting the good times roll in ways that acknowledge the complexities of life in an old city always seeking to transcend new problems. This is the kind of band that creates community wherever it goes—the best illustration of the new spin on jam bands that’s turned a sometimes-derided genre into the freshest ground out there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0zU-Jm87kzY&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Yola\u003c/strong>\u003c/p>\n\u003cp>No new artist stands for the power of reinvention more than the woman born Yolanda Quartey in Bristol in 1984. Before becoming Americana’s beloved new sensation following a move to Nashville in 2018, Yola had another life as a pop songwriter in her native England, and a singer with dance-driven acts like Massive Attack. Her first love, however, was country music, a genre she patiently and fiercely made her own, first with the band Phantom Limb and then in solo music that frames her as an inheritor to both Dusty Springfield and Dolly Parton. Working with vintage-sound master Dan Auerbach of The Black Keys, Yola has effortlessly updated classic country soul on her debut album \u003cem>Walk Through Fire\u003c/em>; even more powerful are her live performances, which inevitably win legions of new fans. With country at a crossroads, Yola is a major force in illustrating what the genre can be at its most authentically American.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=jWTwuQ3LeH4&feature=emb_logo\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?time_continue=1&v=jWTwuQ3LeH4&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Grammy+Nominees+For+Best+New+Artist+Point+To+A+Sea+Change+In+Pop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Grammy nominations are ripe for attempts to predict the future of popular music—but this year, we need to examine just one category to see how much everything is changing, and already has.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Grammy Awards’ category for new artists has always been the\u003ca href=\"https://harrypotter.fandom.com/wiki/Hufflepuff\"> Hufflepuff\u003c/a> house of the event, a mishmash of eccentrics, high achievers and hard-working young music industry favorites. (Notorious category winners\u003ca href=\"https://gizmodo.com/20-years-ago-today-milli-vanilli-lost-their-grammy-for-5694574\"> Milli Vanilli\u003c/a> did work hard, just not at singing.) Rarely has the field clearly pointed toward an exciting new musical era. But this year, that’s exactly what it suggests.\u003c/p>\n\u003cp>Three breakthrough pop stars, each of whom embodies creativity and influence in the streaming age—and who, together, garnered this year’s most Grammy nominations across the board—compete with three women exploding the boundaries of genres that might have previously held them back, alongside two groups with major grassroots followings and a powerful way of defying categorization. These musicians are fluent in the style-defying language of 21st-century sounds; their members look like America, and beyond its borders, the changing pop world; and they all released genuinely great music in 2019. Whoever wins in this category will deserve it— and will likely play a role in shaping popular music for a long time.\u003c/p>\n\u003cp>\u003cstrong>Black Pumas\u003c/strong>\u003c/p>\n\u003cp>This Austin-based duo-plus represents what bands are becoming in the new century: versatile, open-ended partnerships forged by adept experimenting with form. Singer Eric Burton learned his chops both auditioning for \u003cem>American Idol\u003c/em> and busking on L.A.’s Santa Monica Pier; producer-multi-instrumentalist Adrian Quesada is a Latinx music veteran (he’s \u003ca href=\"https://www.grammy.com/search/grupo%20fantasma\">won\u003c/a> a Grammy as a member of the funk orchestra Grupo Fantasma). Together, they’re reinventing Southwestern soul with a blend that honors the region’s funky historical fusions while incorporating a hip-hop vibe. The sum of their experience makes them a great live act, the key to success as a band in 2019.\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/ptWQ_-xmvXY'\n title='//www.youtube.com/embed/ptWQ_-xmvXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Billie Eilish\u003c/strong>\u003c/p>\n\u003cp>At 17 years old, Eilish is the youngest-ever multiple Grammy nominee across the top four categories: best new artist, record, album and song of the year. She could pull this off because, like the SoundCloud rappers who’ve inspired her, she writes her own material with her brother, Finneas—mostly eschewing teen pop’s starmaking machinery. (She was quietly signed to a major-label development deal at age fourteen, but she and Finneas recorded the bulk of the songs that have made her a star\u003ca href=\"https://www.prosoundnetwork.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom\"> at home\u003c/a>.) Homeschooled by Hollywood-savvy parents, enraptured by SoundCloud rappers like Tyler, The Creator but equally indebted to Avril Lavigne, vocally ultrafeminine but otherwise androgynous—Eilish embodies the erasure of binary thinking about music, emotion and the self: she is the living essence of Generation Z.\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/-PZsSWwc9xA'\n title='//www.youtube.com/embed/-PZsSWwc9xA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lil Nas X\u003c/strong>\u003c/p>\n\u003cp>If new technologies generate the stars they deserve, the social media platform TikTok must be particularly blessed, because its breakthrough star is absolutely fabulous. Montero Lamar Hill, now 20, was just another kid trying to get Internet famous when he discovered a beat made by a Dutch kid and bought it\u003ca href=\"https://www.cnbc.com/2019/07/23/lil-nas-x-bought-the-beat-used-in-old-town-road-for-30-on-beatstars.html\"> for $30\u003c/a>. Around it, he built “Old Town Road,” the single biggest challenge to old music biz ways issued in recent memory. Country music will never be the same, but neither will pop or hip-hop. His irresistible hit is the\u003ca href=\"https://www.rollingstone.com/music/music-news/ray-charles-whatd-i-say-origin-842880/\"> “What’d I Say”\u003c/a> of our time, refusing to be contained—as does Lil Nas X himself, as much a comedian, conceptualist and burgeoning fashion icon as he is a musician. Like TikTok itself—a tool for capturing teens’ mobile imaginations—Lil Nas X takes us all into brand-new territory.\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/w2Ov5jzm3j8'\n title='//www.youtube.com/embed/w2Ov5jzm3j8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lizzo\u003c/strong>\u003c/p>\n\u003cp>With two albums already under her sparkly belt, Lizzo is the kind of slow-burning phenomenon whose presence may seem odd in the best new artist category, but she belongs here—until 2019, the world was not entirely ready for her. The Houston-born, Minneapolis-nurtured rapper, singer and all-around generator of good vibes, challenges all kinds of preconceived notions about women’s pleasure, power and beauty, proudly queering the pitch of pop without being strident or politically correct. And she’s a band nerd who’s single-handedly revived the flute as a cool high school accessory. A comic artist with a serious mission, Lizzo defines America’s pleasure principle right now—her bold excessiveness is to 2019 is what cock-rock was to the 1970s, minus all the macho power plays. Prince loved her, and through her success, his spirit lives on.\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/P00HMxdsVZI'\n title='//www.youtube.com/embed/P00HMxdsVZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>To comprehend the bond this 25-year-old singer-songwriter-rocker-dance queen has with her fans, just check out her Wikipedia page, which reads, “Maggie Rogers is known for being a\u003ca href=\"https://maggierogers.store/apparel/magg010017-maggie-rogers-witchy-feminist-t-shirt-black/\"> Witchy Feminist Rockstar\u003c/a> and a legend.” That kind of enthusiasm can’t be manufactured, and anyone who’s seen Rogers bound across a stage as thousands of young women shout her lyrics won’t doubt its veracity. As a teen, Rogers pursued a conventional singer-songwriter role, but time spent in Berlin led her to dance music; she explored that intersection as a student at NYU’s Clive Davis Institute of Recorded Music, where her teacher, NPR Music contributor Jason King, introduced her to Pharrell one day. The rest is a classic discovery story—except that like Billie Eilish, Rogers resisted being molded by the major label who signed her. An infectiously enthusiastic songwriter and performer, she expresses a spirit of resistance that runs through the best pop music now—the refusal to be too polished or predictable.\u003c/p>\n\u003cp>\u003cstrong>Rosalía\u003c/strong>\u003c/p>\n\u003cp>As EDM’s influence \u003ca href=\"778532395\">fades\u003c/a> and hip-hop settles into position as pop’s foundation, the universe of Latin rhythm and melody is revitalizing the Top 40. Rosalía is the Catalan auteur leading the way. Like many young artists, she’s not abandoning her roots, but reimagining them. Her music is rooted in the folkloric, theatrical lineage of \u003cem>flamenco\u003c/em>, which she studied seriously for a decade before fashioning her hybrid urban Latin sound. Her 2018 album, \u003cem>El Mal Querer—\u003c/em>inspired by a 14th-century novel of “dark love”—won the hearts of critics and influencers, and she went on to collaborate with Latin pop superstar J Balvin on the song “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\">Con Altura\u003c/a>,” which became a worldwide smash. 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This is the kind of band that creates community wherever it goes—the best illustration of the new spin on jam bands that’s turned a sometimes-derided genre into the freshest ground out there.\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/0zU-Jm87kzY'\n title='//www.youtube.com/embed/0zU-Jm87kzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Yola\u003c/strong>\u003c/p>\n\u003cp>No new artist stands for the power of reinvention more than the woman born Yolanda Quartey in Bristol in 1984. Before becoming Americana’s beloved new sensation following a move to Nashville in 2018, Yola had another life as a pop songwriter in her native England, and a singer with dance-driven acts like Massive Attack. Her first love, however, was country music, a genre she patiently and fiercely made her own, first with the band Phantom Limb and then in solo music that frames her as an inheritor to both Dusty Springfield and Dolly Parton. Working with vintage-sound master Dan Auerbach of The Black Keys, Yola has effortlessly updated classic country soul on her debut album \u003cem>Walk Through Fire\u003c/em>; even more powerful are her live performances, which inevitably win legions of new fans. With country at a crossroads, Yola is a major force in illustrating what the genre can be at its most authentically American.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "SOLD OUT: Rethinking Housing in America",
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"info": "Geopolitical turmoil. A warming planet. Authoritarians on the rise. We live in a chaotic world that’s rapidly shifting around us. “On Shifting Ground with Ray Suarez” explores international fault lines and how they impact us all. Each week, NPR veteran Ray Suarez hosts conversations with journalists, leaders and policy experts to help us read between the headlines – and give us hope for human resilience.",
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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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