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"content": "\u003cp>“Salutations!,” the actor Samuel L. Jackson, dressed as Uncle Sam introduced Kendrick Lamar at New Orleans’ Caesars Superdome for the 2025 Super Bowl halftime show — a powerful, commanding creative choice by the first solo hip-hop artist to ever headline the coveted slot.\u003c/p>\n\u003cp>As if there were any doubts of the Pulitzer Prize winning rapper’s ability to put on a show.\u003c/p>\n\u003cp>As dozens of dancers emerged from a Buick GNX clown car style, he launched into an as-yet-untitled new song that had been teased with an online snippet when his \u003cem>GNX\u003c/em> album was released, then moved into “Squabble Up.” For just under 13 minutes during the halftime show sponsored by Apple Music and Roc Nation, Lamar commanded the field.\u003c/p>\n\u003cp>[aside postID='arts_13968608']Dancers dressed in red, white and blue joined Lamar. But even in their patriotic colors, they were labeled “too loud, too reckless, too ghetto,” by Jackson’s Uncle Sam, who reminded Lamar to “play the game.” Then, he launched into “Humble.,” “DNA.,” “Euphoria” and “man at the garden.”\u003c/p>\n\u003cp>“Score keeper, deduct one life,” Jackson interrupted again. Lamar launched into “peakboo,” and then teased a performance of “Not Like Us.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I wanna play their favorite song but you know they love to sue,” Lamar told the women dancers behind him, referencing Drake.\u003c/p>\n\u003cp>It is hard to underscore the ubiquity of “Not Like Us” — with its billion streams on Spotify, the massive hit is a regional anthem for Los Angeles, a rallying cry for community and against culture vultures, a diss track that won Lamar the highly-publicized feud with Drake and the track that won song and record of the year at the Grammys last weekend.\u003c/p>\n\u003cp>[aside postID='arts_13960019']Leading up to the Super Bowl, whether or not Lamar would perform the song was a legitimate question held by fans and critics alike. Lamar levels strong accusations against Drake in its lyrics; Drake has sued Universal Music Group for defamation as a result of the song’s popularity. Does a Super Bowl performance further complicate things?\u003c/p>\n\u003cp>Little was known about Lamar’s halftime performance ahead of time. Lamar promised to keep his passion for storytelling at the forefront of his plans, and SZA was a previously announced guest performer. They are frequent collaborators; she most recently appeared his recent album \u003cem>GNX\u003c/em> and was featured on a couple songs including “Gloria” and “Luther,” which also features sampled vocals from Luther Vandross and Cheryl Lynn through “If This World Were Mine.” The duo will also co-headline a 19-city North American tour this spring and summer.\u003c/p>\n\u003cp>SZA appeared on stage for “Luther” and “All the Stars.”\u003c/p>\n\u003cp>“That’s what America wants — nice and calm,” Jackson said.\u003c/p>\n\u003cp>[aside postID='arts_13969210']And then, like clockwork: Lamar launched into “Not Like Us” — with the removal of the word “pedophile” in its lyrics — into “tv off.”\u003c/p>\n\u003cp>He brought out the producer Mustard and tennis superstar Serena Williams was spotted crip walking along to the diss track.\u003c/p>\n\u003cp>Is there any better publicity than the biggest stage in U.S. sports? Consider this just another step in Lamar’s continued victory lap.\u003c/p>\n\u003cp>He is also no stranger to the Super Bowl stage, having previously performed at the NFL’s championship game in 2022 as a guest artist, alongside Dr. Dre, Snoop Dogg, Mary J. Blige, 50 Cent and Eminem.\u003c/p>\n\u003cp>“Rap music is still the most impactful genre to date,” Lamar said in a statement in September, when he was first announced as the 2025 halftime performer. “And I’ll be there to remind the world why. They got the right one.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Make no mistake about it — that’s exactly what he did Sunday evening.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>And then, like clockwork: Lamar launched into “Not Like Us” — with the removal of the word “pedophile” in its lyrics — into “tv off.”\u003c/p>\n\u003cp>He brought out the producer Mustard and tennis superstar Serena Williams was spotted crip walking along to the diss track.\u003c/p>\n\u003cp>Is there any better publicity than the biggest stage in U.S. sports? Consider this just another step in Lamar’s continued victory lap.\u003c/p>\n\u003cp>He is also no stranger to the Super Bowl stage, having previously performed at the NFL’s championship game in 2022 as a guest artist, alongside Dr. Dre, Snoop Dogg, Mary J. Blige, 50 Cent and Eminem.\u003c/p>\n\u003cp>“Rap music is still the most impactful genre to date,” Lamar said in a statement in September, when he was first announced as the 2025 halftime performer. “And I’ll be there to remind the world why. They got the right one.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Make no mistake about it — that’s exactly what he did Sunday evening.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13912853/kendrick-lamar-morale-big-steppers-artistic-revision\">Kendrick Lamar\u003c/a> just reminded us there’s no substitute for real emotion in rap beef.\u003c/p>\n\u003cp>On April 30, the LA rapper released his response in the ongoing feud between himself and \u003ca href=\"https://www.kqed.org/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album\">Drake\u003c/a>, by dropping a six-minute diatribe aimed at Drizzy as a rap artist and, more importantly, as an assassination of his character on a human level.\u003c/p>\n\u003cp>“Euphoria” not only references Drake’s involvement with the MAX hit drama of the same name but also expresses the level of elation Lamar likely feels in finally getting these things off his chest. Lamar’s song is the latest plot point in the timeline of hostility between the two rap titans considered to be part of hip-hop millennial Mount Rushmore. This is a timeline that \u003ca href=\"https://www.billboard.com/lists/drake-kendrick-lamar-beef-timeline/\">goes back over a decade\u003c/a> and was recently reignited in the beginning of 2024 with a storm of messy diss tracks — both authentic and artificial.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NPqDIwWMtxg\u003c/p>\n\u003cp>On the first verse, Lamar uses a calm, cool yet sinister delivery: “Know you a master manipulator, and habitual liar, too / But don’t tell no lie ’bout me, and I won’t tell truths ’bout you.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But pretty quickly, his rhymes erupt into tunnel-visioned, blood-boiling disgust on the deepest level. Lamar accuses Drake of being an inadequate father to his son, mocks his Toronto slang, jeers at his rumored plastic surgery, alludes to him being a snitch, calls back to past beefs Drake has remained mum about and even comes for Drake’s whole identity, questioning his Blackness. These lyrical shots, while definitely disrespectful, really are not anything too explosive. In fact, these are accusations rap fans have heard before about Drizzy via disses by Rick Ross, \u003ca href=\"https://www.kqed.org/arts/tag/megan-thee-stallion\">Megan Thee Stallion\u003c/a> and Pusha T. But at 3:10, K.Dot breaks his usual poetic form to list out every detail about the streaming-era star he just simply cannot stand:\u003c/p>\n\u003cblockquote>\u003cp>I hate the way that you walk, the way that you talk\u003cbr>\nI hate the way that you dress\u003cbr>\nI hate the way that you sneak diss\u003cbr>\nIf I catch a flight it’s gonna be direct\u003cbr>\nWe hate the b****** you f*** because they confuse themselves for real women\u003cbr>\nNotice I say, “We”\u003cbr>\nIt’s not just me; I’m what the culture feeling\u003c/p>\u003c/blockquote>\n\u003cp>Deployed in rapid succession, this caliber of a callout is so visceral and real that it’s exactly what’s been missing in this rap beef. To rap fandoms and music critics alike, so much of this high-profile hip-hop clash has just felt off\u003cem>. \u003c/em>Synthetic, gummy, uninspired. In the age of artificial \u003cem>everything\u003c/em>, even the war of words between Kendrick Lamar, J. Cole and Drake (plus a few others along the way) has been marked by its detachment from the whole artistic premise of a rap beef — to show off your skills, up the ante and embarrass your opp into submission.\u003c/p>\n\u003cp>[aside postid='arts_13955802']It’s been a month (March 26) since Lamar threw the first stone in the long-brewing beef with his sub on the Future and Metro Boomin track “\u003ca href=\"https://www.youtube.com/watch?v=N9bKBAA22Go\">Like That\u003c/a>“: “Motherf*** the big three, n****, it’s just big me.”\u003c/p>\n\u003cp>After J. Cole dropped the track “\u003ca href=\"https://www.youtube.com/watch?v=5KRMLBh3-N4\">7 Minute Drill\u003c/a>” on April 5 in response to “Like That,” Cole rescinded his diss and announced publicly that he was bowing out of the beef completely while onstage at his label’s annual Dreamville Fest because, point blank, Cole’s heart wasn’t in it.\u003c/p>\n\u003cp>On April 19, Drake finally unleashed his official response to Lamar with “\u003ca href=\"https://www.youtube.com/watch?v=HKH9p19PRLA\">Push Ups\u003c/a>,” coming at Lamar’s past pop-leaning features, his “pip-squeak” stature, mocking TDE’s tour sales and even name-checking “Like That” producer Metro Boomin in the process. But the way “Push Ups” was rolled out created a new frontier of Internet Age confusion among rap fans. When it first dropped, some assumed the low quality, online leak was an AI-generated facade and not Drake himself. The legitimacy of “Push Ups” was confirmed by live streamer DJ Akademiks and eventually hit DSPs, but this disorientation created an added layer of internet chatter, one Drake could capitalize on. Proving he was taking cues from social media timelines, Drake doubled down on his response to Lamar with another track, “Taylor Made Freestyle” just a few days later. Only this time, he started off the song with AI-generated verses from the late \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a> and the very alive \u003ca href=\"https://www.kqed.org/pop/tag/snoop-dogg\">Snoop Dogg\u003c/a>.\u003c/p>\n\u003cp>[aside postid='arts_13912853']The attempt to irk Lamar with manipulated voices of two West Coast legends was a uniquely 2024-type of move, but ultimately, it undercut any potency of the song. The Shakur estate issued a cease and desist to the Toronto rapper for “\u003ca href=\"https://variety.com/2024/music/news/drake-removes-taylor-made-freestyle-tupac-shakur-lawsuit-1235983577/\">unauthorized use of Tupac’s voice and personality\u003c/a>” and the track was promptly taken down from social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Firing back with a track that’s as savage and emotional as “Euphoria” on a random Tuesday morning via YouTube is considered an old-school energy in today’s era of infinite distribution avenues and a conversation-driving chess move that leads back to one source. This record drips with levels of seething, petty hatred for Drake that’s clearly been on K.Dot’s heart for years. At its core, “Euphoria” is fueled with begrudged, tired, emotional baggage from K.Dot that’s only gotten heavier with time and can’t be mimicked or manufactured. It’s free of gimmicks, media personalities, gatekeeping or ChatGPT. This beef is over or it’s just getting started. For real this time.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13912853/kendrick-lamar-morale-big-steppers-artistic-revision\">Kendrick Lamar\u003c/a> just reminded us there’s no substitute for real emotion in rap beef.\u003c/p>\n\u003cp>On April 30, the LA rapper released his response in the ongoing feud between himself and \u003ca href=\"https://www.kqed.org/arts/13921444/vogue-sues-drake-and-21-savage-over-fake-magazine-cover-promoting-new-album\">Drake\u003c/a>, by dropping a six-minute diatribe aimed at Drizzy as a rap artist and, more importantly, as an assassination of his character on a human level.\u003c/p>\n\u003cp>“Euphoria” not only references Drake’s involvement with the MAX hit drama of the same name but also expresses the level of elation Lamar likely feels in finally getting these things off his chest. Lamar’s song is the latest plot point in the timeline of hostility between the two rap titans considered to be part of hip-hop millennial Mount Rushmore. This is a timeline that \u003ca href=\"https://www.billboard.com/lists/drake-kendrick-lamar-beef-timeline/\">goes back over a decade\u003c/a> and was recently reignited in the beginning of 2024 with a storm of messy diss tracks — both authentic and artificial.\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/NPqDIwWMtxg'\n title='//www.youtube.com/embed/NPqDIwWMtxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the first verse, Lamar uses a calm, cool yet sinister delivery: “Know you a master manipulator, and habitual liar, too / But don’t tell no lie ’bout me, and I won’t tell truths ’bout you.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But pretty quickly, his rhymes erupt into tunnel-visioned, blood-boiling disgust on the deepest level. Lamar accuses Drake of being an inadequate father to his son, mocks his Toronto slang, jeers at his rumored plastic surgery, alludes to him being a snitch, calls back to past beefs Drake has remained mum about and even comes for Drake’s whole identity, questioning his Blackness. These lyrical shots, while definitely disrespectful, really are not anything too explosive. In fact, these are accusations rap fans have heard before about Drizzy via disses by Rick Ross, \u003ca href=\"https://www.kqed.org/arts/tag/megan-thee-stallion\">Megan Thee Stallion\u003c/a> and Pusha T. But at 3:10, K.Dot breaks his usual poetic form to list out every detail about the streaming-era star he just simply cannot stand:\u003c/p>\n\u003cblockquote>\u003cp>I hate the way that you walk, the way that you talk\u003cbr>\nI hate the way that you dress\u003cbr>\nI hate the way that you sneak diss\u003cbr>\nIf I catch a flight it’s gonna be direct\u003cbr>\nWe hate the b****** you f*** because they confuse themselves for real women\u003cbr>\nNotice I say, “We”\u003cbr>\nIt’s not just me; I’m what the culture feeling\u003c/p>\u003c/blockquote>\n\u003cp>Deployed in rapid succession, this caliber of a callout is so visceral and real that it’s exactly what’s been missing in this rap beef. To rap fandoms and music critics alike, so much of this high-profile hip-hop clash has just felt off\u003cem>. \u003c/em>Synthetic, gummy, uninspired. In the age of artificial \u003cem>everything\u003c/em>, even the war of words between Kendrick Lamar, J. Cole and Drake (plus a few others along the way) has been marked by its detachment from the whole artistic premise of a rap beef — to show off your skills, up the ante and embarrass your opp into submission.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s been a month (March 26) since Lamar threw the first stone in the long-brewing beef with his sub on the Future and Metro Boomin track “\u003ca href=\"https://www.youtube.com/watch?v=N9bKBAA22Go\">Like That\u003c/a>“: “Motherf*** the big three, n****, it’s just big me.”\u003c/p>\n\u003cp>After J. Cole dropped the track “\u003ca href=\"https://www.youtube.com/watch?v=5KRMLBh3-N4\">7 Minute Drill\u003c/a>” on April 5 in response to “Like That,” Cole rescinded his diss and announced publicly that he was bowing out of the beef completely while onstage at his label’s annual Dreamville Fest because, point blank, Cole’s heart wasn’t in it.\u003c/p>\n\u003cp>On April 19, Drake finally unleashed his official response to Lamar with “\u003ca href=\"https://www.youtube.com/watch?v=HKH9p19PRLA\">Push Ups\u003c/a>,” coming at Lamar’s past pop-leaning features, his “pip-squeak” stature, mocking TDE’s tour sales and even name-checking “Like That” producer Metro Boomin in the process. But the way “Push Ups” was rolled out created a new frontier of Internet Age confusion among rap fans. When it first dropped, some assumed the low quality, online leak was an AI-generated facade and not Drake himself. The legitimacy of “Push Ups” was confirmed by live streamer DJ Akademiks and eventually hit DSPs, but this disorientation created an added layer of internet chatter, one Drake could capitalize on. Proving he was taking cues from social media timelines, Drake doubled down on his response to Lamar with another track, “Taylor Made Freestyle” just a few days later. Only this time, he started off the song with AI-generated verses from the late \u003ca href=\"https://www.kqed.org/arts/tag/tupac-shakur\">Tupac Shakur\u003c/a> and the very alive \u003ca href=\"https://www.kqed.org/pop/tag/snoop-dogg\">Snoop Dogg\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The attempt to irk Lamar with manipulated voices of two West Coast legends was a uniquely 2024-type of move, but ultimately, it undercut any potency of the song. The Shakur estate issued a cease and desist to the Toronto rapper for “\u003ca href=\"https://variety.com/2024/music/news/drake-removes-taylor-made-freestyle-tupac-shakur-lawsuit-1235983577/\">unauthorized use of Tupac’s voice and personality\u003c/a>” and the track was promptly taken down from social media.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Firing back with a track that’s as savage and emotional as “Euphoria” on a random Tuesday morning via YouTube is considered an old-school energy in today’s era of infinite distribution avenues and a conversation-driving chess move that leads back to one source. This record drips with levels of seething, petty hatred for Drake that’s clearly been on K.Dot’s heart for years. At its core, “Euphoria” is fueled with begrudged, tired, emotional baggage from K.Dot that’s only gotten heavier with time and can’t be mimicked or manufactured. It’s free of gimmicks, media personalities, gatekeeping or ChatGPT. This beef is over or it’s just getting started. For real this time.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">The price just went up for East Oakland’s stealthy producer and lyricist, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">\u003cspan style=\"font-weight: 400\">Ovrkast.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Last Friday, the soft-spoken artist — who has carved out a niche lane for himself in \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">\u003cspan style=\"font-weight: 400\">the underground world of introverted lo-fi raps\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — coyly revealed in an Instagram post that he produced two songs for Drake’s latest release, \u003cem>For \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">All The Dogs Scary Hours Edition.\u003c/span>\u003c/i>\u003c/p>\n\u003cp>https://www.instagram.com/p/Czu2hCur2TX/?img_index=1\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The new, six-track addendum to Drake’s \u003cem>For All The Dogs \u003c/em>album (which came out last month and features heavy hitters like J. Cole, SZA and Lil Yachty) includes two beats — “Red Button” and “The Shoe Fits” — supplied by Ovrkast. Both songs highlight the artist’s signature rainy-daydream vibes, with choir loops, acoustic riffs and samples from Notorious B.I.G.’s “Big Poppa.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The production style is a notable divergence from Drake’s party anthems of yesteryear, signaling a more thoughtful, reflective and intentional soundscape that the artist has been leaning into lately. The measured softness and minimalistic simplicity of Ovrkast.’s instrumentals provide a fresh canvas for Drake — now an established veteran in the youth-dominated rap genre — who goes on to confesses his maturity in “The Shoe Fits”: “To all the ladies wondering why / Drake can’t rap like that same old guy / It’s ’cause I don’t know how anymore / I don’t know how.” \u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The news of Ovrkast.’s collaboration with a superstar of Drake’s stature likely came as a major surprise for many of Ovrkast.’s fans, who are used to seeing him perform locally inside dimly lit, small venues around the Bay Area. Though Ovrkast. only played a small role in the massive OVO-backed project, it’s undoubtedly a major leap forward for the 25-year-old. As of this writing, Drake’s \u003ca href=\"https://open.spotify.com/playlist/0GsvYNj45QjR245EWqgfDs\">Spotify playlist\u003c/a> that features his Ovrkast.-produced songs has over a million likes, which practically guarantees a Herculean boost in exposure. [aside postid='arts_13938193']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">It’s not the first time \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=djG63dMErKE\">\u003cspan style=\"font-weight: 400\">the 6 God\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> has leveraged the Bay Area in his music. In 2011, he famously showed love to Vallejo’s Mac Dre in the Grammy-nominated song, “The Motto.” \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=BYDKK95cpfM\">\u003cspan style=\"font-weight: 400\">In the music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, cameos from E-40, Berner, Mistah F.A.B. and Mac Dre’s mother, Mac Wanda, appear alongside images of Thizz Nation, the Bay Bridge and Treasure Island. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Drake’s love for the Bay hasn’t always been well received. In 2014, \u003c/span>\u003cspan style=\"font-weight: 400\">San Francisco rapper \u003c/span>\u003cspan style=\"font-weight: 400\">Rappin’ 4-Tay \u003ca href=\"https://www.kqed.org/arts/13845996/four-years-after-drake-dispute-rappin-4-tays-song-royalties-are-for-sale\">attempted to charge Drake $100,000\u003c/a> for using his lyrics without permission\u003c/span>\u003cspan style=\"font-weight: 400\"> in YG’s “Who Do You Love?” Though the case never went to court, the dispute marks a less celebrated moment of Bay Area influence in the Canadian mogul’s career. [aside postid='arts_13937331']\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Certainly, a Drake and Ovrkast. link-up tops them all. And it’s not something anyone could’ve predicted on their 2023 bingo card. But somehow, it makes sense. Drake is yet again proving himself to be among the genuine appreciators of Bay Area hip-hop artistry. And Ovrkast. is securing his place as one of his generation’s most sought-after sound makers.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The price just went up for East Oakland’s stealthy producer and lyricist, \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">\u003cspan style=\"font-weight: 400\">Ovrkast.\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Last Friday, the soft-spoken artist — who has carved out a niche lane for himself in \u003c/span>\u003ca href=\"https://www.kqed.org/arts/13908051/rising-artist-ovrkast-makes-introspective-rap-for-cloudy-days\">\u003cspan style=\"font-weight: 400\">the underground world of introverted lo-fi raps\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> — coyly revealed in an Instagram post that he produced two songs for Drake’s latest release, \u003cem>For \u003c/em>\u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">All The Dogs Scary Hours Edition.\u003c/span>\u003c/i>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">The new, six-track addendum to Drake’s \u003cem>For All The Dogs \u003c/em>album (which came out last month and features heavy hitters like J. Cole, SZA and Lil Yachty) includes two beats — “Red Button” and “The Shoe Fits” — supplied by Ovrkast. Both songs highlight the artist’s signature rainy-daydream vibes, with choir loops, acoustic riffs and samples from Notorious B.I.G.’s “Big Poppa.” \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">The production style is a notable divergence from Drake’s party anthems of yesteryear, signaling a more thoughtful, reflective and intentional soundscape that the artist has been leaning into lately. The measured softness and minimalistic simplicity of Ovrkast.’s instrumentals provide a fresh canvas for Drake — now an established veteran in the youth-dominated rap genre — who goes on to confesses his maturity in “The Shoe Fits”: “To all the ladies wondering why / Drake can’t rap like that same old guy / It’s ’cause I don’t know how anymore / I don’t know how.” \u003c/span>\u003c/p>\n\u003cp>\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\">It’s not the first time \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=djG63dMErKE\">\u003cspan style=\"font-weight: 400\">the 6 God\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\"> has leveraged the Bay Area in his music. In 2011, he famously showed love to Vallejo’s Mac Dre in the Grammy-nominated song, “The Motto.” \u003c/span>\u003ca href=\"https://www.youtube.com/watch?v=BYDKK95cpfM\">\u003cspan style=\"font-weight: 400\">In the music video\u003c/span>\u003c/a>\u003cspan style=\"font-weight: 400\">, cameos from E-40, Berner, Mistah F.A.B. and Mac Dre’s mother, Mac Wanda, appear alongside images of Thizz Nation, the Bay Bridge and Treasure Island. \u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">But Drake’s love for the Bay hasn’t always been well received. In 2014, \u003c/span>\u003cspan style=\"font-weight: 400\">San Francisco rapper \u003c/span>\u003cspan style=\"font-weight: 400\">Rappin’ 4-Tay \u003ca href=\"https://www.kqed.org/arts/13845996/four-years-after-drake-dispute-rappin-4-tays-song-royalties-are-for-sale\">attempted to charge Drake $100,000\u003c/a> for using his lyrics without permission\u003c/span>\u003cspan style=\"font-weight: 400\"> in YG’s “Who Do You Love?” Though the case never went to court, the dispute marks a less celebrated moment of Bay Area influence in the Canadian mogul’s career. \u003c/p>\u003c/div>",
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"title": "How I Stopped Fearing ‘Cringe’ and Learned to Embrace My Music Taste",
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"content": "\u003cp>\u003cem>\u003cstrong>Editor’s\u003c/strong>\u003c/em>\u003cstrong> \u003cem>note\u003c/em>:\u003c/strong> \u003cem>This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 24-28, we’re publishing content by high school students from all over the Bay Area. \u003c/em>\u003c/p>\n\u003cp>Anytime I feel the urge to listen to the \u003cem>Hamilton\u003c/em> soundtrack, a sense of shame floods over me. In recent years, I’d go as far as to shut off my shared listening activity and indulge in Spotify incognito mode. I had to listen in secret, because no way were any of my 17 followers going to see that I — a pop hating snob on the surface — find pleasure in singing along to an ultra-popular musical soundtrack. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13928153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/OliviaHopkins.headshot.jpg\" alt=\"\" width=\"139\" height=\"160\">\u003c/p>\n\u003cp>Behind my strictly alternative facade hides a girl with a taste for musical theater.\u003c/p>\n\u003cp>I don’t want people to know that I enjoy something so mainstream, especially something that was popular back in middle school. It feels vulnerable to reveal this side of me to the outside world, and it saddens me to be ashamed of a part of my music taste, something so integral to who I am.\u003c/p>\n\u003cp>As I continue to face these feelings, I’ve started to think, why am I insecure about something I genuinely enjoy? Whose judgment am I afraid of, anyway? And how do other people process these feelings of embarrassment? To get some answers, I set out to speak to three distinct music lovers, and their perspectives challenged me to grow in ways I didn’t expect.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the back of a classroom, I spoke with Skyline High School student Zane Boyd, a member of an underground SoundCloud community he described as “exclusive.” Zane’s sub-niche is his group, NA (Never Alone). They create experimental beats with influences from an array of genres, including drill and new Sigilkore — a hyper-online rap subgenre involving occult symbols, anime references and heavy layered effects.\u003c/p>\n\u003cp>Zane says that he and other beatmakers find a sense of community on Discord, where they support one another’s creative ventures and help each other through family and mental health struggles. They prioritize making sure nobody in the group ever feels alone, hence their name.\u003c/p>\n\u003cfigure id=\"attachment_13928158\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8.jpg\" alt=\"A young man sits in his room in front of a computer and speakers.\" width=\"626\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8-160x120.jpg 160w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">Skyline High School student Zane Boyd is part of a tight-knit music community on SoundCloud and Discord. \u003ccite>(Courtesy of Zane Boyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like me, Zane often finds himself writing off mainstream music, but not necessarily because he feels embarrassed. Rather, he believes that supporting his friends’ music is more impactful.\u003c/p>\n\u003cp>“The way I see it is a lot of people support Drake — someone with millions of dollars and [who] does not acknowledge your existence,” he says. “It’s like, why support Drake when you could support your friends?”\u003c/p>\n\u003cp>Although he may not wear it on his sleeve, Zane does enjoy some popular music like Paramore and other 2000s artists. But he’s not ashamed. “I’m still proud of it because, why should you be scared to show other people who you are?” he says.\u003c/p>\n\u003cp>For him, it’s the artist’s values that are important. “It’s more about who the artist is and what they stand for than the music. … I’d be more embarrassed to say I listen to Kanye than to say I listen to Paramore… cause it’s Kanye.”\u003c/p>\n\u003cfigure id=\"attachment_13928159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-800x539.jpg\" alt=\"A young woman plays guitar in a dark club.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C.jpg 843w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley High School senior Georgia Fishman is the lead singer of the band I’d Rather Sleep. \u003ccite>(Courtesy of Georgia Fishman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than fearing judgment about her music taste, Berkeley High School senior and musician Georgia Fishman says she feels pressure when it comes to her own sound. Georgia is the lead vocalist and guitarist in a band called \u003ca href=\"https://www.instagram.com/idrathersleep_510/?hl=en\">I’d Rather Sleep\u003c/a>, who make experimental alt rock. She’s involved in the local hardcore scene, nicknamed the “Bay scene,” and has performed at all-ages shows at venues like Berkley’s 924 Gilman.\u003c/p>\n\u003cp>At times, she feels judged by the diehards in the scene, but realizes she can’t appeal to everyone. “Sometimes people are very rigid with their music taste, and then it kind of makes it feel like, ‘Oh no, should we go heavier? Like, are we not accessible enough?’”\u003c/p>\n\u003cp>Some of Georgia’s own music taste might fall outside of what’s considered typical for the singer of an alt rock band, but she sees her middle school favorites — like Fall Out Boy — as an opportunity to connect with others. Some people may think “that’s cringe,” but Georgia refutes, “It’s not embarrassing, because some people just happened to agree with me.”\u003c/p>\n\u003cfigure id=\"attachment_13928160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928160\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/FullSizeRender-800x1067.jpg\" alt=\"A young man stands on stage holding his violin and wearing a Santa hat.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roman St. Gerard plays violin in the Skyline High School orchestra. \u003ccite>(Courtesy of Roman St. Gerard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Skyline High violinist Roman St. Gerard, navigating pressures around music has had more to do with his identity. Before, he was apprehensive to let people glance at his phone to see what he was listening to. But — unlike how I hid \u003cem>Hamilton\u003c/em> on Spotify — Roman decided to embrace it when he realized his Discord followers could see his \u003cem>Pitch Perfect\u003c/em> playlist.\u003c/p>\n\u003cp>“I’m Black and there’s usually in the Black community a lot of hip-hop and rock,” he says. “And while I do listen to those types of music that might be considered Black music or music that Black people usually listen to… I do find myself listening to other genres as well.”\u003c/p>\n\u003cp>“I used to think there was some sort of expectation, but I’ve just grown more comfortable with sharing the things I like with others,” he adds.\u003c/p>\n\u003cp>After hearing from different people my age who love music just as I do, I felt much less alone in my experiences with embarrassment. I realized that you can be proud of your music taste, even if it doesn’t necessarily fit in with your overall image. Maybe guilty pleasures shouldn’t be a source of shame, but rather, a way to connect with others. There’s beauty in being secure in all the things you enjoy.\u003c/p>\n\u003cp>I’ll try to remember that next time I feel like putting my Spotify in incognito mode.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Olivia Hopkins is a senior at Skyline High School in Oakland. In her free time, she enjoys exploring the outdoors, dancing and eating good food.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s\u003c/strong>\u003c/em>\u003cstrong> \u003cem>note\u003c/em>:\u003c/strong> \u003cem>This story is part of KQED’s \u003ca href=\"https://www.kqed.org/youthtakeover\">Youth Takeover\u003c/a>. Throughout the week of April 24-28, we’re publishing content by high school students from all over the Bay Area. \u003c/em>\u003c/p>\n\u003cp>Anytime I feel the urge to listen to the \u003cem>Hamilton\u003c/em> soundtrack, a sense of shame floods over me. In recent years, I’d go as far as to shut off my shared listening activity and indulge in Spotify incognito mode. I had to listen in secret, because no way were any of my 17 followers going to see that I — a pop hating snob on the surface — find pleasure in singing along to an ultra-popular musical soundtrack. \u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13928153\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/OliviaHopkins.headshot.jpg\" alt=\"\" width=\"139\" height=\"160\">\u003c/p>\n\u003cp>Behind my strictly alternative facade hides a girl with a taste for musical theater.\u003c/p>\n\u003cp>I don’t want people to know that I enjoy something so mainstream, especially something that was popular back in middle school. It feels vulnerable to reveal this side of me to the outside world, and it saddens me to be ashamed of a part of my music taste, something so integral to who I am.\u003c/p>\n\u003cp>As I continue to face these feelings, I’ve started to think, why am I insecure about something I genuinely enjoy? Whose judgment am I afraid of, anyway? And how do other people process these feelings of embarrassment? To get some answers, I set out to speak to three distinct music lovers, and their perspectives challenged me to grow in ways I didn’t expect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the back of a classroom, I spoke with Skyline High School student Zane Boyd, a member of an underground SoundCloud community he described as “exclusive.” Zane’s sub-niche is his group, NA (Never Alone). They create experimental beats with influences from an array of genres, including drill and new Sigilkore — a hyper-online rap subgenre involving occult symbols, anime references and heavy layered effects.\u003c/p>\n\u003cp>Zane says that he and other beatmakers find a sense of community on Discord, where they support one another’s creative ventures and help each other through family and mental health struggles. They prioritize making sure nobody in the group ever feels alone, hence their name.\u003c/p>\n\u003cfigure id=\"attachment_13928158\" class=\"wp-caption aligncenter\" style=\"max-width: 626px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13928158\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8.jpg\" alt=\"A young man sits in his room in front of a computer and speakers.\" width=\"626\" height=\"469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8.jpg 626w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/99C28991-F93D-4B73-A0B9-B0E4499ACCA8-160x120.jpg 160w\" sizes=\"(max-width: 626px) 100vw, 626px\">\u003cfigcaption class=\"wp-caption-text\">Skyline High School student Zane Boyd is part of a tight-knit music community on SoundCloud and Discord. \u003ccite>(Courtesy of Zane Boyd)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Like me, Zane often finds himself writing off mainstream music, but not necessarily because he feels embarrassed. Rather, he believes that supporting his friends’ music is more impactful.\u003c/p>\n\u003cp>“The way I see it is a lot of people support Drake — someone with millions of dollars and [who] does not acknowledge your existence,” he says. “It’s like, why support Drake when you could support your friends?”\u003c/p>\n\u003cp>Although he may not wear it on his sleeve, Zane does enjoy some popular music like Paramore and other 2000s artists. But he’s not ashamed. “I’m still proud of it because, why should you be scared to show other people who you are?” he says.\u003c/p>\n\u003cp>For him, it’s the artist’s values that are important. “It’s more about who the artist is and what they stand for than the music. … I’d be more embarrassed to say I listen to Kanye than to say I listen to Paramore… cause it’s Kanye.”\u003c/p>\n\u003cfigure id=\"attachment_13928159\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928159\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-800x539.jpg\" alt=\"A young woman plays guitar in a dark club.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/7A0B9147-D741-4CF5-A3E9-B95A5CF4118C.jpg 843w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Berkeley High School senior Georgia Fishman is the lead singer of the band I’d Rather Sleep. \u003ccite>(Courtesy of Georgia Fishman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rather than fearing judgment about her music taste, Berkeley High School senior and musician Georgia Fishman says she feels pressure when it comes to her own sound. Georgia is the lead vocalist and guitarist in a band called \u003ca href=\"https://www.instagram.com/idrathersleep_510/?hl=en\">I’d Rather Sleep\u003c/a>, who make experimental alt rock. She’s involved in the local hardcore scene, nicknamed the “Bay scene,” and has performed at all-ages shows at venues like Berkley’s 924 Gilman.\u003c/p>\n\u003cp>At times, she feels judged by the diehards in the scene, but realizes she can’t appeal to everyone. “Sometimes people are very rigid with their music taste, and then it kind of makes it feel like, ‘Oh no, should we go heavier? Like, are we not accessible enough?’”\u003c/p>\n\u003cp>Some of Georgia’s own music taste might fall outside of what’s considered typical for the singer of an alt rock band, but she sees her middle school favorites — like Fall Out Boy — as an opportunity to connect with others. Some people may think “that’s cringe,” but Georgia refutes, “It’s not embarrassing, because some people just happened to agree with me.”\u003c/p>\n\u003cfigure id=\"attachment_13928160\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13928160\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/04/FullSizeRender-800x1067.jpg\" alt=\"A young man stands on stage holding his violin and wearing a Santa hat.\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1152x1536.jpg 1152w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-1536x2048.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/04/FullSizeRender-scaled.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roman St. Gerard plays violin in the Skyline High School orchestra. \u003ccite>(Courtesy of Roman St. Gerard)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Skyline High violinist Roman St. Gerard, navigating pressures around music has had more to do with his identity. Before, he was apprehensive to let people glance at his phone to see what he was listening to. But — unlike how I hid \u003cem>Hamilton\u003c/em> on Spotify — Roman decided to embrace it when he realized his Discord followers could see his \u003cem>Pitch Perfect\u003c/em> playlist.\u003c/p>\n\u003cp>“I’m Black and there’s usually in the Black community a lot of hip-hop and rock,” he says. “And while I do listen to those types of music that might be considered Black music or music that Black people usually listen to… I do find myself listening to other genres as well.”\u003c/p>\n\u003cp>“I used to think there was some sort of expectation, but I’ve just grown more comfortable with sharing the things I like with others,” he adds.\u003c/p>\n\u003cp>After hearing from different people my age who love music just as I do, I felt much less alone in my experiences with embarrassment. I realized that you can be proud of your music taste, even if it doesn’t necessarily fit in with your overall image. Maybe guilty pleasures shouldn’t be a source of shame, but rather, a way to connect with others. There’s beauty in being secure in all the things you enjoy.\u003c/p>\n\u003cp>I’ll try to remember that next time I feel like putting my Spotify in incognito mode.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-11687704\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/06/Turntable.Break_-800x60.jpg\" alt=\"\" width=\"800\" height=\"60\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-400x30.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/06/Turntable.Break_-768x58.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Condé Nast, the publisher of \u003cem>Vogue\u003c/em> magazine, has filed a lawsuit against rappers Drake and 21 Savage for using a fake \u003cem>Vogue\u003c/em> cover used to promote their new album, \u003cem>Her Loss\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13920908']In a \u003ca href=\"https://www.documentcloud.org/documents/23288867-drake-21-savage-vs-vogue-lawsuit?responsive=1&title=1\">30-page lawsuit\u003c/a> filed on Monday, Condé Nast argues that the “widespread promotional campaign” launched by the rappers for their latest album is “built entirely” on the use of \u003cem>Vogue’s\u003c/em> trademarks — giving the false premise that the two artists would be featured in an issue of the magazine.\u003c/p>\n\u003cp>Condé Nast is seeking at least $4 million in damages or triple the rappers’ profits from their album and its “counterfeit” magazine — whichever is higher.\u003c/p>\n\u003cp>It’s unclear if the artists directly profited from the fake magazines, other than through publicity, as the magazines were not for sale.\u003c/p>\n\u003cp>The publisher is also seeking a preliminary injunction and temporary restraining order to stop the rappers from continuing to publicize the fake magazine cover, as well as damages over trademark infringement.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“All of this is false. And none of it has been authorized by Condé Nast,” said Condé Nast in the lawsuit.\u003c/p>\n\u003cp>The lawsuit also alleges that the two rappers created counterfeit issues of \u003cem>Vogue\u003c/em> and distributed copies of it in “North America’s largest metropolitan areas” in addition to posters of the spoof cover. The counterfeit issue was also posted to social media for more than 135 million users who actively follow both Drake and 21 Savage, according to the suit.\u003c/p>\n\u003cp>In addition, the lawsuit alleges that the artists falsely thanked Anna Wintour — the editor-in-chief of \u003cem>Vogue —\u003c/em> on social media for the “love and support on this historical moment.”\u003c/p>\n\u003cp>[aside postid='pop_104969']The publisher said it was in communication with both Drake and 21 Savage leading up to the release of \u003cem>Her Loss, \u003c/em>but according to the lawsuit, the rappers’ “disregard for Condé Nast’s rights” left it no choice but to take legal action.\u003c/p>\n\u003cp>Representatives for both Drake and 21 Savage did not immediately respond to NPR’s request for comment on the lawsuit. NPR also reached out to attorneys representing Condé Nast for comment but did not immediately hear back.\u003c/p>\n\u003cp>The distribution of the counterfeit \u003cem>Vogue\u003c/em> cover is among several parodies the two rappers produced in support of their latest album. The two pretended to perform on NBC’s \u003ca href=\"https://www.youtube.com/watch?v=vZo3KgqU6oY\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and to have been interviewed on Howard Stern’s SiriusXM radio show. The duo also \u003ca href=\"https://www.npr.org/2022/11/03/1133784017/drake-21-savage-npr-tiny-desk\">pretended to perform on NPR Music’s Tiny Desk series\u003c/a>, where the rappers are seated in front of a backdrop of books and \u003cem>All Songs Considered\u003c/em> signage.\u003c/p>\n\u003cp>https://twitter.com/OVOSound/status/1587914638095589377\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In response to the spoof performance, an NPR spokesperson said: “If Drake and 21 Savage want to perform at the real Tiny Desk, we’d love to have them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Vogue%27+sues+rappers+Drake+and+21+Savage+over+fake+magazine+cover+promoting+new+album&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Condé Nast, the publisher of \u003cem>Vogue\u003c/em> magazine, has filed a lawsuit against rappers Drake and 21 Savage for using a fake \u003cem>Vogue\u003c/em> cover used to promote their new album, \u003cem>Her Loss\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a \u003ca href=\"https://www.documentcloud.org/documents/23288867-drake-21-savage-vs-vogue-lawsuit?responsive=1&title=1\">30-page lawsuit\u003c/a> filed on Monday, Condé Nast argues that the “widespread promotional campaign” launched by the rappers for their latest album is “built entirely” on the use of \u003cem>Vogue’s\u003c/em> trademarks — giving the false premise that the two artists would be featured in an issue of the magazine.\u003c/p>\n\u003cp>Condé Nast is seeking at least $4 million in damages or triple the rappers’ profits from their album and its “counterfeit” magazine — whichever is higher.\u003c/p>\n\u003cp>It’s unclear if the artists directly profited from the fake magazines, other than through publicity, as the magazines were not for sale.\u003c/p>\n\u003cp>The publisher is also seeking a preliminary injunction and temporary restraining order to stop the rappers from continuing to publicize the fake magazine cover, as well as damages over trademark infringement.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“All of this is false. And none of it has been authorized by Condé Nast,” said Condé Nast in the lawsuit.\u003c/p>\n\u003cp>The lawsuit also alleges that the two rappers created counterfeit issues of \u003cem>Vogue\u003c/em> and distributed copies of it in “North America’s largest metropolitan areas” in addition to posters of the spoof cover. The counterfeit issue was also posted to social media for more than 135 million users who actively follow both Drake and 21 Savage, according to the suit.\u003c/p>\n\u003cp>In addition, the lawsuit alleges that the artists falsely thanked Anna Wintour — the editor-in-chief of \u003cem>Vogue —\u003c/em> on social media for the “love and support on this historical moment.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The publisher said it was in communication with both Drake and 21 Savage leading up to the release of \u003cem>Her Loss, \u003c/em>but according to the lawsuit, the rappers’ “disregard for Condé Nast’s rights” left it no choice but to take legal action.\u003c/p>\n\u003cp>Representatives for both Drake and 21 Savage did not immediately respond to NPR’s request for comment on the lawsuit. NPR also reached out to attorneys representing Condé Nast for comment but did not immediately hear back.\u003c/p>\n\u003cp>The distribution of the counterfeit \u003cem>Vogue\u003c/em> cover is among several parodies the two rappers produced in support of their latest album. The two pretended to perform on NBC’s \u003ca href=\"https://www.youtube.com/watch?v=vZo3KgqU6oY\">\u003cem>Saturday Night Live\u003c/em>\u003c/a> and to have been interviewed on Howard Stern’s SiriusXM radio show. The duo also \u003ca href=\"https://www.npr.org/2022/11/03/1133784017/drake-21-savage-npr-tiny-desk\">pretended to perform on NPR Music’s Tiny Desk series\u003c/a>, where the rappers are seated in front of a backdrop of books and \u003cem>All Songs Considered\u003c/em> signage.\u003c/p>\u003c/p>\u003c/div>",
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"title": "Live Nation, a Company Behind Astroworld, Has a Long History of Safety Violations",
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"content": "\u003cp>Rapper Travis Scott was the most recognizable figure associated with Astroworld, the Houston music festival that \u003ca href=\"https://www.npr.org/2021/11/08/1053425095/astroworld-festival-travis-scott-concert\" target=\"_blank\" rel=\"noopener noreferrer\">ended in tragedy Friday\u003c/a> evening when eight people died and hundreds more were injured. Also among the event organizers, however, was the conglomerate Live Nation, the world’s largest live-events company—and one that has already been linked to hundreds of deaths and injuries in the past 15 years.\u003c/p>\n\u003cp>[aside postid='arts_13905983']Live Nation Entertainment and its subsidiary Live Nation Worldwide have been connected to about 200 deaths and at least 750 injuries since 2006, the \u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/article/Astroworld-Festival-concert-producer-has-history-16597508.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Houston Chronicle \u003c/em>\u003c/a>reported on Monday after searching past court records, Occupational Safety and Health Administration (OSHA) reports and news coverage. NPR has also found numerous OSHA citations against Live Nation.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://twitter.com/LiveNation/status/1457076597052166145?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> to social media on Saturday, the company wrote: “Heartbroken for those lost and impacted at Astroworld last night. We will continue working to provide as much information and assistance as possible to the local authorities as they investigate the situation.”\u003c/p>\n\u003cp>Houston Public Media reported Monday that \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">at least 12\u003c/a> lawsuits have been filed against Travis Scott as well as Live Nation thus far. Other defendants in the suits include Drake, who was also performing at the event, and the festival’s venue, NRG Park.\u003c/p>\n\u003cp>In a statement to NPR on Monday afternoon, Live Nation wrote: “We continue to support and assist local authorities in their ongoing investigation so that both the fans who attended and their families can get the answers they want and deserve, and we will address all legal matters at the appropriate time.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement Live Nation published on social media Monday afternoon, the company \u003ca href=\"https://twitter.com/LiveNation/status/1457781719885516809?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">added\u003c/a>: “Load out of the site and equipment is currently paused to give investigators the time they requested to walk and document the grounds. Full refunds are being offered for all those who purchased tickets.”\u003c/p>\n\u003cp>The statement continued: “And most importantly we are working on ways to support attendees, the families of victims, and staff, from providing mental health counseling to setting up a health fund to help with costs for medical expenses. Our entire team is mourning alongside the community.”\u003c/p>\n\u003cp>[aside postid='pop_84656']The Live Nation-linked incidents reported by the \u003cem>Houston Chronicle\u003c/em> include deaths and injuries committed by intruders, including the suicide bomber who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529588482/british-police-confirm-deaths-after-explosion-at-manchester-arena-concert\" target=\"_blank\" rel=\"noopener noreferrer\">attacked\u003c/a> an Ariana Grande concert in Manchester, England, in 2017 and the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">mass shooting\u003c/a> at the Route 91 Harvest country music festival in Las Vegas later that year.\u003c/p>\n\u003cp>However, those incidents also include a 2011 stage collapse in Indiana in which seven people were killed and 61 injured; the company settled with the victims for $50 million. In a 2013 incident, a concert staffer in Long Island, N.Y., suffered brain damage after a forklift tipped over the booth he had been working in. A jury awarded him $101 million.\u003c/p>\n\u003cp>NPR has also found records on OSHA’s website showing that Live Nation has been cited for previous safety violations, including an incident in 2018 when a Live Nation employee was hit on the head by a 6-foot steel metal post that tipped over; the victim required hospitalization.\u003c/p>\n\u003cp>Just last week, Live Nation reported \u003ca href=\"https://www.livenationentertainment.com/2021/11/live-nation-entertainment-reports-third-quarter-2021-results/\" target=\"_blank\" rel=\"noopener noreferrer\">$2.7 billion\u003c/a> in revenue for its third quarter, beating Wall Street expectations. The company attributed its growth to consumers’ pent-up demand for concerts, festivals and other live events that had been squelched by the coronavirus pandemic. The company has also been able to corner even more of the live-events market during the last 19 months, as smaller independent venues and organizers have struggled to stay afloat during lockdowns. (In the aftermath of the Astroworld tragedy, Live Nation’s stock price \u003ca href=\"https://finance.yahoo.com/quote/LYV/?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAD0eXgu8wGSeBaqgkIz7oDJqCrV6jCmssyr4VLvvvt5G4a1q04eDlgEb_-WoEPBEoPcZCGnr9w0yuxQm-ojKiVq4uClDU3EFKvylRFAEvdEZPqpMLG0n7B4AMxfFkxx12RJ4M3DyL8QQSXNEunsXktTx_2_mk7zJ8ETwW3X2wETU\" target=\"_blank\" rel=\"noopener noreferrer\">slid\u003c/a> more than 4% during trading Monday, as of publication time.)\u003c/p>\n\u003cp>[aside postid='arts_13905536']At the inaugural edition of Astroworld, in 2019, three people \u003ca href=\"https://abc13.com/astroworld-2019-injuries-houston/5686133/\" target=\"_blank\" rel=\"noopener noreferrer\">were injured\u003c/a> in a stampede while trying to get into the festival, which was also held at NRG Park. The event was canceled in 2020 due to the pandemic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/11/07/us/astroworld-travis-scott-deaths.html\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that according to its sources, Houston Police Chief Troy Finner personally visited Scott in his trailer before Friday’s performance “and conveyed concerns about the energy in the crowd.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Live+Nation%2C+a+company+behind+Astroworld%2C+has+a+long+history+of+safety+violations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Live Nation Entertainment and its subsidiary Live Nation Worldwide have been connected to about 200 deaths and at least 750 injuries since 2006, the \u003ca href=\"https://www.houstonchronicle.com/news/houston-texas/article/Astroworld-Festival-concert-producer-has-history-16597508.php\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Houston Chronicle \u003c/em>\u003c/a>reported on Monday after searching past court records, Occupational Safety and Health Administration (OSHA) reports and news coverage. NPR has also found numerous OSHA citations against Live Nation.\u003c/p>\n\u003cp>In a message \u003ca href=\"https://twitter.com/LiveNation/status/1457076597052166145?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">posted\u003c/a> to social media on Saturday, the company wrote: “Heartbroken for those lost and impacted at Astroworld last night. We will continue working to provide as much information and assistance as possible to the local authorities as they investigate the situation.”\u003c/p>\n\u003cp>Houston Public Media reported Monday that \u003ca href=\"https://www.houstonpublicmedia.org/articles/news/arts-culture-news/2021/11/08/412891/victims-from-travis-scotts-astroworld-have-begun-to-sue-the-houston-rapper-and-concert-organizers/\" target=\"_blank\" rel=\"noopener noreferrer\">at least 12\u003c/a> lawsuits have been filed against Travis Scott as well as Live Nation thus far. Other defendants in the suits include Drake, who was also performing at the event, and the festival’s venue, NRG Park.\u003c/p>\n\u003cp>In a statement to NPR on Monday afternoon, Live Nation wrote: “We continue to support and assist local authorities in their ongoing investigation so that both the fans who attended and their families can get the answers they want and deserve, and we will address all legal matters at the appropriate time.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement Live Nation published on social media Monday afternoon, the company \u003ca href=\"https://twitter.com/LiveNation/status/1457781719885516809?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">added\u003c/a>: “Load out of the site and equipment is currently paused to give investigators the time they requested to walk and document the grounds. Full refunds are being offered for all those who purchased tickets.”\u003c/p>\n\u003cp>The statement continued: “And most importantly we are working on ways to support attendees, the families of victims, and staff, from providing mental health counseling to setting up a health fund to help with costs for medical expenses. Our entire team is mourning alongside the community.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Live Nation-linked incidents reported by the \u003cem>Houston Chronicle\u003c/em> include deaths and injuries committed by intruders, including the suicide bomber who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/05/22/529588482/british-police-confirm-deaths-after-explosion-at-manchester-arena-concert\" target=\"_blank\" rel=\"noopener noreferrer\">attacked\u003c/a> an Ariana Grande concert in Manchester, England, in 2017 and the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\" target=\"_blank\" rel=\"noopener noreferrer\">mass shooting\u003c/a> at the Route 91 Harvest country music festival in Las Vegas later that year.\u003c/p>\n\u003cp>However, those incidents also include a 2011 stage collapse in Indiana in which seven people were killed and 61 injured; the company settled with the victims for $50 million. In a 2013 incident, a concert staffer in Long Island, N.Y., suffered brain damage after a forklift tipped over the booth he had been working in. A jury awarded him $101 million.\u003c/p>\n\u003cp>NPR has also found records on OSHA’s website showing that Live Nation has been cited for previous safety violations, including an incident in 2018 when a Live Nation employee was hit on the head by a 6-foot steel metal post that tipped over; the victim required hospitalization.\u003c/p>\n\u003cp>Just last week, Live Nation reported \u003ca href=\"https://www.livenationentertainment.com/2021/11/live-nation-entertainment-reports-third-quarter-2021-results/\" target=\"_blank\" rel=\"noopener noreferrer\">$2.7 billion\u003c/a> in revenue for its third quarter, beating Wall Street expectations. The company attributed its growth to consumers’ pent-up demand for concerts, festivals and other live events that had been squelched by the coronavirus pandemic. The company has also been able to corner even more of the live-events market during the last 19 months, as smaller independent venues and organizers have struggled to stay afloat during lockdowns. (In the aftermath of the Astroworld tragedy, Live Nation’s stock price \u003ca href=\"https://finance.yahoo.com/quote/LYV/?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAD0eXgu8wGSeBaqgkIz7oDJqCrV6jCmssyr4VLvvvt5G4a1q04eDlgEb_-WoEPBEoPcZCGnr9w0yuxQm-ojKiVq4uClDU3EFKvylRFAEvdEZPqpMLG0n7B4AMxfFkxx12RJ4M3DyL8QQSXNEunsXktTx_2_mk7zJ8ETwW3X2wETU\" target=\"_blank\" rel=\"noopener noreferrer\">slid\u003c/a> more than 4% during trading Monday, as of publication time.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the inaugural edition of Astroworld, in 2019, three people \u003ca href=\"https://abc13.com/astroworld-2019-injuries-houston/5686133/\" target=\"_blank\" rel=\"noopener noreferrer\">were injured\u003c/a> in a stampede while trying to get into the festival, which was also held at NRG Park. The event was canceled in 2020 due to the pandemic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2021/11/07/us/astroworld-travis-scott-deaths.html\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> that according to its sources, Houston Police Chief Troy Finner personally visited Scott in his trailer before Friday’s performance “and conveyed concerns about the energy in the crowd.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Live+Nation%2C+a+company+behind+Astroworld%2C+has+a+long+history+of+safety+violations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Notebook: A Month Into R. Kelly's Trial, Here's What it's Been Like in the Courtroom",
"headTitle": "Notebook: A Month Into R. Kelly’s Trial, Here’s What it’s Been Like in the Courtroom | KQED",
"content": "\u003cp>\u003cem>Editor’s note: This report includes allegations of sexual and physical abuse.\u003c/em>\u003c/p>\n\u003cp>The federal trial against \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> in New York is now almost at the end of its fourth week of testimony. Dozens of witnesses for the prosecution, including 11 alleged victims, have appeared on the stand in this case, in which the R&B superstar stands accused of running a criminal enterprise not unlike the mob. In this case, the government says, the purpose of that enterprise was to “prey upon young women and teenagers” and lure them into sexual relationships.\u003c/p>\n\u003cp>[aside postid='arts_13900892']When jurors were selected early last month, Judge Ann Donnelly told them that the trial would take about a full month after testimony began on Aug. 18. We’re almost at that point already now, and the prosecution is still laying out its argument. We don’t know how many more witnesses the government expects to call, who the defense team is going to put forward, or whether Kelly himself is going to take the stand.\u003c/p>\n\u003cp>It seems exceedingly unlikely, however, that the trial will wrap up in the next few days. And that’s without considering Kelly’s second scheduled federal trial, to take place in Chicago at some future time. There, Kelly will face separate charges of child pornography and obstruction of justice. Kelly has pleaded not guilty to all charges across both federal indictments.\u003c/p>\n\u003cp>I’ve attended the trial in Brooklyn on many days. It’s been a strange experience so far, even by the standards of high-profile celebrity cases. Because of COVID protocols, journalists and the public have been assigned to overflow courtrooms, to watch the proceedings via video and audio feeds. Every trial day, hours before the court even opens, R. Kelly supporters line up to snag hotly coveted seats in the overflow areas; multiple \u003ca href=\"https://twitter.com/vicbekiempis/status/1430136654916997143?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">disputes\u003c/a> over seats and places in line have precipitated the intervention of U.S. marshals and local police. After court ended on Sept. 3, the NYPD \u003ca href=\"https://twitter.com/emilyepalmer/status/1433842112810860544?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> one male Kelly supporter who, according to police, was accused of sexually harassing another supporter.\u003c/p>\n\u003ch3>“Is that a weird shadow?”\u003c/h3>\n\u003cp>In the meantime, we journalists covering the trial spend our days peering at tiny figures rendered so small onscreen that even the sketch artists seated in the front row of our overflow courtroom have had considerable difficulty discerning participants’ basic features. (“Is she wearing glasses?” “Does he have a shaved head, or is that just a weird shadow?”) We can’t see the jurors at all, because—again, due to coronavirus protocols—they are seated not in the traditional jury box, but instead spaced out in the gallery, where public observers usually sit.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As a result, we in the media have no idea how jurors are reacting to the testimony they’re hearing. Is anyone snoozing through long stretches while experts are describing the particulars of cell phone data? When alleged victims burst into tears on the stand, as several have, is anyone in the jury viscerally responding? Are jurors taking notes, or just letting information wash over them? When the defense team brings up the names of Kelly’s former peers and colleagues—for example, the late singer Whitney Houston, whose name has been raised repeatedly—do they seem star-struck?\u003c/p>\n\u003cp>[aside postid='arts_13901400']None of those kinds of reactions will determine their eventual judgment of innocence or guilt, of course. But body language could provide insights into how they’re feeling at any given time.\u003c/p>\n\u003ch3>Not following the “rules”\u003c/h3>\n\u003cp>Day in and day out, testimony from witnesses—both those named in the indictment and some who are alleged victims of \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">“uncharged crimes”\u003c/a> purportedly committed by Kelly—has rung similarly throughout, and much of it has been very difficult to listen to. Six alleged victims described being abused by Kelly while they were minors. Women have detailed being forced into unwanted sexual encounters, sometimes with other people, including strangers. Women have recounted alleged episodes of intense physical and sexual abuse for breaking one of his many “rules.” Women have stated that Kelly had lied to them by claiming he had no STDs, and finding out after the fact that he had given them herpes.\u003c/p>\n\u003cp>Both women and \u003ca href=\"https://www.vulture.com/2021/09/r-kelly-trial-week-3-recap-accuser-testimony-aaliyah-marriage.html\" target=\"_blank\" rel=\"noopener noreferrer\">men\u003c/a>, who were minors or still teenagers when they met Kelly, have said that either Kelly or one of his associates slipped them his phone number after seeing him somewhere—at a show, at a mall, at a McDonald’s—and wound up as one of his sexual partners. One woman said on the stand that Kelly made her have sex with another man as punishment for breaking his rules, and also forced her to have an abortion. Another described being \u003ca href=\"https://www.buzzfeednews.com/article/juliareinstein/r-kelly-trial-victim-imprisoned-drugged-raped\" target=\"_blank\" rel=\"noopener noreferrer\">raped\u003c/a> backstage at one of the singer’s shows, soon after meeting Kelly.\u003c/p>\n\u003cp>Still another, “Angela,” a former back-up dancer for Kelly and a back-up singer for Kelly’s late protégée, Aaliyah, said in testimony Monday that she witnessed Kelly appearing to perform oral sex on Aaliyah when the singer was just 13 or 14 years old. “Angela” appeared in the docuseries \u003cem>Surviving R. Kelly\u003c/em>, but did not make accusations of her own there. On the stand, however, she said that she, too, was sexually abused by Kelly.\u003c/p>\n\u003ch3>“Zombieish”\u003c/h3>\n\u003cp>Also on Monday, a man who went by “Alex” in court, but who also was referred to in other testimony by the nickname “Nephew,” recounted being directed by Kelly to have sex with “countless” young women, as well as with Kelly himself, while Kelly recorded them all on video. Alex said he was not allowed to talk to the women or to learn their names. He flatly described the women’s demeanor during their sexual encounters as “zombieish.” Alex also said that he himself was “brainwashed” by Kelly. When asked by a prosecutor, “Why did you do what the defendant told you to do?” Alex hung his head and said, “I actually don’t even know.”\u003c/p>\n\u003cp>[aside postid='pop_109968']Two experts recently told \u003ca href=\"https://www.insider.com/cult-experts-why-r-kelly-accusers-stayed-despite-alleged-abuse-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Insider\u003c/em>\u003c/a> that Kelly’s alleged behavior fits that of a cult leader. According to Rick Ross, executive director of the Cult Education Institute, “The women that are under his control, or have been under his control, they’re not functioning independently. He’s engendered dependency upon himself to make value judgments, to critically think, to analyze things—it’s incapacitated these women from being able to think for themselves.”\u003c/p>\n\u003cp>In contrast, the defense team has alternately sought to characterize the women as \u003ca href=\"https://apnews.com/article/entertainment-music-arts-and-entertainment-r-kelly-bd42a092620ac9d159a8e6e8e9824e62\" target=\"_blank\" rel=\"noopener noreferrer\">“groupies\u003c/a>,” or argued that Kelly treated them lavishly, providing them with gifts, trips and spending sprees, while always opening doors for them and standing if they entered a room.\u003c/p>\n\u003ch3>“Was it MSG?”\u003c/h3>\n\u003cp>Defense lawyer Devereaux Cannick has repeatedly asked women on the stand \u003ca href=\"https://www.insider.com/r-kelly-lawyer-twerking-sex-crimes-trial-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">if they twerked\u003c/a> at Kelly’s shows or in his presence, as if dancing suggestively meant that they deserved alleged abuse. Cannick also tried to discredit the allegations of one woman, “Sonja,” who believes that she was drugged and sexually assaulted at Kelly’s home after going there to interview him for a Utah radio station. In her testimony, she said that she’d eaten a few bites of Chinese food shortly before she fell asleep. “Was it MSG?” Cannick asked her during cross-examination, implying that she’d gotten sick because she’d ingested monosodium glutamate, a common amino acid present in everything from tomatoes to Cool Ranch Doritos. (Activists say that anti-MSG sentiments are more about \u003ca href=\"https://www.cnn.com/2020/01/18/asia/chinese-restaurant-syndrome-msg-intl-hnk-scli/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">racism\u003c/a> than about science.)\u003c/p>\n\u003cp>Kelly has a team of four lawyers, two of whom have never argued a federal trial before—and it often shows. Just during the defense’s opening statement, for example, Judge Donnelly interrupted defense lawyer Nicole Blank Becker to ask for a sidebar, or sustained objections against her, more than half a dozen times. My media colleagues who are full-time court reporters, who also are covering the Kelly trial, tell me this is very unusual, especially in such a high-profile case.\u003c/p>\n\u003cp>On the other hand, the defense has pointed out inconsistencies between what one witness said on the stand during the trial and statements she had made earlier. Another woman brought forward by the prosecution as a former girlfriend of Kelly’s clearly did not want to testify; what she said on the stand didn’t fit certain patterns laid out by other female witnesses, which served the defense’s argument well.\u003c/p>\n\u003ch3>“It’s a bit misleading to call him a co-lyricist”\u003c/h3>\n\u003cp>Meanwhile, outside of court, R. Kelly received a songwriting credit on Drake’s new album, \u003cem>Certified Lover Boy\u003c/em>, which dropped earlier this month. The project has earned Drake a \u003ca href=\"https://www.billboard.com/articles/news/9629040/drake-hot-100-history-way-2-sexy-number-one\" target=\"_blank\" rel=\"noopener noreferrer\">historic place\u003c/a> on the \u003cem>Billboard \u003c/em>charts, with nine out of the top 10 songs on the Hot 100. Drake’s “TSU”—currently charting at No. 9—incorporates material from a song released by R. Kelly in 1998 called “Half on a Baby.” The Drake song includes a sample from a track on which Houston DJ OG Ron C raps over an orchestral passage from the Kelly song.\u003c/p>\n\u003cp>[aside postid='pop_108417']In a recent Instagram comment, longtime Drake producer and collaborator \u003ca href=\"https://variety.com/2021/music/news/drake-r-kelly-songwriting-tsu-certified-lover-boy-sample-1235057256/\" target=\"_blank\" rel=\"noopener noreferrer\">Noah “40” Shebib wrote\u003c/a>: “It [the R. Kelly sample] has no significance no lyrics are present, r Kelly’s voice isn’t even present but if we wanted to use Ron c talking we were forced to license it. Doesn’t sit well with me let me just say that. And I’m not here to defend drakes lyrics, but I thought I would clear up that there is no actual r Kelly present and it’s a bit misleading to call him a co lyricist.” Still, having worked in the business as long as Drake and Shebib have, they surely must know how credits are parceled out for samples—and it’s hard to imagine Drake and his collaborators wouldn’t have foreseen any \u003ca href=\"https://www.google.com/search?rlz=1C1GCEJ_enUS883US883&sxsrf=AOaemvKH0VzX-5W7TyHAKr9rVyZGkMpPTw:1631042539096&q=drake+r.+kelly+tsu&tbm=nws&source=univ&tbo=u&sa=X&ved=2ahUKEwiDrJ_5yu3yAhWgGVkFHa1vC_wQt8YBegQIAhAG&biw=1280&bih=577\" target=\"_blank\" rel=\"noopener noreferrer\">blowback\u003c/a>.\u003c/p>\n\u003cp>It’s equally hard to fathom that they didn’t realize the optics of utilizing an R. Kelly-related sample in this particular moment in time—and that they didn’t recognize that scandal sells. After \u003cem>Surviving R. Kelly \u003c/em>first aired, streams of R. Kelly’s music \u003ca href=\"https://www.goodmorningamerica.com/culture/video/kellys-music-sales-reportedly-spike-docuseries-60207069\" target=\"_blank\" rel=\"noopener noreferrer\">surged\u003c/a>, even though he had been \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener noreferrer\">removed\u003c/a> from Spotify’s playlists the preceding year. Just as Aaliyah’s name and the story of her marriage to Kelly at age 15 was coming up in court testimony, her uncle Barry Hankerson—who had managed both her and Kelly, and who owns the rights to much of her material—began to \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">release\u003c/a> many of her recordings to streaming services for the first time, to the dismay of Aaliyah’s estate, including \u003ca href=\"https://variety.com/2021/music/news/aaliyah-estate-manager-battle-hankerson-1235035097/\" target=\"_blank\" rel=\"noopener noreferrer\">her mother\u003c/a>.\u003c/p>\n\u003ch3>“It was dues time”\u003c/h3>\n\u003cp>On Monday, a weeping “Angela” gave testimony about her own alleged abuse and that of Aaliyah. During one tour stop in 1992 or 1993 in Washington, D.C., Angela said, she and a group of other teenaged girls, including Aaliyah, were instructed by Kelly to stay at the hotel while he and his male associates hit the town. Hungry, the girls went to a nearby 7-Eleven for food. While outside, they ran into Kelly, who was enraged. The punishment for their supposed infraction, Angela said, was to “put out” and have sex with him.\u003c/p>\n\u003cp>“It was dues time,” she explained. Angela said that on this occasion she refused him, and suggested to Kelly that she would call her mother and let her family know what was going on. Kelly allegedly relented, saying he was “just joking.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Aaliyah billboards have \u003ca href=\"https://www.newyorker.com/news/news-desk/the-focus-finally-turns-to-aaliyah-in-r-kellys-trial\" target=\"_blank\" rel=\"noopener noreferrer\">sprouted up\u003c/a> around Manhattan in the past few weeks, hailing the arrival of her albums on streaming services. Often, just minutes after I leave court, I pass underneath a giant version of her towering over Canal Street, full of such promise, fire and swagger. Some days, it’s been hard even to glance up at her, given the testimony that we’ve heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Notebook%3A+A+Month+Into+R.+Kelly%27s+Trial%2C+Here%27s+What+It%27s+Been+Like+In+The+Courtroom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: This report includes allegations of sexual and physical abuse.\u003c/em>\u003c/p>\n\u003cp>The federal trial against \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\" target=\"_blank\" rel=\"noopener noreferrer\">R. Kelly\u003c/a> in New York is now almost at the end of its fourth week of testimony. Dozens of witnesses for the prosecution, including 11 alleged victims, have appeared on the stand in this case, in which the R&B superstar stands accused of running a criminal enterprise not unlike the mob. In this case, the government says, the purpose of that enterprise was to “prey upon young women and teenagers” and lure them into sexual relationships.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When jurors were selected early last month, Judge Ann Donnelly told them that the trial would take about a full month after testimony began on Aug. 18. We’re almost at that point already now, and the prosecution is still laying out its argument. We don’t know how many more witnesses the government expects to call, who the defense team is going to put forward, or whether Kelly himself is going to take the stand.\u003c/p>\n\u003cp>It seems exceedingly unlikely, however, that the trial will wrap up in the next few days. And that’s without considering Kelly’s second scheduled federal trial, to take place in Chicago at some future time. There, Kelly will face separate charges of child pornography and obstruction of justice. Kelly has pleaded not guilty to all charges across both federal indictments.\u003c/p>\n\u003cp>I’ve attended the trial in Brooklyn on many days. It’s been a strange experience so far, even by the standards of high-profile celebrity cases. Because of COVID protocols, journalists and the public have been assigned to overflow courtrooms, to watch the proceedings via video and audio feeds. Every trial day, hours before the court even opens, R. Kelly supporters line up to snag hotly coveted seats in the overflow areas; multiple \u003ca href=\"https://twitter.com/vicbekiempis/status/1430136654916997143?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">disputes\u003c/a> over seats and places in line have precipitated the intervention of U.S. marshals and local police. After court ended on Sept. 3, the NYPD \u003ca href=\"https://twitter.com/emilyepalmer/status/1433842112810860544?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">arrested\u003c/a> one male Kelly supporter who, according to police, was accused of sexually harassing another supporter.\u003c/p>\n\u003ch3>“Is that a weird shadow?”\u003c/h3>\n\u003cp>In the meantime, we journalists covering the trial spend our days peering at tiny figures rendered so small onscreen that even the sketch artists seated in the front row of our overflow courtroom have had considerable difficulty discerning participants’ basic features. (“Is she wearing glasses?” “Does he have a shaved head, or is that just a weird shadow?”) We can’t see the jurors at all, because—again, due to coronavirus protocols—they are seated not in the traditional jury box, but instead spaced out in the gallery, where public observers usually sit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a result, we in the media have no idea how jurors are reacting to the testimony they’re hearing. Is anyone snoozing through long stretches while experts are describing the particulars of cell phone data? When alleged victims burst into tears on the stand, as several have, is anyone in the jury viscerally responding? Are jurors taking notes, or just letting information wash over them? When the defense team brings up the names of Kelly’s former peers and colleagues—for example, the late singer Whitney Houston, whose name has been raised repeatedly—do they seem star-struck?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>None of those kinds of reactions will determine their eventual judgment of innocence or guilt, of course. But body language could provide insights into how they’re feeling at any given time.\u003c/p>\n\u003ch3>Not following the “rules”\u003c/h3>\n\u003cp>Day in and day out, testimony from witnesses—both those named in the indictment and some who are alleged victims of \u003ca href=\"https://www.npr.org/2021/07/23/1019972507/r-kelly-prosecutors-evidence-more-crimes-bribery-trial\" target=\"_blank\" rel=\"noopener noreferrer\">“uncharged crimes”\u003c/a> purportedly committed by Kelly—has rung similarly throughout, and much of it has been very difficult to listen to. Six alleged victims described being abused by Kelly while they were minors. Women have detailed being forced into unwanted sexual encounters, sometimes with other people, including strangers. Women have recounted alleged episodes of intense physical and sexual abuse for breaking one of his many “rules.” Women have stated that Kelly had lied to them by claiming he had no STDs, and finding out after the fact that he had given them herpes.\u003c/p>\n\u003cp>Both women and \u003ca href=\"https://www.vulture.com/2021/09/r-kelly-trial-week-3-recap-accuser-testimony-aaliyah-marriage.html\" target=\"_blank\" rel=\"noopener noreferrer\">men\u003c/a>, who were minors or still teenagers when they met Kelly, have said that either Kelly or one of his associates slipped them his phone number after seeing him somewhere—at a show, at a mall, at a McDonald’s—and wound up as one of his sexual partners. One woman said on the stand that Kelly made her have sex with another man as punishment for breaking his rules, and also forced her to have an abortion. Another described being \u003ca href=\"https://www.buzzfeednews.com/article/juliareinstein/r-kelly-trial-victim-imprisoned-drugged-raped\" target=\"_blank\" rel=\"noopener noreferrer\">raped\u003c/a> backstage at one of the singer’s shows, soon after meeting Kelly.\u003c/p>\n\u003cp>Still another, “Angela,” a former back-up dancer for Kelly and a back-up singer for Kelly’s late protégée, Aaliyah, said in testimony Monday that she witnessed Kelly appearing to perform oral sex on Aaliyah when the singer was just 13 or 14 years old. “Angela” appeared in the docuseries \u003cem>Surviving R. Kelly\u003c/em>, but did not make accusations of her own there. On the stand, however, she said that she, too, was sexually abused by Kelly.\u003c/p>\n\u003ch3>“Zombieish”\u003c/h3>\n\u003cp>Also on Monday, a man who went by “Alex” in court, but who also was referred to in other testimony by the nickname “Nephew,” recounted being directed by Kelly to have sex with “countless” young women, as well as with Kelly himself, while Kelly recorded them all on video. Alex said he was not allowed to talk to the women or to learn their names. He flatly described the women’s demeanor during their sexual encounters as “zombieish.” Alex also said that he himself was “brainwashed” by Kelly. When asked by a prosecutor, “Why did you do what the defendant told you to do?” Alex hung his head and said, “I actually don’t even know.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Two experts recently told \u003ca href=\"https://www.insider.com/cult-experts-why-r-kelly-accusers-stayed-despite-alleged-abuse-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Insider\u003c/em>\u003c/a> that Kelly’s alleged behavior fits that of a cult leader. According to Rick Ross, executive director of the Cult Education Institute, “The women that are under his control, or have been under his control, they’re not functioning independently. He’s engendered dependency upon himself to make value judgments, to critically think, to analyze things—it’s incapacitated these women from being able to think for themselves.”\u003c/p>\n\u003cp>In contrast, the defense team has alternately sought to characterize the women as \u003ca href=\"https://apnews.com/article/entertainment-music-arts-and-entertainment-r-kelly-bd42a092620ac9d159a8e6e8e9824e62\" target=\"_blank\" rel=\"noopener noreferrer\">“groupies\u003c/a>,” or argued that Kelly treated them lavishly, providing them with gifts, trips and spending sprees, while always opening doors for them and standing if they entered a room.\u003c/p>\n\u003ch3>“Was it MSG?”\u003c/h3>\n\u003cp>Defense lawyer Devereaux Cannick has repeatedly asked women on the stand \u003ca href=\"https://www.insider.com/r-kelly-lawyer-twerking-sex-crimes-trial-2021-8\" target=\"_blank\" rel=\"noopener noreferrer\">if they twerked\u003c/a> at Kelly’s shows or in his presence, as if dancing suggestively meant that they deserved alleged abuse. Cannick also tried to discredit the allegations of one woman, “Sonja,” who believes that she was drugged and sexually assaulted at Kelly’s home after going there to interview him for a Utah radio station. In her testimony, she said that she’d eaten a few bites of Chinese food shortly before she fell asleep. “Was it MSG?” Cannick asked her during cross-examination, implying that she’d gotten sick because she’d ingested monosodium glutamate, a common amino acid present in everything from tomatoes to Cool Ranch Doritos. (Activists say that anti-MSG sentiments are more about \u003ca href=\"https://www.cnn.com/2020/01/18/asia/chinese-restaurant-syndrome-msg-intl-hnk-scli/index.html\" target=\"_blank\" rel=\"noopener noreferrer\">racism\u003c/a> than about science.)\u003c/p>\n\u003cp>Kelly has a team of four lawyers, two of whom have never argued a federal trial before—and it often shows. Just during the defense’s opening statement, for example, Judge Donnelly interrupted defense lawyer Nicole Blank Becker to ask for a sidebar, or sustained objections against her, more than half a dozen times. My media colleagues who are full-time court reporters, who also are covering the Kelly trial, tell me this is very unusual, especially in such a high-profile case.\u003c/p>\n\u003cp>On the other hand, the defense has pointed out inconsistencies between what one witness said on the stand during the trial and statements she had made earlier. Another woman brought forward by the prosecution as a former girlfriend of Kelly’s clearly did not want to testify; what she said on the stand didn’t fit certain patterns laid out by other female witnesses, which served the defense’s argument well.\u003c/p>\n\u003ch3>“It’s a bit misleading to call him a co-lyricist”\u003c/h3>\n\u003cp>Meanwhile, outside of court, R. Kelly received a songwriting credit on Drake’s new album, \u003cem>Certified Lover Boy\u003c/em>, which dropped earlier this month. The project has earned Drake a \u003ca href=\"https://www.billboard.com/articles/news/9629040/drake-hot-100-history-way-2-sexy-number-one\" target=\"_blank\" rel=\"noopener noreferrer\">historic place\u003c/a> on the \u003cem>Billboard \u003c/em>charts, with nine out of the top 10 songs on the Hot 100. Drake’s “TSU”—currently charting at No. 9—incorporates material from a song released by R. Kelly in 1998 called “Half on a Baby.” The Drake song includes a sample from a track on which Houston DJ OG Ron C raps over an orchestral passage from the Kelly song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a recent Instagram comment, longtime Drake producer and collaborator \u003ca href=\"https://variety.com/2021/music/news/drake-r-kelly-songwriting-tsu-certified-lover-boy-sample-1235057256/\" target=\"_blank\" rel=\"noopener noreferrer\">Noah “40” Shebib wrote\u003c/a>: “It [the R. Kelly sample] has no significance no lyrics are present, r Kelly’s voice isn’t even present but if we wanted to use Ron c talking we were forced to license it. Doesn’t sit well with me let me just say that. And I’m not here to defend drakes lyrics, but I thought I would clear up that there is no actual r Kelly present and it’s a bit misleading to call him a co lyricist.” Still, having worked in the business as long as Drake and Shebib have, they surely must know how credits are parceled out for samples—and it’s hard to imagine Drake and his collaborators wouldn’t have foreseen any \u003ca href=\"https://www.google.com/search?rlz=1C1GCEJ_enUS883US883&sxsrf=AOaemvKH0VzX-5W7TyHAKr9rVyZGkMpPTw:1631042539096&q=drake+r.+kelly+tsu&tbm=nws&source=univ&tbo=u&sa=X&ved=2ahUKEwiDrJ_5yu3yAhWgGVkFHa1vC_wQt8YBegQIAhAG&biw=1280&bih=577\" target=\"_blank\" rel=\"noopener noreferrer\">blowback\u003c/a>.\u003c/p>\n\u003cp>It’s equally hard to fathom that they didn’t realize the optics of utilizing an R. Kelly-related sample in this particular moment in time—and that they didn’t recognize that scandal sells. After \u003cem>Surviving R. Kelly \u003c/em>first aired, streams of R. Kelly’s music \u003ca href=\"https://www.goodmorningamerica.com/culture/video/kellys-music-sales-reportedly-spike-docuseries-60207069\" target=\"_blank\" rel=\"noopener noreferrer\">surged\u003c/a>, even though he had been \u003ca href=\"https://www.npr.org/sections/therecord/2018/06/01/616179202/spotify-to-roll-back-its-hateful-conduct-policy\" target=\"_blank\" rel=\"noopener noreferrer\">removed\u003c/a> from Spotify’s playlists the preceding year. Just as Aaliyah’s name and the story of her marriage to Kelly at age 15 was coming up in court testimony, her uncle Barry Hankerson—who had managed both her and Kelly, and who owns the rights to much of her material—began to \u003ca href=\"https://www.billboard.com/articles/news/9610793/aaliyah-music-return-streaming-services-blackground-empire/\" target=\"_blank\" rel=\"noopener noreferrer\">release\u003c/a> many of her recordings to streaming services for the first time, to the dismay of Aaliyah’s estate, including \u003ca href=\"https://variety.com/2021/music/news/aaliyah-estate-manager-battle-hankerson-1235035097/\" target=\"_blank\" rel=\"noopener noreferrer\">her mother\u003c/a>.\u003c/p>\n\u003ch3>“It was dues time”\u003c/h3>\n\u003cp>On Monday, a weeping “Angela” gave testimony about her own alleged abuse and that of Aaliyah. During one tour stop in 1992 or 1993 in Washington, D.C., Angela said, she and a group of other teenaged girls, including Aaliyah, were instructed by Kelly to stay at the hotel while he and his male associates hit the town. Hungry, the girls went to a nearby 7-Eleven for food. While outside, they ran into Kelly, who was enraged. The punishment for their supposed infraction, Angela said, was to “put out” and have sex with him.\u003c/p>\n\u003cp>“It was dues time,” she explained. Angela said that on this occasion she refused him, and suggested to Kelly that she would call her mother and let her family know what was going on. Kelly allegedly relented, saying he was “just joking.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Aaliyah billboards have \u003ca href=\"https://www.newyorker.com/news/news-desk/the-focus-finally-turns-to-aaliyah-in-r-kellys-trial\" target=\"_blank\" rel=\"noopener noreferrer\">sprouted up\u003c/a> around Manhattan in the past few weeks, hailing the arrival of her albums on streaming services. Often, just minutes after I leave court, I pass underneath a giant version of her towering over Canal Street, full of such promise, fire and swagger. Some days, it’s been hard even to glance up at her, given the testimony that we’ve heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Notebook%3A+A+Month+Into+R.+Kelly%27s+Trial%2C+Here%27s+What+It%27s+Been+Like+In+The+Courtroom&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Past Year in Music Listening: Video Rules, The Boy's Club Remains",
"headTitle": "The Past Year in Music Listening: Video Rules, The Boy’s Club Remains | KQED",
"content": "\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Whatever Happened to the Indian Farmers Who Won the 'Kiki Challenge'?",
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"content": "\u003cp>\u003cstrong>\u003cem>In August 2018, NPR reported on two farmers from a small village in India who went viral for \u003c/em>\u003c/strong>\u003ca href=\"https://www.kqed.org/pop/104969/indian-farmers-plus-oxen-just-won-the-kiki-challenge\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>dancing in a rice paddy\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> to rapper Drake’s hit song, “In My Feelings.” The video of them doing the so-called “Kiki challenge” racked up more than 1 million views. Where are the farmers and the creator of the video now? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Ever since the internet hailed the dancing farmer video, life has changed in big and small ways, says Sriram Srikanth, 28, the vlogger who choreographed the dance and shot the video.\u003c/p>\n\u003cp>Their little jig put the tiny village of \u003ca href=\"http://www.onefivenine.com/india/villages/Karimnagar/Mallial/Lambadipally\">Lambadipally\u003c/a> in the southern Indian state of Telangana on the map.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=so0BwyMEO8w\u003c/p>\n\u003cp>Fans seek out their village, Srikanth says. “Many of our days begin by meeting people who’ve traveled long hours to come to see us,” he says. At least 20 people show up every day on weekdays, and many more on weekends. He says they often just want to tell them how much they appreciate village life and their vlogs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s a great feeling to meet them, to see their interest in our village and our work,” he adds.\u003c/p>\n\u003cp>The viral video also helped grow Srikanth’s YouTube channel, \u003ca href=\"https://www.youtube.com/results?search_query=My+village+show\">My Village Show\u003c/a>. He started it in 2012 to chronicle the exasperating and endearing aspects of village life with doses of slapstick comedy. When the channel first launched, it had a little over 1,000 subscribers. Today, it has over 900,000 subscribers and 200 episodes.\u003c/p>\n\u003cp>After the Kiki challenge, Srikanth and his team uploaded 38 videos last year, 22 of which have scored over a million views. Some of their popular videos are humorous takes about how villagers deal with the influences of modern life—smartphones, selfie sticks, virtual reality technology, even fidget spinners.\u003c/p>\n\u003cp>The success has helped Srikanth build a steady income with advertising revenue and allowed him to pay his team and actors.\u003c/p>\n\u003cp>In the months after the Kiki challenge video, the My Village Show team expanded. “We’re currently employing eight villagers who’ve joined us in acting and scriptwriting,” says Srikanth. “We’ve built an office, and we train people in computer literacy. We’re hoping that it will help the younger ones find employment.”\u003c/p>\n\u003cp>Some people in the village are still trying to figure out why the Kiki video captivated a global audience. “They wonder why the international media came knocking on our doors when all we did was dance in the muck,” says Srikanth, laughing.\u003c/p>\n\u003cp>And what about the dancing farmers?\u003c/p>\n\u003cp>Anil Geela, 25, has been offered a role in an Indian film. He’s transitioned from farming and being a regular on My Village Show to full-time acting. “It’s a small role—I play the friend of the bad guy and there’s lots of comedy,” he says with a laugh. The movie is set for a year-end release.\u003c/p>\n\u003cp>Pilli Tirupati, 29, had a baby boy just days after the video went viral. The villagers started calling the infant Kiki and the nickname stuck, he says.\u003c/p>\n\u003cp>Still a rice farmer, Tirupati shares one of his current struggles. “In Lambadipally village, water scarcity isn’t the big problem. The biggest problem is the monkey menace,” he says. “We have to stick to paddy farming, because if we plant fruits or vegetables, unruly monkeys end up eating and ruining our crops!”\u003c/p>\n\u003cp>Though things are busier for the team at My Village Show and more villagers are recruited to act in the vlogs, life for the farmers and the vlogger has remained more or less the same, they say.\u003c/p>\n\u003cp>But they have noticed a change in the way outsiders view village life. “Everyone knows rural life isn’t easy. There’s a perception that it is impoverished, when there really is a lot of abundance,” says Srikanth.\u003c/p>\n\u003cp>“I feel like the biggest impact our work has made is to show how living in a village can be beautiful and charming, and that there are joyful experiences,” he adds.\u003c/p>\n\u003cp>Despite the hardships, we’re blessed to live this life, says Geela. “We’re healthy, happy, have strong friendships and deep connections to the land. If you have roots in a small village, it’s no longer a reason to be ashamed. And that’s the message we’d really like to see go viral.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kamala Thiagarajan is a freelance journalist based in Madurai, India. Her work has appeared in \u003c/em>The International New York Times, \u003cem>BBC Travel and \u003c/em>Forbes India. \u003cem>You can follow her \u003c/em>\u003ca href=\"https://twitter.com/kamal_t?lang=en\">@kamal_t\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whatever+Happened+To+...+The+Farmers+Who+Danced+In+The+Mud+For+The+%27Kiki+Challenge%27%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>\u003cem>In August 2018, NPR reported on two farmers from a small village in India who went viral for \u003c/em>\u003c/strong>\u003ca href=\"https://www.kqed.org/pop/104969/indian-farmers-plus-oxen-just-won-the-kiki-challenge\" target=\"_blank\" rel=\"noopener\">\u003cstrong>\u003cem>dancing in a rice paddy\u003c/em>\u003c/strong>\u003c/a>\u003cstrong>\u003cem> to rapper Drake’s hit song, “In My Feelings.” The video of them doing the so-called “Kiki challenge” racked up more than 1 million views. Where are the farmers and the creator of the video now? \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Ever since the internet hailed the dancing farmer video, life has changed in big and small ways, says Sriram Srikanth, 28, the vlogger who choreographed the dance and shot the video.\u003c/p>\n\u003cp>Their little jig put the tiny village of \u003ca href=\"http://www.onefivenine.com/india/villages/Karimnagar/Mallial/Lambadipally\">Lambadipally\u003c/a> in the southern Indian state of Telangana on the map.\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/so0BwyMEO8w'\n title='//www.youtube.com/embed/so0BwyMEO8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fans seek out their village, Srikanth says. “Many of our days begin by meeting people who’ve traveled long hours to come to see us,” he says. At least 20 people show up every day on weekdays, and many more on weekends. He says they often just want to tell them how much they appreciate village life and their vlogs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s a great feeling to meet them, to see their interest in our village and our work,” he adds.\u003c/p>\n\u003cp>The viral video also helped grow Srikanth’s YouTube channel, \u003ca href=\"https://www.youtube.com/results?search_query=My+village+show\">My Village Show\u003c/a>. He started it in 2012 to chronicle the exasperating and endearing aspects of village life with doses of slapstick comedy. When the channel first launched, it had a little over 1,000 subscribers. Today, it has over 900,000 subscribers and 200 episodes.\u003c/p>\n\u003cp>After the Kiki challenge, Srikanth and his team uploaded 38 videos last year, 22 of which have scored over a million views. Some of their popular videos are humorous takes about how villagers deal with the influences of modern life—smartphones, selfie sticks, virtual reality technology, even fidget spinners.\u003c/p>\n\u003cp>The success has helped Srikanth build a steady income with advertising revenue and allowed him to pay his team and actors.\u003c/p>\n\u003cp>In the months after the Kiki challenge video, the My Village Show team expanded. “We’re currently employing eight villagers who’ve joined us in acting and scriptwriting,” says Srikanth. “We’ve built an office, and we train people in computer literacy. We’re hoping that it will help the younger ones find employment.”\u003c/p>\n\u003cp>Some people in the village are still trying to figure out why the Kiki video captivated a global audience. “They wonder why the international media came knocking on our doors when all we did was dance in the muck,” says Srikanth, laughing.\u003c/p>\n\u003cp>And what about the dancing farmers?\u003c/p>\n\u003cp>Anil Geela, 25, has been offered a role in an Indian film. He’s transitioned from farming and being a regular on My Village Show to full-time acting. “It’s a small role—I play the friend of the bad guy and there’s lots of comedy,” he says with a laugh. The movie is set for a year-end release.\u003c/p>\n\u003cp>Pilli Tirupati, 29, had a baby boy just days after the video went viral. The villagers started calling the infant Kiki and the nickname stuck, he says.\u003c/p>\n\u003cp>Still a rice farmer, Tirupati shares one of his current struggles. “In Lambadipally village, water scarcity isn’t the big problem. The biggest problem is the monkey menace,” he says. “We have to stick to paddy farming, because if we plant fruits or vegetables, unruly monkeys end up eating and ruining our crops!”\u003c/p>\n\u003cp>Though things are busier for the team at My Village Show and more villagers are recruited to act in the vlogs, life for the farmers and the vlogger has remained more or less the same, they say.\u003c/p>\n\u003cp>But they have noticed a change in the way outsiders view village life. “Everyone knows rural life isn’t easy. There’s a perception that it is impoverished, when there really is a lot of abundance,” says Srikanth.\u003c/p>\n\u003cp>“I feel like the biggest impact our work has made is to show how living in a village can be beautiful and charming, and that there are joyful experiences,” he adds.\u003c/p>\n\u003cp>Despite the hardships, we’re blessed to live this life, says Geela. “We’re healthy, happy, have strong friendships and deep connections to the land. If you have roots in a small village, it’s no longer a reason to be ashamed. And that’s the message we’d really like to see go viral.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kamala Thiagarajan is a freelance journalist based in Madurai, India. Her work has appeared in \u003c/em>The International New York Times, \u003cem>BBC Travel and \u003c/em>Forbes India. \u003cem>You can follow her \u003c/em>\u003ca href=\"https://twitter.com/kamal_t?lang=en\">@kamal_t\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Whatever+Happened+To+...+The+Farmers+Who+Danced+In+The+Mud+For+The+%27Kiki+Challenge%27%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Bay Area’s Rappin’ 4-Tay is still hoping to get paid for a verse Drake stole in 2014.\u003c/p>\n\u003cp>After an auction for royalties from Rappin’ 4-Tay’s song “Playaz Club” surfaced this week, his manager, Franky J, told KQED that Drake still hasn’t made good on a $100,000 payment he’d reportedly promised for lifting the lyrics for his verse on YG’s “Who Do You Love?”\u003c/p>\n\u003cp>Portions of the song royalties from YG’s “\u003ca href=\"https://www.youtube.com/watch?v=VN4upVaDFFs\" target=\"_blank\" rel=\"noopener\">Who Do You Love?\u003c/a>,” which includes Drake’s verse, are currently for sale on \u003ca href=\"https://auctions.royaltyexchange.com/auctions/2pac-drake-rappin-4-tay/?origin=listings&filter_value=listings&_ga=2.79625171.675871050.1543542552-1307536351.1543542552\" target=\"_blank\" rel=\"noopener\">Royalty Exchange\u003c/a>, an auction site for royalties. The auction also includes royalties for “\u003ca href=\"https://youtu.be/2daXghqHgjQ\" target=\"_blank\" rel=\"noopener\">Playaz Club\u003c/a>” and Tupac’s “\u003ca href=\"https://www.youtube.com/watch?v=rh9S4vLDDOI\" target=\"_blank\" rel=\"noopener\">Only God Can Judge Me\u003c/a>,” which all list Rappin’ 4-Tay, a.k.a. Anthony Forte, as a songwriter. Though the seller is not publicly named, in a phone interview on Friday, Franky J confirmed that it is indeed the San Francisco rapper behind the auction.\u003c/p>\n\u003cp>As fans quickly pointed out when “Who Do You Love?” climbed the Billboard Hot 100 in 2014, Drake’s bars sound almost identical to 4-Tay’s. Asked if Drake ever followed through with his 2014 promise to compensate 4-Tay for the verse, Franky J responded: “HEEEEEEEELLL NO!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lZfAxJTSgGo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Franky J, who produced “Playaz Club,” said that he and 4-Tay have been reluctant to call out Drake publicly and wanted to give him a chance to make things right. But, as Franky J told KQED, Drake never made so much as a courtesy phone call.\u003c/p>\n\u003cp>“You jack a person’s lyrics and you don’t even make a phone call? What kind of game is that? That’s not hip-hop,” he said.\u003c/p>\n\u003cp>On May 31, Rappin’ 4-Tay tweeted an invoice to Drake for the $100,000. Franky J says Rappin’ 4-Tay plans to address the situation on his next album, due out in January.\u003c/p>\n\u003cp>Franky J’s revelation isn’t the first time Drake has been accused of promising to compensate someone for their labor and not following through. Earlier this year, Drake said that he’d pay Shiggy, the creator of a viral dance that propelled the success of his song “In My Feelings,” $250,000. \u003ca href=\"https://www.complex.com/music/2018/07/shiggy-responds-claims-drake-paid-him-250000-in-my-feelings-success\" target=\"_blank\" rel=\"noopener\">In a video\u003c/a>, Shiggy said that payment never happened.\u003c/p>\n\u003cp>https://twitter.com/rappin_4tay/status/1002337046730379264\u003c/p>\n\u003cp>Bidding for Rappin’ 4-Tay’s songwriting royalties is currently at $38,250. The auction does not include copyright, nor mechanical or sync royalties, but public performance royalties paid most commonly for internet streaming, AM/FM and satellite radio, and performances in TV and film. Estimated combined royalties from the songs brought in $7,545 the last 12 months.\u003c/p>\n\u003cp>Franky J says that Rappin’ 4-Tay wants to use proceeds from the royalties for a new business venture: a nationwide series of events called Playaz Clubs, functioning like a private social club for hip-hop clientele.\u003c/p>\n\u003cp>The auction, \u003ca href=\"https://auctions.royaltyexchange.com/auctions/2pac-drake-rappin-4-tay/?origin=buyorbid&filter_value=listings\" target=\"_blank\" rel=\"noopener\">viewable here\u003c/a>, ends Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/2daXghqHgjQ\u003c/p>\n\n",
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"excerpt": "Royalties for Bay Area anthem 'Playaz Club,' Tupac's 'Only God Can Judge Me' and YG's 'Who Do You Love?' are up for sale. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bay Area’s Rappin’ 4-Tay is still hoping to get paid for a verse Drake stole in 2014.\u003c/p>\n\u003cp>After an auction for royalties from Rappin’ 4-Tay’s song “Playaz Club” surfaced this week, his manager, Franky J, told KQED that Drake still hasn’t made good on a $100,000 payment he’d reportedly promised for lifting the lyrics for his verse on YG’s “Who Do You Love?”\u003c/p>\n\u003cp>Portions of the song royalties from YG’s “\u003ca href=\"https://www.youtube.com/watch?v=VN4upVaDFFs\" target=\"_blank\" rel=\"noopener\">Who Do You Love?\u003c/a>,” which includes Drake’s verse, are currently for sale on \u003ca href=\"https://auctions.royaltyexchange.com/auctions/2pac-drake-rappin-4-tay/?origin=listings&filter_value=listings&_ga=2.79625171.675871050.1543542552-1307536351.1543542552\" target=\"_blank\" rel=\"noopener\">Royalty Exchange\u003c/a>, an auction site for royalties. The auction also includes royalties for “\u003ca href=\"https://youtu.be/2daXghqHgjQ\" target=\"_blank\" rel=\"noopener\">Playaz Club\u003c/a>” and Tupac’s “\u003ca href=\"https://www.youtube.com/watch?v=rh9S4vLDDOI\" target=\"_blank\" rel=\"noopener\">Only God Can Judge Me\u003c/a>,” which all list Rappin’ 4-Tay, a.k.a. Anthony Forte, as a songwriter. Though the seller is not publicly named, in a phone interview on Friday, Franky J confirmed that it is indeed the San Francisco rapper behind the auction.\u003c/p>\n\u003cp>As fans quickly pointed out when “Who Do You Love?” climbed the Billboard Hot 100 in 2014, Drake’s bars sound almost identical to 4-Tay’s. Asked if Drake ever followed through with his 2014 promise to compensate 4-Tay for the verse, Franky J responded: “HEEEEEEEELLL NO!”\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/lZfAxJTSgGo'\n title='//www.youtube.com/embed/lZfAxJTSgGo'\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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"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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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