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"title": "Outside Lands Postponed Until 2021; Lineup Announced",
"headTitle": "Outside Lands Postponed Until 2021; Lineup Announced | KQED",
"content": "\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>, the music and arts festival that brings tens of thousands of music fans to San Francisco’s Golden Gate Park every August, has been rescheduled to 2021 due to the pandemic. Bay Area concert promoter Another Planet Entertainment announced the move today along with the lineup, which features Tame Impala, Lizzo and The Strokes at the top of the bill. (Fans caught a glimpse of the headliners, originally scheduled for this year, when Outside Lands published and then deleted the lineup from its website in April.)\u003c/p>\n\u003cp>Now taking place August 6–8, 2021, the festival also features genre-bending rapper and producer Tyler, the Creator, Oakland-raised R&B singer Kehlani, Colombian reggaeton-pop superstar J Balvin, indie rock band The 1975, singer-producer Zhu and hit-making rapper Young Thug.\u003c/p>\n\u003cp>Of course, the festival’s new dates are contingent upon California reaching phase four of its reopening plan, which would require the development of therapeutics to treat COVID-19. “We are in close contact with local and state officials, working together to create the safest possible environment for you, our fans,” the Outside Lands team wrote in a statement.\u003c/p>\n\u003cp>For those who already purchased early-bird passes, tickets for this year’s event will roll over to next year, and fans who can’t make the new dates have until July 24 to request a refund.\u003c/p>\n\u003cp>See the full lineup and more details \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>— Nastia Voynovskaya (\u003ca href=\"https://twitter.com/nananastia\" rel=\"noopener noreferrer\" target=\"_blank\">@nananastia\u003c/a>)\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Outside Lands\u003c/a>, the music and arts festival that brings tens of thousands of music fans to San Francisco’s Golden Gate Park every August, has been rescheduled to 2021 due to the pandemic. Bay Area concert promoter Another Planet Entertainment announced the move today along with the lineup, which features Tame Impala, Lizzo and The Strokes at the top of the bill. (Fans caught a glimpse of the headliners, originally scheduled for this year, when Outside Lands published and then deleted the lineup from its website in April.)\u003c/p>\n\u003cp>Now taking place August 6–8, 2021, the festival also features genre-bending rapper and producer Tyler, the Creator, Oakland-raised R&B singer Kehlani, Colombian reggaeton-pop superstar J Balvin, indie rock band The 1975, singer-producer Zhu and hit-making rapper Young Thug.\u003c/p>\n\u003cp>Of course, the festival’s new dates are contingent upon California reaching phase four of its reopening plan, which would require the development of therapeutics to treat COVID-19. “We are in close contact with local and state officials, working together to create the safest possible environment for you, our fans,” the Outside Lands team wrote in a statement.\u003c/p>\n\u003cp>For those who already purchased early-bird passes, tickets for this year’s event will roll over to next year, and fans who can’t make the new dates have until July 24 to request a refund.\u003c/p>\n\u003cp>See the full lineup and more details \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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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"headline": "The Past Year in Music Listening: Video Rules, The Boy's Club Remains",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As we ease into the 2020s, data about the music industry’s growth is more abundant than ever.\u003c/p>\n\u003cp>Within the last week, BuzzAngle and Nielsen Music—the two central, competing, public-facing music-data firms in the U.S.—released their \u003ca href=\"https://www.billboard.com/files/pdfs/NIELSEN_2019_YEARENDreportUS.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">annual\u003c/a> \u003ca href=\"https://www.buzzanglemusic.com/wp-content/uploads/BuzzAngle-Music-2019-US-Report-Industry.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">reports\u003c/a> on music listening trends. BuzzAngle powers \u003ca href=\"https://www.rollingstone.com/charts-methodology/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>‘s charts\u003c/a> and is owned by \u003ca href=\"https://pmc.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Penske Media\u003c/a>, the parent company of \u003cem>Rolling Stone\u003c/em>, \u003cem>Variety\u003c/em> and \u003cem>Deadline\u003c/em>; Nielsen Music was \u003ca href=\"https://www.billboard.com/articles/business/8546636/billboard-nielsen-music-valence-media-acquisition-mrc-data\" target=\"_blank\" rel=\"noopener noreferrer\">acquired\u003c/a> by Valence Media, the parent company of \u003cem>Billboard\u003c/em> and \u003cem>The Hollywood Reporter\u003c/em>, in December 2019.\u003c/p>\n\u003cp>The two reports differ on some details, but are directionally similar. Both put the total number of music streams in the U.S. last year over one trillion for the first time, representing a 15% growth in streams year-over-year. Both note that on-demand streaming accounted for over 80% of total consumption in the U.S., and that audio streaming in particular continued to register solid annual growth (from Nielsen’s 24% to BuzzAngle’s 32%).\u003c/p>\n\u003cp>Nielsen’s report in particular sheds light on the artists who dominated the past decade. Drake, Eminem and Taylor Swift were the only three artists to rank in the top 10 for the most album sales and streams last decade—country stars like Kenny Chesney, Tim McGraw and Toby Keith lead the radio airplay charts over the same time period. Interestingly, while Adele had the two best-\u003cem>selling\u003c/em> albums of the decade—\u003cem>21\u003c/em> and \u003cem>25\u003c/em>, respectively, both released in 2015 or earlier—she’s nowhere to be found on any decade-end streaming charts.\u003c/p>\n\u003cp>In general, music listening is accelerating: According to BuzzAngle, last year’s streams alone accounted for more than 30% of all streaming activity over the past six years. But beneath the “one trillion streams” headlines are some deeper truths about the current state of the music business—some of which reflect the industry’s stubborn resistance to change, and others of which provide a sign of the global transformation to come.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Audio streams might rule the U.S., but video streams rule the world\u003c/strong>\u003c/p>\n\u003cp>Audio-streaming services like Spotify and Apple Music tend to suck up much of the air when talking about the modern music industry, at least in the U.S. But zoom out to a global level and it’s actually video—not audio—that reigns supreme.\u003c/p>\n\u003cp>Nielsen Music and BuzzAngle both found that audio accounted for around 70% of total on-demand streams in the U.S. in 2019, with video comprising the remaining 30%. But Nielsen’s worldwide streaming data flips that ratio on its head: Out of the 5.1 trillion on-demand music streams generated globally in 2019, including U.S. plays, 66% came from video, while the remaining 33% came from audio.\u003c/p>\n\u003cp>This is because YouTube is the preferred consumption platform and marketing machine for several international music genres, from \u003ca href=\"https://www.getrevue.co/profile/cheriehu42/issues/why-are-none-of-the-top-10-music-video-debuts-in-youtube-history-from-hip-hop-artists-173643\" target=\"_blank\" rel=\"noopener noreferrer\">K-pop\u003c/a> in Korea to \u003ca href=\"https://www.nytimes.com/2018/11/14/world/asia/t-series-youtube-india.html\" target=\"_blank\" rel=\"noopener noreferrer\">Bollywood\u003c/a> in India (YouTube alone accounts for \u003ca href=\"https://www.musicplus.in/indian-music-industry-cross-%E2%82%B919-2-billion-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">40%\u003c/a> of Indian labels’ revenues). Unlike Spotify Premium or Apple Music, YouTube is free and doesn’t require a login, raising its appeal for music markets whose consumers might have lower per-capita incomes or haven’t yet warmed up to the concept of a paid streaming subscription.\u003c/p>\n\u003cp>\u003cstrong>More songs than ever are in the 500-million-streams club, but power is still concentrated\u003c/strong>\u003c/p>\n\u003cp>Comparing the reports also outlines a dual narrative with respect to whether the music industry is really becoming a more-level playing field.\u003c/p>\n\u003cp>On one hand, more artists and songs are participating in the “top 1%” of the industry. According to BuzzAngle, 31 songs were streamed over 500 million times in 2019, up from 21 such songs in 2018. A tier below, nearly 900 songs were streamed over 100 million times last year, up from 525 in 2018.\u003c/p>\n\u003cp>But that doesn’t mean the distribution of power has gotten any more equitable. BuzzAngle found that the 1,000 most-streamed songs in 2019 accounted for 18% of \u003cem>all\u003c/em> streams, while the top 500 album titles were responsible for 30% of all album sales—same as the year before.\u003c/p>\n\u003cp>Major labels also dominate nearly all of the top artist, album and song charts in both reports. With the exception of YNW Melly’s “\u003ca href=\"https://www.thefader.com/2019/02/20/ynw-melly-murder-on-my-mind-charis-e-kubrin-interview\" target=\"_blank\" rel=\"noopener noreferrer\">Murder On My Mind\u003c/a>,” the top 25 songs, albums and artists of 2019 in BuzzAngle’s report were all owned and/or distributed by a major label. Nielsen Music \u003ca href=\"https://www.billboard.com/amp/articles/business/8547770/nielsen-music-mrc-data-2019-report-streaming-tops-1-trillion-first-time\" target=\"_blank\" rel=\"noopener noreferrer\">found\u003c/a> that Universal Music Group, the largest record label by annual revenue, saw little change to its dominant market share, controlling 38.7% of the market in 2019 versus 38.1% in 2018 .\u003c/p>\n\u003cp>This isn’t necessarily to say that the music business is stale, or hostile to disruption. Consider “Old Town Road.” Within just one year, the song that Lil Nas X made with a $30 beat and then strategically seeded onto platforms like Triller and TikTok ended up becoming the most-streamed song \u003cem>of the past 10 years\u003c/em>, beating ubiquitous hits like “Despacito,” “Rockstar” and “Uptown Funk.” But even “Old Town Road” arguably could not have gotten to its historic peak without major-label backing—in this case, a distribution deal with Columbia Records, which helped Lil Nas X land remixes with Billy Ray Cyrus, Young Thug, Mason Ramsey and RM from BTS. Not only did these high-profile celebrities help promote the single, the remixes’ streams \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\" target=\"_blank\" rel=\"noopener noreferrer\">also counted toward the original song’s tallies\u003c/a>, helping the track make history as the longest-running No. 1 hit on the Billboard Hot 100.\u003c/p>\n\u003cp>\u003cstrong>Vinyl might be having a “revival,” but CDs still account for the vast majority of physical albums\u003c/strong>\u003c/p>\n\u003cp>Album and song sales continue to wane across the board, seeing a 20% to 25% decline year-over-year in 2019, per BuzzAngle and Nielsen, respectively. Yet vinyl album sales continue to grow, by 11% to 15% annually (BuzzAngle and Nielsen, respectively). According to the Recording Industry Association of America (RIAA), revenues from vinyl records are poised to \u003ca href=\"https://www.rollingstone.com/music/music-news/vinyl-cds-revenue-growth-riaa-880959/\" target=\"_blank\" rel=\"noopener noreferrer\">surpass\u003c/a> those from CDs within the next few years.\u003c/p>\n\u003cp>But there’s one important caveat: In terms of units, vinyl is \u003cem>not\u003c/em> the top physical music format—far from it, in fact. In 2019, CDs still accounted for 74% to 80% of physical album units sold, according to BuzzAngle and Nielsen, respectively. (Absolute numbers differ between the two reports; BuzzAngle pegs the number of CDs sold last year at 44.9 million, while Nielsen Music reports 54.8 million.)\u003c/p>\n\u003cp>In contrast, vinyl constituted only around 17% to 19% of physical units sold last year—10.7 million per BuzzAngle and 18.8 million per Nielsen. While vinyl might be providing the music industry with a growing source of revenue, it doesn’t come close to achieving the reach of the CD market. The vinyl market also skews the oldest out of all music formats; six out of the top-10-selling vinyl albums of 2019 were released before 2000, and 67% of vinyl sales overall last year came from catalog (i.e., music older than 18 months), according to Nielsen.\u003c/p>\n\u003cp>\u003cstrong>Remember: album sales aren’t all created equal\u003c/strong>\u003c/p>\n\u003cp>Since streaming now accounts for the vast majority of music listening in the U.S. (again, about 80%), it’s natural to assume that those plays are an appropriate proxy for consumer behavior across other formats. But a closer examination of the Nielsen Music and BuzzAngle reports reveals that that could not be further from the truth.\u003c/p>\n\u003cp>Sales-oriented music charts, like the Billboard 200, calculate artists’ rankings using formulas that convert stream counts into approximate “album equivalents.” For example, as of summer 2018, the Billboard charts register one “album unit” for every 1,250 paid audio streams, 3,750 ad-supported streams or 3,750 video streams. BuzzAngle, meanwhile, has a simpler, unweighted formula, adding one “album project unit” for every 1,500 on-demand streams, regardless of the streams’ source or financial value.\u003c/p>\n\u003cp>Under these formulas, if only one song on a ten-track album was streamed a million times, with the remaining tracks receiving zero activity, that would count just as much towards an album ranking as every track receiving 100,000 streams each.\u003c/p>\n\u003cp>As of this month—this week, in fact—the Billboard 200 chart is also now \u003ca href=\"https://www.billboard.com/amp/articles/business/chart-beat/8546247/billboard-200-changes-youtube-video-data-streaming-album-charts\" target=\"_blank\" rel=\"noopener noreferrer\">incorporating YouTube data\u003c/a> into its formula, which puts even further weight on an album’s biggest single(s) rather than on all the project’s tracks as a whole. In short, album equivalent units often don’t reflect actual album consumption, let alone physical album purchases—a nuance that’s difficult to communicate in the context of a surface-level chart.\u003c/p>\n\u003cp>\u003cstrong>Radio listening and album sales paint a completely different picture of popularity than streaming\u003c/strong>\u003c/p>\n\u003cp>Let’s compare the top artists on streaming versus terrestrial radio in both reports.\u003c/p>\n\u003cp>Unsurprisingly, hip-hop/R&B was the top genre for on-demand streaming in 2019, accounting for nearly a third of total on-demand streams. Moreover, rappers accounted for over half of the top ten most-streamed artists and songs of the year, according to Nielsen. BuzzAngle reported an even stronger skew in favor of hip-hop/R&B, with the genre accounting for 80% of the top 25 artists of the year (by on-demand streams).\u003c/p>\n\u003cp>In contrast, Nielsen’s radio airplay charts are almost completely devoid of hip-hop. Towards the end of Nielsen’s report, there are four lists of the top artists and songs by airplay spins and audience reach for the decade ending 2019, encompassing 40 total slots. Only \u003cem>five\u003c/em> of those slots went to hip-hop/R&B artists, with country and rock dominating nearly all others.\u003c/p>\n\u003cp>Isolating album and song sales presents a similar story. Country and rock accounted for 14 of BuzzAngle’s top 25 artists by album sales from 2015–2019, while only two rappers make an appearance in Nielsen’s top 10 artists of the decade by album sales and song sales—Drake and Eminem.\u003c/p>\n\u003cp>\u003cstrong>Once disparate, the demographics of streaming, album sales and terrestrial radio listeners are now starting to blur\u003c/strong>\u003c/p>\n\u003cp>Listeners of all ages, including parents and seniors, are adopting smart speakers and other voice-enabled devices at a rapid pace, helping revivify back catalog in the streaming era. And it’s not just the old guard who can benefit from selling vinyl: Colorful physical products like vinyl records can potentially help an artist stand out in the crowded streaming landscape—and, when bundled with a digital download, can even help them climb the charts (as long as they \u003ca href=\"https://www.wsj.com/articles/want-an-album-with-that-t-shirt-billboard-tightens-rules-on-bundling-music-and-merchandise-11574776800\">stick to the rules\u003c/a>). In general, the physical market is also increasingly online, with nearly half of all physical album sales in 2019 happening via online e-commerce stores, according to BuzzAngle.\u003c/p>\n\u003cp>Perhaps the most surprising case study: While Billie Eilish may be a streaming darling, she also has a much more solid track record in vinyl sales than most of her modern-pop peers. In 2019, 19% (BuzzAngle) to 26% (Nielsen Music) of physical units sold for Eilish’s \u003cem>When We All Fall Asleep Where Do We Go\u003c/em> were vinyl LPs. In contrast, only 6% of physical sales for Taylor Swift and 9% of those for Harry Styles came from vinyl.\u003c/p>\n\u003cp>\u003cstrong>The upper echelon of music is still a boy’s club\u003c/strong>\u003c/p>\n\u003cp>A disappointing takeaway from both BuzzAngle’s and Nielsen’s reports is the lack of women among the top-selling artists and songs of both 2019 and the past decade—suggesting that progress towards gender equality in recorded music over the past five to ten years has been incremental at best.\u003c/p>\n\u003cp>Gender inequities vary somewhat by musical genre. The upper echelons of the pop charts tend to be more inclusive—with the likes of Ariana Grande, Billie Eilish and Taylor Swift reigning in 2019—but the top of the hip-hop, country and rock charts remain male-dominated. BuzzAngle’s report reveals that all of the top-consumed hip-hop songs and albums of 2019 were performed by men. With the exception of Lizzo, Nielsen’s hip-hop/R&B year-end charts were also completely male, and not a single woman made it onto Nielsen’s top country and rock charts for the year.\u003c/p>\n\u003cp>While disruptive in a commercial sense, the advent of streaming has not necessarily made this gender split any better. According to BuzzAngle, with the exception of Cardi B’s “Bodak Yellow” and Camila Cabello’s “Havana,” \u003cem>all\u003c/em> of the 25 top-streamed songs over the past five years were by male artists.\u003c/p>\n\u003cp>These findings parallel more longitudinal studies carried out by institutions such as the USC Annenberg Inclusion Initiative, which \u003ca href=\"http://assets.uscannenberg.org/docs/no-country-for-female-artists-research-brief_2019-04-04.pdf\">found\u003c/a> that female artists accounted only for 16% of the top 500 charted country songs from 2014 to 2018. Artists like \u003ca href=\"https://www.glamour.com/story/jennifer-nettles-equal-play?curator=MusicREDEF\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Nettles Glamour\u003c/a> have been speaking out against these inequities for years, yet they still play out across streaming, physical and radio formats, as well as in the live sector (e.g. the \u003ca href=\"https://www.refinery29.com/en-us/2020/01/9131472/2020-coachella-lineup-no-women-headlining\" target=\"_blank\" rel=\"noopener noreferrer\">absence of women headliners\u003c/a> from this year’s Coachella lineup).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It may be a new decade, but the music business is still rife with ingrained biases and gatekeeping practices that prevent women and other minority groups from accessing key exposure, revenue and career opportunities—let alone appearing on year-end industry reports.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Past+Year%2C+And+Decade%2C+In+Music+Listening%3A+Video+Rules%2C+The+Boy%27s+Club+Remains&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Grammy Nominees For Best New Artist Point to a Sea Change in Pop",
"headTitle": "The Grammy Nominees For Best New Artist Point to a Sea Change in Pop | KQED",
"content": "\u003cp>The Grammy Awards’ category for new artists has always been the\u003ca href=\"https://harrypotter.fandom.com/wiki/Hufflepuff\"> Hufflepuff\u003c/a> house of the event, a mishmash of eccentrics, high achievers and hard-working young music industry favorites. (Notorious category winners\u003ca href=\"https://gizmodo.com/20-years-ago-today-milli-vanilli-lost-their-grammy-for-5694574\"> Milli Vanilli\u003c/a> did work hard, just not at singing.) Rarely has the field clearly pointed toward an exciting new musical era. But this year, that’s exactly what it suggests.\u003c/p>\n\u003cp>Three breakthrough pop stars, each of whom embodies creativity and influence in the streaming age—and who, together, garnered this year’s most Grammy nominations across the board—compete with three women exploding the boundaries of genres that might have previously held them back, alongside two groups with major grassroots followings and a powerful way of defying categorization. These musicians are fluent in the style-defying language of 21st-century sounds; their members look like America, and beyond its borders, the changing pop world; and they all released genuinely great music in 2019. Whoever wins in this category will deserve it— and will likely play a role in shaping popular music for a long time.\u003c/p>\n\u003cp>\u003cstrong>Black Pumas\u003c/strong>\u003c/p>\n\u003cp>This Austin-based duo-plus represents what bands are becoming in the new century: versatile, open-ended partnerships forged by adept experimenting with form. Singer Eric Burton learned his chops both auditioning for \u003cem>American Idol\u003c/em> and busking on L.A.’s Santa Monica Pier; producer-multi-instrumentalist Adrian Quesada is a Latinx music veteran (he’s \u003ca href=\"https://www.grammy.com/search/grupo%20fantasma\">won\u003c/a> a Grammy as a member of the funk orchestra Grupo Fantasma). Together, they’re reinventing Southwestern soul with a blend that honors the region’s funky historical fusions while incorporating a hip-hop vibe. The sum of their experience makes them a great live act, the key to success as a band in 2019.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ptWQ_-xmvXY&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Billie Eilish\u003c/strong>\u003c/p>\n\u003cp>At 17 years old, Eilish is the youngest-ever multiple Grammy nominee across the top four categories: best new artist, record, album and song of the year. She could pull this off because, like the SoundCloud rappers who’ve inspired her, she writes her own material with her brother, Finneas—mostly eschewing teen pop’s starmaking machinery. (She was quietly signed to a major-label development deal at age fourteen, but she and Finneas recorded the bulk of the songs that have made her a star\u003ca href=\"https://www.prosoundnetwork.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom\"> at home\u003c/a>.) Homeschooled by Hollywood-savvy parents, enraptured by SoundCloud rappers like Tyler, The Creator but equally indebted to Avril Lavigne, vocally ultrafeminine but otherwise androgynous—Eilish embodies the erasure of binary thinking about music, emotion and the self: she is the living essence of Generation Z.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-PZsSWwc9xA&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Lil Nas X\u003c/strong>\u003c/p>\n\u003cp>If new technologies generate the stars they deserve, the social media platform TikTok must be particularly blessed, because its breakthrough star is absolutely fabulous. Montero Lamar Hill, now 20, was just another kid trying to get Internet famous when he discovered a beat made by a Dutch kid and bought it\u003ca href=\"https://www.cnbc.com/2019/07/23/lil-nas-x-bought-the-beat-used-in-old-town-road-for-30-on-beatstars.html\"> for $30\u003c/a>. Around it, he built “Old Town Road,” the single biggest challenge to old music biz ways issued in recent memory. Country music will never be the same, but neither will pop or hip-hop. His irresistible hit is the\u003ca href=\"https://www.rollingstone.com/music/music-news/ray-charles-whatd-i-say-origin-842880/\"> “What’d I Say”\u003c/a> of our time, refusing to be contained—as does Lil Nas X himself, as much a comedian, conceptualist and burgeoning fashion icon as he is a musician. Like TikTok itself—a tool for capturing teens’ mobile imaginations—Lil Nas X takes us all into brand-new territory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w2Ov5jzm3j8&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Lizzo\u003c/strong>\u003c/p>\n\u003cp>With two albums already under her sparkly belt, Lizzo is the kind of slow-burning phenomenon whose presence may seem odd in the best new artist category, but she belongs here—until 2019, the world was not entirely ready for her. The Houston-born, Minneapolis-nurtured rapper, singer and all-around generator of good vibes, challenges all kinds of preconceived notions about women’s pleasure, power and beauty, proudly queering the pitch of pop without being strident or politically correct. And she’s a band nerd who’s single-handedly revived the flute as a cool high school accessory. A comic artist with a serious mission, Lizzo defines America’s pleasure principle right now—her bold excessiveness is to 2019 is what cock-rock was to the 1970s, minus all the macho power plays. Prince loved her, and through her success, his spirit lives on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P00HMxdsVZI&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>To comprehend the bond this 25-year-old singer-songwriter-rocker-dance queen has with her fans, just check out her Wikipedia page, which reads, “Maggie Rogers is known for being a\u003ca href=\"https://maggierogers.store/apparel/magg010017-maggie-rogers-witchy-feminist-t-shirt-black/\"> Witchy Feminist Rockstar\u003c/a> and a legend.” That kind of enthusiasm can’t be manufactured, and anyone who’s seen Rogers bound across a stage as thousands of young women shout her lyrics won’t doubt its veracity. As a teen, Rogers pursued a conventional singer-songwriter role, but time spent in Berlin led her to dance music; she explored that intersection as a student at NYU’s Clive Davis Institute of Recorded Music, where her teacher, NPR Music contributor Jason King, introduced her to Pharrell one day. The rest is a classic discovery story—except that like Billie Eilish, Rogers resisted being molded by the major label who signed her. An infectiously enthusiastic songwriter and performer, she expresses a spirit of resistance that runs through the best pop music now—the refusal to be too polished or predictable.\u003c/p>\n\u003cp>\u003cstrong>Rosalía\u003c/strong>\u003c/p>\n\u003cp>As EDM’s influence \u003ca href=\"778532395\">fades\u003c/a> and hip-hop settles into position as pop’s foundation, the universe of Latin rhythm and melody is revitalizing the Top 40. Rosalía is the Catalan auteur leading the way. Like many young artists, she’s not abandoning her roots, but reimagining them. Her music is rooted in the folkloric, theatrical lineage of \u003cem>flamenco\u003c/em>, which she studied seriously for a decade before fashioning her hybrid urban Latin sound. Her 2018 album, \u003cem>El Mal Querer—\u003c/em>inspired by a 14th-century novel of “dark love”—won the hearts of critics and influencers, and she went on to collaborate with Latin pop superstar J Balvin on the song “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\">Con Altura\u003c/a>,” which became a worldwide smash. Rosalía’s fluidity in combining experimental and mainstream elements distinguishes her, as does the fact that she sings in Spanish—she’s the first artist who performs solely in that language to be nominated as best new artist.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rht7rBHuXW8&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Tank and the Bangas\u003c/strong>\u003c/p>\n\u003cp>As much as 21st-century pop often floats forth from an unmoored Internet, it’s also generated within local communities whose reach grows through unprecedented platforms. NPR Music’s own\u003ca href=\"https://www.youtube.com/watch?v=QKzobTCIRDw\"> Tiny Desk\u003c/a> is one such platform, as New Orleans collective Tank and the Bangas discovered in the wake of winning our Tiny Desk Contest in 2017. By then, the group, led by slam poet and joy generator Tarriona “Tank” Ball on lead vocals, had come to embody what one writer called “\u003ca href=\"https://www.ft.com/content/9cba849c-057c-11e6-9b51-0fb5e65703ce\">New Orleans now\u003c/a>“: jazz-kissed but not old-timey, letting the good times roll in ways that acknowledge the complexities of life in an old city always seeking to transcend new problems. This is the kind of band that creates community wherever it goes—the best illustration of the new spin on jam bands that’s turned a sometimes-derided genre into the freshest ground out there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0zU-Jm87kzY&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Yola\u003c/strong>\u003c/p>\n\u003cp>No new artist stands for the power of reinvention more than the woman born Yolanda Quartey in Bristol in 1984. Before becoming Americana’s beloved new sensation following a move to Nashville in 2018, Yola had another life as a pop songwriter in her native England, and a singer with dance-driven acts like Massive Attack. Her first love, however, was country music, a genre she patiently and fiercely made her own, first with the band Phantom Limb and then in solo music that frames her as an inheritor to both Dusty Springfield and Dolly Parton. Working with vintage-sound master Dan Auerbach of The Black Keys, Yola has effortlessly updated classic country soul on her debut album \u003cem>Walk Through Fire\u003c/em>; even more powerful are her live performances, which inevitably win legions of new fans. With country at a crossroads, Yola is a major force in illustrating what the genre can be at its most authentically American.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=jWTwuQ3LeH4&feature=emb_logo\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?time_continue=1&v=jWTwuQ3LeH4&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Grammy+Nominees+For+Best+New+Artist+Point+To+A+Sea+Change+In+Pop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Grammy nominations are ripe for attempts to predict the future of popular music—but this year, we need to examine just one category to see how much everything is changing, and already has.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Grammy Awards’ category for new artists has always been the\u003ca href=\"https://harrypotter.fandom.com/wiki/Hufflepuff\"> Hufflepuff\u003c/a> house of the event, a mishmash of eccentrics, high achievers and hard-working young music industry favorites. (Notorious category winners\u003ca href=\"https://gizmodo.com/20-years-ago-today-milli-vanilli-lost-their-grammy-for-5694574\"> Milli Vanilli\u003c/a> did work hard, just not at singing.) Rarely has the field clearly pointed toward an exciting new musical era. But this year, that’s exactly what it suggests.\u003c/p>\n\u003cp>Three breakthrough pop stars, each of whom embodies creativity and influence in the streaming age—and who, together, garnered this year’s most Grammy nominations across the board—compete with three women exploding the boundaries of genres that might have previously held them back, alongside two groups with major grassroots followings and a powerful way of defying categorization. These musicians are fluent in the style-defying language of 21st-century sounds; their members look like America, and beyond its borders, the changing pop world; and they all released genuinely great music in 2019. Whoever wins in this category will deserve it— and will likely play a role in shaping popular music for a long time.\u003c/p>\n\u003cp>\u003cstrong>Black Pumas\u003c/strong>\u003c/p>\n\u003cp>This Austin-based duo-plus represents what bands are becoming in the new century: versatile, open-ended partnerships forged by adept experimenting with form. Singer Eric Burton learned his chops both auditioning for \u003cem>American Idol\u003c/em> and busking on L.A.’s Santa Monica Pier; producer-multi-instrumentalist Adrian Quesada is a Latinx music veteran (he’s \u003ca href=\"https://www.grammy.com/search/grupo%20fantasma\">won\u003c/a> a Grammy as a member of the funk orchestra Grupo Fantasma). Together, they’re reinventing Southwestern soul with a blend that honors the region’s funky historical fusions while incorporating a hip-hop vibe. The sum of their experience makes them a great live act, the key to success as a band in 2019.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ptWQ_-xmvXY'\n title='//www.youtube.com/embed/ptWQ_-xmvXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Billie Eilish\u003c/strong>\u003c/p>\n\u003cp>At 17 years old, Eilish is the youngest-ever multiple Grammy nominee across the top four categories: best new artist, record, album and song of the year. She could pull this off because, like the SoundCloud rappers who’ve inspired her, she writes her own material with her brother, Finneas—mostly eschewing teen pop’s starmaking machinery. (She was quietly signed to a major-label development deal at age fourteen, but she and Finneas recorded the bulk of the songs that have made her a star\u003ca href=\"https://www.prosoundnetwork.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom\"> at home\u003c/a>.) Homeschooled by Hollywood-savvy parents, enraptured by SoundCloud rappers like Tyler, The Creator but equally indebted to Avril Lavigne, vocally ultrafeminine but otherwise androgynous—Eilish embodies the erasure of binary thinking about music, emotion and the self: she is the living essence of Generation Z.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-PZsSWwc9xA'\n title='//www.youtube.com/embed/-PZsSWwc9xA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lil Nas X\u003c/strong>\u003c/p>\n\u003cp>If new technologies generate the stars they deserve, the social media platform TikTok must be particularly blessed, because its breakthrough star is absolutely fabulous. Montero Lamar Hill, now 20, was just another kid trying to get Internet famous when he discovered a beat made by a Dutch kid and bought it\u003ca href=\"https://www.cnbc.com/2019/07/23/lil-nas-x-bought-the-beat-used-in-old-town-road-for-30-on-beatstars.html\"> for $30\u003c/a>. Around it, he built “Old Town Road,” the single biggest challenge to old music biz ways issued in recent memory. Country music will never be the same, but neither will pop or hip-hop. His irresistible hit is the\u003ca href=\"https://www.rollingstone.com/music/music-news/ray-charles-whatd-i-say-origin-842880/\"> “What’d I Say”\u003c/a> of our time, refusing to be contained—as does Lil Nas X himself, as much a comedian, conceptualist and burgeoning fashion icon as he is a musician. Like TikTok itself—a tool for capturing teens’ mobile imaginations—Lil Nas X takes us all into brand-new territory.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/w2Ov5jzm3j8'\n title='//www.youtube.com/embed/w2Ov5jzm3j8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lizzo\u003c/strong>\u003c/p>\n\u003cp>With two albums already under her sparkly belt, Lizzo is the kind of slow-burning phenomenon whose presence may seem odd in the best new artist category, but she belongs here—until 2019, the world was not entirely ready for her. The Houston-born, Minneapolis-nurtured rapper, singer and all-around generator of good vibes, challenges all kinds of preconceived notions about women’s pleasure, power and beauty, proudly queering the pitch of pop without being strident or politically correct. And she’s a band nerd who’s single-handedly revived the flute as a cool high school accessory. A comic artist with a serious mission, Lizzo defines America’s pleasure principle right now—her bold excessiveness is to 2019 is what cock-rock was to the 1970s, minus all the macho power plays. Prince loved her, and through her success, his spirit lives on.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P00HMxdsVZI'\n title='//www.youtube.com/embed/P00HMxdsVZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>To comprehend the bond this 25-year-old singer-songwriter-rocker-dance queen has with her fans, just check out her Wikipedia page, which reads, “Maggie Rogers is known for being a\u003ca href=\"https://maggierogers.store/apparel/magg010017-maggie-rogers-witchy-feminist-t-shirt-black/\"> Witchy Feminist Rockstar\u003c/a> and a legend.” That kind of enthusiasm can’t be manufactured, and anyone who’s seen Rogers bound across a stage as thousands of young women shout her lyrics won’t doubt its veracity. As a teen, Rogers pursued a conventional singer-songwriter role, but time spent in Berlin led her to dance music; she explored that intersection as a student at NYU’s Clive Davis Institute of Recorded Music, where her teacher, NPR Music contributor Jason King, introduced her to Pharrell one day. The rest is a classic discovery story—except that like Billie Eilish, Rogers resisted being molded by the major label who signed her. An infectiously enthusiastic songwriter and performer, she expresses a spirit of resistance that runs through the best pop music now—the refusal to be too polished or predictable.\u003c/p>\n\u003cp>\u003cstrong>Rosalía\u003c/strong>\u003c/p>\n\u003cp>As EDM’s influence \u003ca href=\"778532395\">fades\u003c/a> and hip-hop settles into position as pop’s foundation, the universe of Latin rhythm and melody is revitalizing the Top 40. Rosalía is the Catalan auteur leading the way. Like many young artists, she’s not abandoning her roots, but reimagining them. Her music is rooted in the folkloric, theatrical lineage of \u003cem>flamenco\u003c/em>, which she studied seriously for a decade before fashioning her hybrid urban Latin sound. Her 2018 album, \u003cem>El Mal Querer—\u003c/em>inspired by a 14th-century novel of “dark love”—won the hearts of critics and influencers, and she went on to collaborate with Latin pop superstar J Balvin on the song “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\">Con Altura\u003c/a>,” which became a worldwide smash. Rosalía’s fluidity in combining experimental and mainstream elements distinguishes her, as does the fact that she sings in Spanish—she’s the first artist who performs solely in that language to be nominated as best new artist.\u003c/p>\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/Rht7rBHuXW8'\n title='//www.youtube.com/embed/Rht7rBHuXW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Tank and the Bangas\u003c/strong>\u003c/p>\n\u003cp>As much as 21st-century pop often floats forth from an unmoored Internet, it’s also generated within local communities whose reach grows through unprecedented platforms. NPR Music’s own\u003ca href=\"https://www.youtube.com/watch?v=QKzobTCIRDw\"> Tiny Desk\u003c/a> is one such platform, as New Orleans collective Tank and the Bangas discovered in the wake of winning our Tiny Desk Contest in 2017. By then, the group, led by slam poet and joy generator Tarriona “Tank” Ball on lead vocals, had come to embody what one writer called “\u003ca href=\"https://www.ft.com/content/9cba849c-057c-11e6-9b51-0fb5e65703ce\">New Orleans now\u003c/a>“: jazz-kissed but not old-timey, letting the good times roll in ways that acknowledge the complexities of life in an old city always seeking to transcend new problems. This is the kind of band that creates community wherever it goes—the best illustration of the new spin on jam bands that’s turned a sometimes-derided genre into the freshest ground out there.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0zU-Jm87kzY'\n title='//www.youtube.com/embed/0zU-Jm87kzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Yola\u003c/strong>\u003c/p>\n\u003cp>No new artist stands for the power of reinvention more than the woman born Yolanda Quartey in Bristol in 1984. Before becoming Americana’s beloved new sensation following a move to Nashville in 2018, Yola had another life as a pop songwriter in her native England, and a singer with dance-driven acts like Massive Attack. Her first love, however, was country music, a genre she patiently and fiercely made her own, first with the band Phantom Limb and then in solo music that frames her as an inheritor to both Dusty Springfield and Dolly Parton. Working with vintage-sound master Dan Auerbach of The Black Keys, Yola has effortlessly updated classic country soul on her debut album \u003cem>Walk Through Fire\u003c/em>; even more powerful are her live performances, which inevitably win legions of new fans. With country at a crossroads, Yola is a major force in illustrating what the genre can be at its most authentically American.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bay Area Teacher Uses Lizzo to Teach Second Graders How to Be Great",
"headTitle": "Bay Area Teacher Uses Lizzo to Teach Second Graders How to Be Great | KQED",
"content": "\u003cp>In case anyone was still in any doubt over the fact that our nation’s teachers are American heroes, please take a moment to salute Ms. Mallari of \u003ca href=\"https://www.pittsburg.k12.ca.us/losmedanos\" target=\"_blank\" rel=\"noopener\">Los Medanos Elementary School\u003c/a> in Pittsburg. The ridiculously cool second grade teacher is helping her students learn about responsibility, respect and supporting each other, via an adapted version of Lizzo’s “Truth Hurts”—and just a little dancing on the furniture.\u003c/p>\n\u003cp>Ms. Mallari keeps the song totally kid-friendly, changing Lizzo’s lyrics to fit the young audience. The most famous line in “Truth Hurts,” for example, gets changed to: “I just took an ELA test, turns out, I’m 100 percent that smart.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=41&v=TzM6IwxGuB4\u003c/p>\n\u003cp>The 75-second clip went viral almost immediately, with an outpouring of support on social media from the likes of \u003ca href=\"https://twitter.com/PittsburgPD/status/1191933643096092672\" target=\"_blank\" rel=\"noopener\">Pittsburg’s police department\u003c/a> and, oh yes, Lizzo herself.\u003c/p>\n\u003cp>https://twitter.com/lizzo/status/1192219867598016512\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bravo, Ms. Mallari. Bravo.\u003c/p>\n\n",
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"excerpt": "Lizzo's 'Truth Hurts' becomes a table-dancing lesson for respect and hard work in Ms. Mallori's classroom in Los Medanos Elementary School.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case anyone was still in any doubt over the fact that our nation’s teachers are American heroes, please take a moment to salute Ms. Mallari of \u003ca href=\"https://www.pittsburg.k12.ca.us/losmedanos\" target=\"_blank\" rel=\"noopener\">Los Medanos Elementary School\u003c/a> in Pittsburg. The ridiculously cool second grade teacher is helping her students learn about responsibility, respect and supporting each other, via an adapted version of Lizzo’s “Truth Hurts”—and just a little dancing on the furniture.\u003c/p>\n\u003cp>Ms. Mallari keeps the song totally kid-friendly, changing Lizzo’s lyrics to fit the young audience. The most famous line in “Truth Hurts,” for example, gets changed to: “I just took an ELA test, turns out, I’m 100 percent that smart.”\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/TzM6IwxGuB4'\n title='//www.youtube.com/embed/TzM6IwxGuB4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The 75-second clip went viral almost immediately, with an outpouring of support on social media from the likes of \u003ca href=\"https://twitter.com/PittsburgPD/status/1191933643096092672\" target=\"_blank\" rel=\"noopener\">Pittsburg’s police department\u003c/a> and, oh yes, Lizzo herself.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bravo, Ms. Mallari. Bravo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Lizzo's 'Truth Hurts' Saga: Can You Sue Over a Copied Tweet?",
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"content": "\u003cp>Without a doubt, the most quoted line from Lizzo’s No. 1 hit “Truth Hurts” is its scorching opener: “Just took a DNA test, turns out I’m 100 percent that bitch.” Gina Rodriguez \u003ca href=\"https://www.youtube.com/watch?v=MIMLMXW1JdE\" target=\"_blank\" rel=\"noopener\">sings along to it\u003c/a> in her latest Netflix rom-com; it’s fueled a long-running \u003ca href=\"https://www.youtube.com/watch?v=TXvRCGrbRMw\" target=\"_blank\" rel=\"noopener\">TikTok meme\u003c/a>; fans put it in their Instagram captions and scream it back to Lizzo during \u003ca href=\"https://datebook.sfchronicle.com/music/lizzo-brings-a-little-love-and-a-whole-lot-of-ass-shaking-to-san-francisco\" target=\"_blank\" rel=\"noopener\">sold-out stops\u003c/a> of her current tour.\u003c/p>\n\u003cp>Here’s the thing: Lizzo didn’t write the line.\u003c/p>\n\u003cp>Instead, it traces back to a viral 2017 tweet by British singer Mina Lioness, whom Lizzo is now \u003ca href=\"https://www.thefader.com/2019/10/28/mina-lioness-lizzo-song-writer-truth-hurts-credit-interview\" target=\"_blank\" rel=\"noopener\">crediting as a co-writer\u003c/a> on the track. After first \u003ca href=\"https://twitter.com/lizzo/status/962053400337641473\" target=\"_blank\" rel=\"noopener\">denying\u003c/a> that Lioness’ tweet was the inspiration, Lizzo conceded that she’d seen a meme that used the phrase. As tweets go viral and continue to influence pop culture, the saga points to the misconceptions many people have about social media and intellectual property. [aside postid='arts_13863015']\u003c/p>\n\u003cp>Contrary to popular belief, tweets are subject to copyright, but only if they possess enough of a \u003cem>degree of originality\u003c/em>—which would be determined by a court if Lioness were to pursue legal action, which she \u003ca href=\"https://twitter.com/MinaLioness/status/1166701225657737217\" target=\"_blank\" rel=\"noopener\">threatened\u003c/a> before Lizzo gave her songwriting credit. (Currently, Lizzo is embattled in a \u003ca href=\"https://pitchfork.com/thepitch/who-wrote-lizzos-truth-hurts-who-knows/\" target=\"_blank\" rel=\"noopener\">separate lawsuit\u003c/a> against Jeremiah Raisen, Justin Raisen and Justin Rothman over “Truth Hurts” authorship.)\u003c/p>\n\u003cp>“The court would look at: what was the intent?” says Lisa Alter, a copyright lawyer \u003cspan style=\"font-weight: 400\">whose clients include numerous Grammy winners and Rock & Roll Hall of Fame inductees\u003c/span>. “Was it used in its entirety? Was it used in a transformative use, which is a subjective, case-by-case evaluation to determine whether it was fair use? Is Lizzo getting commercial benefit from it? … You can’t predict which way a court would come out on that question.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So is the “100 percent that bitch” line original enough to win a copyright suit? Experts aren’t so sure. Ben Depoorter, a copyright law professor from UC Hastings, points out a major barrier: short phrases are excluded from copyright protection as a way to ensure that intellectual property law isn’t used to stifle free speech. “\u003cspan style=\"font-weight: 400\">Even if it’s particularly novel, ingenious or interesting wordplay, a short sentence in and of itself does not entitle you to copyright protection,” he says. (Still, Lizzo recently filed an application\u003ca href=\"https://www.theguardian.com/lifeandstyle/2019/sep/04/lizzo-is-100-that-bitch-but-can-she-trademark-it\" target=\"_blank\" rel=\"noopener\"> to trademark\u003c/a> the phrase “100 percent that bitch” to use on merch.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alter says that Lizzo’s decision to give Lioness songwriting credit could have been a preemptive strike against a potential lawsuit—and from judgment in the court of public opinion. “Mina was saying in her statements that she didn’t have the resources, she’s a poor girl from London,” Alter says. “Lizzo [may have] wanted to ensure that in the public opinion she was doing an equitable thing.”\u003c/span>\u003c/p>\n\u003cp>As the barrier between pop culture and social media becomes more permeable, tweets and social media posts increasingly become fodder for commercial works. For instance, when Beyoncé credited Vampire Weekend’s Ezra Koenig as a songwriter on “Hold Up” from \u003cem>Lemonade\u003c/em>, she also gave a songwriting credit to the members of the Yeah Yeah Yeahs, whose lyrics from “Maps” Koenig interpolated in a tweet that later became the Beyoncé lyric.\u003c/p>\n\u003cp>“Songs become tweets, tweets become songs – it’s the way of the world,” Koenig tweeted in 2016.\u003c/p>\n\u003cp>https://twitter.com/arzE/status/724660731396808704?s=20\u003c/p>\n\u003cp>But as far as artists who believe they can take freely from social media posts? “There’s this perception of social media being free, so the rules of copyright don’t apply, and that’s just not the case,” Alter says.\u003c/p>\n\u003cp>Even though tweets are often shared as \u003ca href=\"https://www.vulture.com/2019/02/fuck-jerry-instagram-comedians-unfollow-campaign-elliot-tebele.html\" target=\"_blank\" rel=\"noopener\">decontextualized screen shots, often with the author’s name cropped out\u003c/a>, Alter advises artists and musicians to track down the source of their inspiration and give credit when possible. “[The ‘Truth Hurts’ lyric] clearly was something that was identified with someone who is a performer,” says Alter. “Mina is a performer in her own right, she is findable. And to the extent that there was any question on Lizzo’s part that this was a creation of Mina’s, she should have reached out to her before using it. But that’s to be on the safest side.”\u003c/p>\n\u003cp>Still, for many, attempting to recoup damages from a stolen tweet is a risky, costly and time-consuming endeavor. And as long as social media provides a platform for creators with few resources to grow followings, their content is at risk of being co-opted by brands or more successful artists.\u003c/p>\n\u003cp>There is a positive side to this, though, Depoorter points out: Though the law may not always work in social media users’ favor, the ability to shame someone on Twitter certainly does.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The law doesn’t do a lot of lifting,” he says. “But the social aspects of being called out for doing something unfair even though it’s not illegal are quite severe.”\u003c/p>\n\n",
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"excerpt": "Lizzo's \"100 percent that bitch\" line was traced back to a viral tweet. But is it a copyright infringement?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Without a doubt, the most quoted line from Lizzo’s No. 1 hit “Truth Hurts” is its scorching opener: “Just took a DNA test, turns out I’m 100 percent that bitch.” Gina Rodriguez \u003ca href=\"https://www.youtube.com/watch?v=MIMLMXW1JdE\" target=\"_blank\" rel=\"noopener\">sings along to it\u003c/a> in her latest Netflix rom-com; it’s fueled a long-running \u003ca href=\"https://www.youtube.com/watch?v=TXvRCGrbRMw\" target=\"_blank\" rel=\"noopener\">TikTok meme\u003c/a>; fans put it in their Instagram captions and scream it back to Lizzo during \u003ca href=\"https://datebook.sfchronicle.com/music/lizzo-brings-a-little-love-and-a-whole-lot-of-ass-shaking-to-san-francisco\" target=\"_blank\" rel=\"noopener\">sold-out stops\u003c/a> of her current tour.\u003c/p>\n\u003cp>Here’s the thing: Lizzo didn’t write the line.\u003c/p>\n\u003cp>Instead, it traces back to a viral 2017 tweet by British singer Mina Lioness, whom Lizzo is now \u003ca href=\"https://www.thefader.com/2019/10/28/mina-lioness-lizzo-song-writer-truth-hurts-credit-interview\" target=\"_blank\" rel=\"noopener\">crediting as a co-writer\u003c/a> on the track. After first \u003ca href=\"https://twitter.com/lizzo/status/962053400337641473\" target=\"_blank\" rel=\"noopener\">denying\u003c/a> that Lioness’ tweet was the inspiration, Lizzo conceded that she’d seen a meme that used the phrase. As tweets go viral and continue to influence pop culture, the saga points to the misconceptions many people have about social media and intellectual property. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Contrary to popular belief, tweets are subject to copyright, but only if they possess enough of a \u003cem>degree of originality\u003c/em>—which would be determined by a court if Lioness were to pursue legal action, which she \u003ca href=\"https://twitter.com/MinaLioness/status/1166701225657737217\" target=\"_blank\" rel=\"noopener\">threatened\u003c/a> before Lizzo gave her songwriting credit. (Currently, Lizzo is embattled in a \u003ca href=\"https://pitchfork.com/thepitch/who-wrote-lizzos-truth-hurts-who-knows/\" target=\"_blank\" rel=\"noopener\">separate lawsuit\u003c/a> against Jeremiah Raisen, Justin Raisen and Justin Rothman over “Truth Hurts” authorship.)\u003c/p>\n\u003cp>“The court would look at: what was the intent?” says Lisa Alter, a copyright lawyer \u003cspan style=\"font-weight: 400\">whose clients include numerous Grammy winners and Rock & Roll Hall of Fame inductees\u003c/span>. “Was it used in its entirety? Was it used in a transformative use, which is a subjective, case-by-case evaluation to determine whether it was fair use? Is Lizzo getting commercial benefit from it? … You can’t predict which way a court would come out on that question.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So is the “100 percent that bitch” line original enough to win a copyright suit? Experts aren’t so sure. Ben Depoorter, a copyright law professor from UC Hastings, points out a major barrier: short phrases are excluded from copyright protection as a way to ensure that intellectual property law isn’t used to stifle free speech. “\u003cspan style=\"font-weight: 400\">Even if it’s particularly novel, ingenious or interesting wordplay, a short sentence in and of itself does not entitle you to copyright protection,” he says. (Still, Lizzo recently filed an application\u003ca href=\"https://www.theguardian.com/lifeandstyle/2019/sep/04/lizzo-is-100-that-bitch-but-can-she-trademark-it\" target=\"_blank\" rel=\"noopener\"> to trademark\u003c/a> the phrase “100 percent that bitch” to use on merch.)\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Alter says that Lizzo’s decision to give Lioness songwriting credit could have been a preemptive strike against a potential lawsuit—and from judgment in the court of public opinion. “Mina was saying in her statements that she didn’t have the resources, she’s a poor girl from London,” Alter says. “Lizzo [may have] wanted to ensure that in the public opinion she was doing an equitable thing.”\u003c/span>\u003c/p>\n\u003cp>As the barrier between pop culture and social media becomes more permeable, tweets and social media posts increasingly become fodder for commercial works. For instance, when Beyoncé credited Vampire Weekend’s Ezra Koenig as a songwriter on “Hold Up” from \u003cem>Lemonade\u003c/em>, she also gave a songwriting credit to the members of the Yeah Yeah Yeahs, whose lyrics from “Maps” Koenig interpolated in a tweet that later became the Beyoncé lyric.\u003c/p>\n\u003cp>“Songs become tweets, tweets become songs – it’s the way of the world,” Koenig tweeted in 2016.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>But as far as artists who believe they can take freely from social media posts? “There’s this perception of social media being free, so the rules of copyright don’t apply, and that’s just not the case,” Alter says.\u003c/p>\n\u003cp>Even though tweets are often shared as \u003ca href=\"https://www.vulture.com/2019/02/fuck-jerry-instagram-comedians-unfollow-campaign-elliot-tebele.html\" target=\"_blank\" rel=\"noopener\">decontextualized screen shots, often with the author’s name cropped out\u003c/a>, Alter advises artists and musicians to track down the source of their inspiration and give credit when possible. “[The ‘Truth Hurts’ lyric] clearly was something that was identified with someone who is a performer,” says Alter. “Mina is a performer in her own right, she is findable. And to the extent that there was any question on Lizzo’s part that this was a creation of Mina’s, she should have reached out to her before using it. But that’s to be on the safest side.”\u003c/p>\n\u003cp>Still, for many, attempting to recoup damages from a stolen tweet is a risky, costly and time-consuming endeavor. And as long as social media provides a platform for creators with few resources to grow followings, their content is at risk of being co-opted by brands or more successful artists.\u003c/p>\n\u003cp>There is a positive side to this, though, Depoorter points out: Though the law may not always work in social media users’ favor, the ability to shame someone on Twitter certainly does.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The law doesn’t do a lot of lifting,” he says. “But the social aspects of being called out for doing something unfair even though it’s not illegal are quite severe.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Watch: Macaulay Culkin Dancing Onstage With Lizzo Because He is Awesome Now",
"headTitle": "Watch: Macaulay Culkin Dancing Onstage With Lizzo Because He is Awesome Now | KQED",
"content": "\u003cp>For a while there, in the aftermath of his \u003cem>Home Alone\u003c/em> fame, it seemed like Macaulay Culkin might go the route of the tragic child star. He fired his own dad for stealing money from him; he got married at age 18 and was separated by 20; he was briefly jailed in 2004 for possession of weed and a variety of prescription pills. He was \u003cem>also\u003c/em> friends with Michael Jackson, for crying out loud.\u003c/p>\n\u003cp>But in the last decade, Macaulay Culkin has fashioned a place for himself in American pop culture that is consistently and unequivocally a surreal joy to behold—and he doesn’t get nearly enough mainstream attention for it.\u003c/p>\n\u003cp>Just this week, he took it upon himself to jump on stage with Lizzo at the Hollywood Palladium in order to do “The Sprinkler” and a bunch of other dance moves that suggest he knows exactly how bad he is at dancing.\u003c/p>\n\u003cp>Still, he was pleased enough with the end result to post a clip to Twitter:\u003c/p>\n\u003cp>https://twitter.com/IncredibleCulk/status/1186536743379456000\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Culkin has the unique distinction of being an ex-child star who, instead of diving headfirst into a pile of self-loathing and self-destruction when his star faded, has instead turned himself into a very lovable cult figure.\u003c/p>\n\u003cp>In case you haven’t been following him, this is a man who spends his spare time showing up to underground wrestling matches and throwing \u003ca href=\"https://www.youtube.com/watch?v=Qx54quy9tDQ\" target=\"_blank\" rel=\"noopener noreferrer\">balls into the ring\u003c/a>, Kevin McCallister-style. This is a man who spent three years in a Velvet Underground cover band that re-wrote all those classic Lou Reed lyrics so they’d be about pizza.\u003c/p>\n\u003cp>Pizza Underground made it clear that Culkin was basically just hanging out with un-famous people in Los Angeles, behaving like an art school student who definitely hadn’t made $20 million before the age of 14.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=129&v=1Tn3rXeylkQ\u003c/p>\n\u003cp>For years now, Culkin has been living his best Warholian life. In 2012, he turned his $2 million New York loft into an \u003ca href=\"https://www.dailymail.co.uk/femail/article-2272202/Macaulay-Culkin-opens-doors-trippy-2million-apartment-turned-art-studio-strewn-cigarettes-alcohol.html\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ workshop\u003c/a> and invited two members of The Moldy Peaches to live with him. When a reporter and photographer from \u003ca href=\"http://bullettmedia.com/article/inside-macaulay-culkins-bizarre-art-collective/2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bullett\u003c/em> magazine\u003c/a> went over to see what was going on, Culkin and his roommates showed them around, while \u003cem>all\u003c/em> dressed up as Kurt Cobain.\u003c/p>\n\u003cp>Since starting a lifestyle parody website and podcast named \u003cem>Bunny Ears\u003c/em> last year, articles from the site have included: “\u003ca href=\"https://bunnyears.com/mack-interviews-my-girl-bees/\" target=\"_blank\" rel=\"noopener noreferrer\">Exclusive: Macaulay Culkin Interviews the Swarm of Bees From ‘My Girl’\u003c/a>” and, in reference to that famous scene from \u003cem>Mrs. Doubtfire: \u003c/em>“\u003ca href=\"https://bunnyears.com/cakes-to-smash-into-your-face-when-trying-to-fool-a-social-worker/\" target=\"_blank\" rel=\"noopener noreferrer\">The Best Cakes to Smash Into Your Face When Trying to Fool a Social Worker\u003c/a>.”\u003c/p>\n\u003cp>Culkin’s YouTube channel is even more ridiculous, featuring (among other things) video after video of him telling you he’s going to teach you how to beat a variety of retro games (like \u003ca href=\"https://www.youtube.com/watch?v=xi7rS99gLyU\" target=\"_blank\" rel=\"noopener noreferrer\">Simon\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BpYkQnKYY40\" target=\"_blank\" rel=\"noopener noreferrer\">Rubik’s Cube\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=oe0Ex-LmYgc\" target=\"_blank\" rel=\"noopener noreferrer\">Battleship\u003c/a>), while never actually teaching you how to beat retro games. He probably doesn’t ever succeed at his end goal because of the copious amounts of white wine he drinks throughout.\u003c/p>\n\u003cp>Ultimately, Culkin has figured out ways to be artistically fulfilled without following the Hollywood path that made him famous. He cares about art, and music, and making you laugh, and—most importantly—he doesn’t care about \u003ca href=\"https://www.youtube.com/watch?v=JONGt32mfRY\" target=\"_blank\" rel=\"noopener noreferrer\">making fun of himself\u003c/a>, or looking silly in the process. What’s more, Culkin has taken ownership of all the things the public found so annoying when he was at the peak of his fame in the ’90s, and embraced them in a way that screams self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With all that considered, it’s no wonder he’s friends with Lizzo.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a while there, in the aftermath of his \u003cem>Home Alone\u003c/em> fame, it seemed like Macaulay Culkin might go the route of the tragic child star. He fired his own dad for stealing money from him; he got married at age 18 and was separated by 20; he was briefly jailed in 2004 for possession of weed and a variety of prescription pills. He was \u003cem>also\u003c/em> friends with Michael Jackson, for crying out loud.\u003c/p>\n\u003cp>But in the last decade, Macaulay Culkin has fashioned a place for himself in American pop culture that is consistently and unequivocally a surreal joy to behold—and he doesn’t get nearly enough mainstream attention for it.\u003c/p>\n\u003cp>Just this week, he took it upon himself to jump on stage with Lizzo at the Hollywood Palladium in order to do “The Sprinkler” and a bunch of other dance moves that suggest he knows exactly how bad he is at dancing.\u003c/p>\n\u003cp>Still, he was pleased enough with the end result to post a clip to Twitter:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Culkin has the unique distinction of being an ex-child star who, instead of diving headfirst into a pile of self-loathing and self-destruction when his star faded, has instead turned himself into a very lovable cult figure.\u003c/p>\n\u003cp>In case you haven’t been following him, this is a man who spends his spare time showing up to underground wrestling matches and throwing \u003ca href=\"https://www.youtube.com/watch?v=Qx54quy9tDQ\" target=\"_blank\" rel=\"noopener noreferrer\">balls into the ring\u003c/a>, Kevin McCallister-style. This is a man who spent three years in a Velvet Underground cover band that re-wrote all those classic Lou Reed lyrics so they’d be about pizza.\u003c/p>\n\u003cp>Pizza Underground made it clear that Culkin was basically just hanging out with un-famous people in Los Angeles, behaving like an art school student who definitely hadn’t made $20 million before the age of 14.\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/1Tn3rXeylkQ'\n title='//www.youtube.com/embed/1Tn3rXeylkQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For years now, Culkin has been living his best Warholian life. In 2012, he turned his $2 million New York loft into an \u003ca href=\"https://www.dailymail.co.uk/femail/article-2272202/Macaulay-Culkin-opens-doors-trippy-2million-apartment-turned-art-studio-strewn-cigarettes-alcohol.html\" target=\"_blank\" rel=\"noopener noreferrer\">artists’ workshop\u003c/a> and invited two members of The Moldy Peaches to live with him. When a reporter and photographer from \u003ca href=\"http://bullettmedia.com/article/inside-macaulay-culkins-bizarre-art-collective/2/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Bullett\u003c/em> magazine\u003c/a> went over to see what was going on, Culkin and his roommates showed them around, while \u003cem>all\u003c/em> dressed up as Kurt Cobain.\u003c/p>\n\u003cp>Since starting a lifestyle parody website and podcast named \u003cem>Bunny Ears\u003c/em> last year, articles from the site have included: “\u003ca href=\"https://bunnyears.com/mack-interviews-my-girl-bees/\" target=\"_blank\" rel=\"noopener noreferrer\">Exclusive: Macaulay Culkin Interviews the Swarm of Bees From ‘My Girl’\u003c/a>” and, in reference to that famous scene from \u003cem>Mrs. Doubtfire: \u003c/em>“\u003ca href=\"https://bunnyears.com/cakes-to-smash-into-your-face-when-trying-to-fool-a-social-worker/\" target=\"_blank\" rel=\"noopener noreferrer\">The Best Cakes to Smash Into Your Face When Trying to Fool a Social Worker\u003c/a>.”\u003c/p>\n\u003cp>Culkin’s YouTube channel is even more ridiculous, featuring (among other things) video after video of him telling you he’s going to teach you how to beat a variety of retro games (like \u003ca href=\"https://www.youtube.com/watch?v=xi7rS99gLyU\" target=\"_blank\" rel=\"noopener noreferrer\">Simon\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=BpYkQnKYY40\" target=\"_blank\" rel=\"noopener noreferrer\">Rubik’s Cube\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=oe0Ex-LmYgc\" target=\"_blank\" rel=\"noopener noreferrer\">Battleship\u003c/a>), while never actually teaching you how to beat retro games. He probably doesn’t ever succeed at his end goal because of the copious amounts of white wine he drinks throughout.\u003c/p>\n\u003cp>Ultimately, Culkin has figured out ways to be artistically fulfilled without following the Hollywood path that made him famous. He cares about art, and music, and making you laugh, and—most importantly—he doesn’t care about \u003ca href=\"https://www.youtube.com/watch?v=JONGt32mfRY\" target=\"_blank\" rel=\"noopener noreferrer\">making fun of himself\u003c/a>, or looking silly in the process. What’s more, Culkin has taken ownership of all the things the public found so annoying when he was at the peak of his fame in the ’90s, and embraced them in a way that screams self-acceptance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With all that considered, it’s no wonder he’s friends with Lizzo.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "10 Things You Might As Well Know About The 2019 VMAs",
"headTitle": "10 Things You Might As Well Know About The 2019 VMAs | KQED",
"content": "\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\u003c/p>\n\u003cp>https://youtu.be/i9I-ut1TXoA\u003c/p>\n\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Uo0RK_olDb4\u003c/p>\n\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\u003c/p>\n\u003cp>https://youtu.be/eIRCskNRTDY\u003c/p>\n\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\u003c/p>\n\u003cp>https://youtu.be/RQJGqgq7MeE\u003c/p>\n\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\u003c/p>\n\u003cp>https://youtu.be/wC53WdkG44w\u003c/p>\n\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\u003c/p>\n\u003cp>https://youtu.be/BjMQC_bnaNE\u003c/p>\n\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\u003c/p>\n\u003cp>https://youtu.be/LBxTDp6Cpyg\u003c/p>\n\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE SUMMER\u003c/strong>\u003cbr>\nAriana Grande & Social House, “boyfriend”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 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=10+Things+You+Might+As+Well+Know+About+The+2019+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Monday night's MTV Video Music Awards brought lots of Taylor Swift and Missy Elliott, not to mention Lizzo, Normani, Lil Nas X, Rosalía and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\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/i9I-ut1TXoA'\n title='//www.youtube.com/embed/i9I-ut1TXoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Uo0RK_olDb4'\n title='//www.youtube.com/embed/Uo0RK_olDb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\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/eIRCskNRTDY'\n title='//www.youtube.com/embed/eIRCskNRTDY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\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/qOSSmwK-PR0'\n title='//www.youtube.com/embed/qOSSmwK-PR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\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/RQJGqgq7MeE'\n title='//www.youtube.com/embed/RQJGqgq7MeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\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/wC53WdkG44w'\n title='//www.youtube.com/embed/wC53WdkG44w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\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/BjMQC_bnaNE'\n title='//www.youtube.com/embed/BjMQC_bnaNE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\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/LBxTDp6Cpyg'\n title='//www.youtube.com/embed/LBxTDp6Cpyg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE SUMMER\u003c/strong>\u003cbr>\nAriana Grande & Social House, “boyfriend”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 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=10+Things+You+Might+As+Well+Know+About+The+2019+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Liberated Pop Future Missy Elliott Envisioned is Now",
"headTitle": "The Liberated Pop Future Missy Elliott Envisioned is Now | KQED",
"content": "\u003cp>For over two decades, Missy Elliott has created with her eyes and ears towards the future.\u003c/p>\n\u003cp>She was body positive before it was a marketing gimmick (“\u003ca href=\"https://www.youtube.com/watch?v=atIvKSfKDOA\" target=\"_blank\" rel=\"noopener noreferrer\">I got a cute face / chubby waist\u003c/a>“). She \u003ca href=\"https://www.youtube.com/watch?v=9UvBX3REqSY\" target=\"_blank\" rel=\"noopener noreferrer\">embraced Afrofuturism\u003c/a> before it became part of the pop culture lexicon. She went overseas to Korea to work with \u003ca href=\"https://www.youtube.com/watch?v=8VjE4RHZAaI\" target=\"_blank\" rel=\"noopener noreferrer\">G-Dragon\u003c/a> before K-Pop charted on Billboard. And, from 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=hHcyJPTTn9w\" target=\"_blank\" rel=\"noopener noreferrer\">The Rain (Supa Dupa Fly)\u003c/a>” to 2019’s “\u003ca href=\"https://www.youtube.com/watch?v=9rOKdATrV4g\" target=\"_blank\" rel=\"noopener noreferrer\">Throw It Back\u003c/a>,” she produced, rapped, danced and sang at the highest level, and used her talents to make listeners feel like their best, most liberated selves.\u003c/p>\n\u003cp>Justin Timberlake was right, speaking in \u003ca href=\"https://www.youtube.com/watch?v=pjDz-B-m0Vw\" target=\"_blank\" rel=\"noopener noreferrer\">the testimonials\u003c/a> that played on MTV before Elliott took the VMA stage: her reception of the Video Vanguard Award at tonight’s ceremony was an incredibly belated accolade. And the technicolor celebration of self-love, blackness, immigrant identity, queerness and fatness on display throughout the awards proved that Elliott’s pop music philosophy—the rhythm’s potential to free us from shame so we can all celebrate our bodies, identities and selves—has come to fruition and then some in 2019.\u003c/p>\n\u003cp>On stage at the VMAs, Missy Elliott took fans through 20 years of career highlights in a dazzling seven-minute show filled with airtight choreography, CGI visuals and homages to her best-known music videos. She and her dancers revisited era-defining tracks like “Lose Control,” “Get Your Freak On” and “Work It,” which included a show-stopping dance number from \u003ca href=\"https://twitter.com/vmas/status/1166157038331867136?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Alyson Stoner\u003c/a>, the little girl in the video now all grown up.\u003c/p>\n\u003cp>Elliott’s iconic inflatable suit made an appearance during “The Rain (Supa Dupa Fly),” the outfit in which she defiantly, exaggeratedly took up space during \u003ca href=\"https://www.nytimes.com/1997/09/07/arts/the-model-who-invented-heroin-chic.html\" target=\"_blank\" rel=\"noopener noreferrer\">peak heroin chic\u003c/a> in the late ’90s. We saw the cornfields from the “Pass That Dutch” video transform from historical sites of exploitation into a party for black ingenuity. Set designs, costume changes and complex group choreography flowed from one track into the next so quickly and seamlessly that it was easy to forget to breathe.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MTV/status/1166161090331500544?s=20\u003c/p>\n\u003cp>This was Elliott’s night, and her influence echoed throughout the VMAs before and after her performance. Lil Nas X’s rendition of “\u003ca href=\"https://twitter.com/MTVNEWS/status/1166151868776624128?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Panini\u003c/a>,” where he danced in a black-lit, neon robot outfit in a set reminiscent of \u003cem>Blade Runner\u003c/em>, recalled the cowboy-meets-cyborg getups Elliott wore in the “\u003ca href=\"https://www.youtube.com/watch?v=opkRF3UZSJw\" target=\"_blank\" rel=\"noopener noreferrer\">She’s a Bitch\u003c/a>” music video from 1999.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/lizzo/status/1166185191444033541?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Lizzo\u003c/a>, whose work descents from Elliott’s fat-positive, sex-positive vision of self-love, and with whom Elliott collaborated this year on the thick-girl anthem “Tempo,” took the stage with dancers of all shapes and sizes in front of a giant, jiggling booty. In the testimonials that played before Elliott’s turn to take the stage, Lizzo teared up while recalling the magnitude of Elliott’s influence. And Normani’s impressively athletic choreography during her performance of “\u003ca href=\"https://twitter.com/MTV/status/1166182278701228034?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Motivation\u003c/a>” seemed inspired by Ciara—an artist Elliott developed and produced early on in her career.\u003c/p>\n\u003cp>https://twitter.com/LilNasX/status/1166193669302562823?s=20\u003c/p>\n\u003cp>Elliott and the Gen Z and millennial artists she’s influenced imbued the VMAs with a refreshing sense of joy missing on the show in recent years, and the air of celebration carried over into the rest of the night, as people of a wide variety of identities historically underrepresented on MTV got a chance to shine. Taylor Swift brought a gaggle of queer and trans artists on stage after winning the Video for Good award for “You Need to Calm Down,” and stepped aside as executive producer \u003ca href=\"https://www.etonline.com/todrick-hall-delivers-moving-words-for-taylor-swift-while-helping-her-accept-award-at-2019-mtv-vmas\" target=\"_blank\" rel=\"noopener noreferrer\">Todrick Hall\u003c/a> gave the acceptance speech.\u003c/p>\n\u003cp>Performances from Ozuna, J Balvin and Bad Bunny (and J Balvin’s heartfelt speech when he accepted the Best Latin award with Rosalía for “Con Altura”) brimmed with Latinx pride. And the introduction of the new Best K-Pop category further attested to the evening’s celebration of many different cultural identities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Missy Elliott herself hasn’t publicly addressed all of these issues (for instance, she’s widely regarded as a queer icon, despite being completely private about her personal life). But she has clearly empowered by example. Her music’s message of acceptance and celebration came through loud and clear, reverberating through decades of pop until it reflected back at her on the 2019 VMA stage.\u003c/p>\n\n",
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"excerpt": "The diverse 2019 VMAs proved Missy Elliott's celebratory message of self-acceptance was decades ahead of its time.",
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"description": "The diverse 2019 VMAs proved Missy Elliott's celebratory message of self-acceptance was decades ahead of its time.",
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"headline": "The Liberated Pop Future Missy Elliott Envisioned is Now",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For over two decades, Missy Elliott has created with her eyes and ears towards the future.\u003c/p>\n\u003cp>She was body positive before it was a marketing gimmick (“\u003ca href=\"https://www.youtube.com/watch?v=atIvKSfKDOA\" target=\"_blank\" rel=\"noopener noreferrer\">I got a cute face / chubby waist\u003c/a>“). She \u003ca href=\"https://www.youtube.com/watch?v=9UvBX3REqSY\" target=\"_blank\" rel=\"noopener noreferrer\">embraced Afrofuturism\u003c/a> before it became part of the pop culture lexicon. She went overseas to Korea to work with \u003ca href=\"https://www.youtube.com/watch?v=8VjE4RHZAaI\" target=\"_blank\" rel=\"noopener noreferrer\">G-Dragon\u003c/a> before K-Pop charted on Billboard. And, from 1997’s “\u003ca href=\"https://www.youtube.com/watch?v=hHcyJPTTn9w\" target=\"_blank\" rel=\"noopener noreferrer\">The Rain (Supa Dupa Fly)\u003c/a>” to 2019’s “\u003ca href=\"https://www.youtube.com/watch?v=9rOKdATrV4g\" target=\"_blank\" rel=\"noopener noreferrer\">Throw It Back\u003c/a>,” she produced, rapped, danced and sang at the highest level, and used her talents to make listeners feel like their best, most liberated selves.\u003c/p>\n\u003cp>Justin Timberlake was right, speaking in \u003ca href=\"https://www.youtube.com/watch?v=pjDz-B-m0Vw\" target=\"_blank\" rel=\"noopener noreferrer\">the testimonials\u003c/a> that played on MTV before Elliott took the VMA stage: her reception of the Video Vanguard Award at tonight’s ceremony was an incredibly belated accolade. And the technicolor celebration of self-love, blackness, immigrant identity, queerness and fatness on display throughout the awards proved that Elliott’s pop music philosophy—the rhythm’s potential to free us from shame so we can all celebrate our bodies, identities and selves—has come to fruition and then some in 2019.\u003c/p>\n\u003cp>On stage at the VMAs, Missy Elliott took fans through 20 years of career highlights in a dazzling seven-minute show filled with airtight choreography, CGI visuals and homages to her best-known music videos. She and her dancers revisited era-defining tracks like “Lose Control,” “Get Your Freak On” and “Work It,” which included a show-stopping dance number from \u003ca href=\"https://twitter.com/vmas/status/1166157038331867136?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Alyson Stoner\u003c/a>, the little girl in the video now all grown up.\u003c/p>\n\u003cp>Elliott’s iconic inflatable suit made an appearance during “The Rain (Supa Dupa Fly),” the outfit in which she defiantly, exaggeratedly took up space during \u003ca href=\"https://www.nytimes.com/1997/09/07/arts/the-model-who-invented-heroin-chic.html\" target=\"_blank\" rel=\"noopener noreferrer\">peak heroin chic\u003c/a> in the late ’90s. We saw the cornfields from the “Pass That Dutch” video transform from historical sites of exploitation into a party for black ingenuity. Set designs, costume changes and complex group choreography flowed from one track into the next so quickly and seamlessly that it was easy to forget to breathe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This was Elliott’s night, and her influence echoed throughout the VMAs before and after her performance. Lil Nas X’s rendition of “\u003ca href=\"https://twitter.com/MTVNEWS/status/1166151868776624128?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Panini\u003c/a>,” where he danced in a black-lit, neon robot outfit in a set reminiscent of \u003cem>Blade Runner\u003c/em>, recalled the cowboy-meets-cyborg getups Elliott wore in the “\u003ca href=\"https://www.youtube.com/watch?v=opkRF3UZSJw\" target=\"_blank\" rel=\"noopener noreferrer\">She’s a Bitch\u003c/a>” music video from 1999.\u003c/p>\n\u003cp>\u003ca href=\"https://twitter.com/lizzo/status/1166185191444033541?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Lizzo\u003c/a>, whose work descents from Elliott’s fat-positive, sex-positive vision of self-love, and with whom Elliott collaborated this year on the thick-girl anthem “Tempo,” took the stage with dancers of all shapes and sizes in front of a giant, jiggling booty. In the testimonials that played before Elliott’s turn to take the stage, Lizzo teared up while recalling the magnitude of Elliott’s influence. And Normani’s impressively athletic choreography during her performance of “\u003ca href=\"https://twitter.com/MTV/status/1166182278701228034?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">Motivation\u003c/a>” seemed inspired by Ciara—an artist Elliott developed and produced early on in her career.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Elliott and the Gen Z and millennial artists she’s influenced imbued the VMAs with a refreshing sense of joy missing on the show in recent years, and the air of celebration carried over into the rest of the night, as people of a wide variety of identities historically underrepresented on MTV got a chance to shine. Taylor Swift brought a gaggle of queer and trans artists on stage after winning the Video for Good award for “You Need to Calm Down,” and stepped aside as executive producer \u003ca href=\"https://www.etonline.com/todrick-hall-delivers-moving-words-for-taylor-swift-while-helping-her-accept-award-at-2019-mtv-vmas\" target=\"_blank\" rel=\"noopener noreferrer\">Todrick Hall\u003c/a> gave the acceptance speech.\u003c/p>\n\u003cp>Performances from Ozuna, J Balvin and Bad Bunny (and J Balvin’s heartfelt speech when he accepted the Best Latin award with Rosalía for “Con Altura”) brimmed with Latinx pride. And the introduction of the new Best K-Pop category further attested to the evening’s celebration of many different cultural identities.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Missy Elliott herself hasn’t publicly addressed all of these issues (for instance, she’s widely regarded as a queer icon, despite being completely private about her personal life). But she has clearly empowered by example. Her music’s message of acceptance and celebration came through loud and clear, reverberating through decades of pop until it reflected back at her on the 2019 VMA stage.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Fascination, Friendship And Desire: Kathleen Hanna On The Reign Of 'Rebel Girl'",
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"content": "\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The radio version of this story includes conversations with campers and counselors at girls’ rock camps, where “Rebel Girl” has become essential listening. Hear the piece at the audio link. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>There’s something contradictory about the very idea of a punk rock anthem. From original snotheads the Sex Pistols to contemporary insurgents Pussy Riot, punk bands kick down norms to make space for new ideas; their music smashes through the rhetoric that often gets people singing choruses en masse. Punk is meant to clear the head, not fill it with sentimental feelings. So it’s notable when a punk song survives its own explosion to become a uniting force for generations beyond its bloody birth. This is the story of “\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">Rebel Girl\u003c/a>,” the 1993 song by the feminist punk band \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> that still echoes through the hearts of girls and women today.\u003c/p>\n\u003cp>Bikini Kill was the emblematic band in the early-1990s riot grrrl movement, which sought to prove that feminism could become a central element within punk and fundamentally change the music in the process. Hanna, with her alarm bell of a voice and kinetic, funny, sometimes cutting presence, became riot grrrl’s most visible torch-bearer. The band stayed together for seven years, releasing a small discography full of nonstop attacks on sexism and celebrations of independence and self-love. Its breakup in 1997 and the eventual waning of riot grrrl felt to many like the inevitable demise of a dream too brilliant to last.\u003c/p>\n\u003cp>https://youtu.be/jfCqCKY5nUc\u003c/p>\n\u003cp>Twenty-plus years after riot grrrl peaked, however, its influence runs even more strongly through punk and the larger independent music world, and “Rebel Girl” is the song that most often signals its continued relevance. As younger artists from \u003ca href=\"https://www.npr.org/artists/465284166/lucy-dacus\">Lucy Dacus\u003c/a> to \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> carry riot grrrl’s messages forward into the new millennium, even younger girls around the world learn Bikini Kill’s anthem — often as part of the introduction to both music and feminism they receive at rock and roll camp.\u003c/p>\n\u003cp>Since the first rock camp for girls was founded by women directly inspired by riot grrrl nearly 20 years ago, these summer enclaves have multiplied around the world; the \u003ca href=\"https://www.girlsrockcampalliance.org/\">Girls’ Rock Camp Alliance\u003c/a> includes members from Buenos Aires to Pittsburgh to Tokyo. Thousands of kids aged 8 to 18 — mostly girls, though a few coed sessions aim to educate boys and welcome non-binary children — form their own bands, write their own songs and encounter riot grrrl’s feminist, anti-racist, LGBTQI-positive principles. And they yell out the inspiring, secretly deep lyrics to “Rebel Girl” in instrument classes and at camp showcases, to instructors and parents who loved it back when and hear it reborn in the voices of the girls they love.\u003c/p>\n\u003cp>Bikini Kill’s members found other ways to do the work they pursued in that band. Kathleen Hanna founded two influential groups, the electronic-based \u003ca href=\"https://www.npr.org/artists/15183638/le-tigre\">Le Tigre\u003c/a> and pop-punkers \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>, finding new ways to explore the intersection of politics and her own subjectivity. She’s proud of riot grrrl’s enduring legacy, especially as it’s flourished at rock camps; in fact, she’s served as a counselor at the Willie Mae Rock Camp in New York.\u003c/p>\n\u003cp>As part of NPR’s \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">American Anthem\u003c/a> series, I spoke with Hanna about the song’s origins and continued resonance. (You can hear the full radio piece, including interviews with girls’ rock campers and counselors, at the audio link on this page.) The story of the song, it turns out, can serve as a pocket history of riot grrrl, a movement that was always as full of love and constructive confusion as it was grounded in revolutionary ideas. Bikini Kill reunited this year for a handful of tour dates in the U.S. and England; “Rebel Girl” became a huge singalong on every date. “It feels great,” Hanna says of singing the song now, to crowds of 5,000 people instead of basements of 10 or 20. “It kind of feels like coming home, but somebody fixed your house up really nice. You know what I mean? Like, we’re not sleeping in the van anymore.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ann Powers: Tell me how the writing of “Rebel Girl” came about. I heard it was inspired by a friend. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kathleen Hanna:\u003c/strong> It was inspired by a bunch of friends. Bikini Kill was living in D.C., in this punk house called the Embassy. There was no air conditioning, and we were in the basement just writing songs. Me and Allison Wolfe [of the band Bratmobile] had started doing this group that later became riot grrrl, and it was a bunch of girls talking about starting bands and zines and how we could be feminist in the scene, including doing benefits for other groups that weren’t directly, you know, feminist with a capital “F.” I was also being mentored at the time by the spoken-word artist Juliana Luecking, who has always given me great advice and shown me the ropes as a feminist artist.\u003c/p>\n\u003cp>All of those girls were totally inspiring me, and the riot grrrl thing was inspiring me, and it was really like I just stuck my hand up in the air and there it was. I don’t really feel like I can take credit for writing it — I feel like it just kind of wrote itself.\u003c/p>\n\u003cp>\u003cstrong>I can definitely feel that in how the lyrics shift between various stances. It’s directed at one person narratively, but it is also an embrace that directs itself to anyone it touches. You wrote it as a young adult, but it could be the voice of a young girl — the rhetoric of it, the language of it. Did you feel like you were blending more than one voice in the song?\u003c/strong>\u003c/p>\n\u003cp>I mean, that was like my whole shtick in the ’90s. We were all talking about not being binary, not having a single narrator, all that kind of postmodernist stuff. And so of course, I was really influenced by the idea that identity is fluid. [But] it’s also that childhood, sexy feeling of having a crush on someone, where you don’t really understand what’s happening. … I always liked the older, kind of bitchy girls in my neighborhood, who used to leave me out of things. I wanted to be them, or be like them, or make out with them — I didn’t really know. [With “Rebel Girl”] I was kind of like, “All of the above.”\u003c/p>\n\u003cp>\u003cstrong>To me, the key line is in the chorus, when you sing: “I think wanna take you home / I wanna try on your clothes.” Because “I want to take you home” is a line that’s in every dude rock song, as a come-on. But then, surprise — I’m going to try on your clothes. Tell me about that line.\u003c/strong>\u003c/p>\n\u003cp>We had a thing in Bikini Kill where whoever looked best in an outfit got to keep it. The bad thing about that was, if my suitcase was open, I would come in and find Tobi and Kathi trying on all my clothes. And they looked better in a lot of my clothes than I did! Even if you’d just bought a dress, if someone else put it on and they looked just so great in it, you had to give it to them.\u003c/p>\n\u003cp>[aside postID=pop_111468,arts_13855938,arts_13808185;arts_13808185 label='Read More Bikini Kill Stories']\u003c/p>\n\u003cp>\u003cstrong>When my daughter was in her punk band, they did that. I never knew whose clothes I was washing. \u003c/strong>\u003c/p>\n\u003cp>But actually, when we wrote that song, the band was not getting along very well. And I think that’s really interesting, because there’s this total myth — especially when you have more than one woman in a band — that our friendship being really great is so important for us to be artistically productive. Sometimes our friendship was really bad: We weren’t communicating great, people weren’t adjusting to D.C. very well, I was working a lot. But we still wrote the song that everybody likes the best during that time period.\u003c/p>\n\u003cp>\u003cstrong>I think this correlates really well to what rock camps try to teach girls. At rock camp you have to form a band, and by the end of the week, write a song and perform it on stage. You aren’t necessarily going to get along with the girls in your band — and all those emotions happen in hyperdrive at camp. Twelve-year-old girls are expected to have girl power and be friends and support each other at all times, but then there’s the dark side of that, right? There’s something about “Rebel Girl” that acknowledges that tension and hostility, even within the performance of desire and connection.\u003c/strong>\u003c/p>\n\u003cp>I’m glad to hear that. I mean, the fact I wished things were better with me and Tobi and me and Kathi at that time — I’m sure there was a certain longing that came out in that song, because I missed being super close with them.\u003c/p>\n\u003cp>\u003cstrong>So let’s talk about recording the song, which the band did three times\u003c/strong>: \u003ca href=\"https://youtu.be/nrWYO2ylUFo?t=566\">\u003cstrong>once for a split record\u003c/strong>\u003c/a>\u003cstrong> with the British band Huggy Bear, \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=8yhk7f0ydq4\">\u003cstrong>once for your album\u003c/strong>\u003c/a> \u003cem>\u003cstrong>Pussy Whipped\u003c/strong>\u003c/em>\u003cstrong>, and a \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">\u003cstrong>single version\u003c/strong>\u003c/a>\u003cstrong> that Joan Jett produced, which is the version that’s most often heard now.\u003c/strong>\u003c/p>\n\u003cp>Third time’s the charm.\u003c/p>\n\u003cp>\u003cstrong>I read an interview where you talked about working with Jett, who of course is an icon of punk and of women in rock, but also her producer Kenny Laguna, who had done a lot of studio and pop work — I think he worked with The Archies. Did that pop side infuse that version of “Rebel Girl”?\u003c/strong>\u003c/p>\n\u003cp>Oh, definitely. I mean, he was in Tommy James and the Shondells. He was in The Shangri-Las for a while. He worked in the Brill Building doing bubblegum songs, like Fruitgum Company-type stuff. And I think that’s what works about the single that doesn’t work about anything else.\u003c/p>\n\u003cp>The song has this raw kind of emotional power. That sounds really cheesy if I’m saying it about my own song, but I’m just going to say it, because who cares. And if you take this song that’s kind of raw and put this bubblegum veneer over it, it creates this tension that is, to me, really electrifying and satisfying. It’s like I’m trying to scream myself out of this beautiful bubble. It needed to be produced like that because it provided a contrast to how raw the material was.\u003c/p>\n\u003cp>\u003cstrong>That also might be one reason why it works so well when a when a 12- to 15-year-old girl gets a hold of it. When you’re 12 you can feel that intense raw feeling about lots of things — about makeup, or about glitter, or about hamburgers. That is a beautiful state of humanity, to be able to feel out of control about something that seems mundane. “Rebel Girl” is about very deep things, but it’s also mixing in those elements of the pop world. It seems to work for that age. \u003c/strong>\u003c/p>\n\u003cp>Well, also, it’s a song about not having to decide. Like, I had a huge crush on my best friend in junior high — I hope she doesn’t hear this — and when she got married, I had a nervous breakdown. Because I realized that in my childhood head I had set out this thing that someday we’d be on a, you know, rocking chair porch together or something. She was my best friend, and I had a super-big crush on her, and I didn’t know how to tell her. And then I just was like, “Well, I can be friends with her \u003cem>and\u003c/em> have a crush on her. It’s fine.”\u003c/p>\n\u003cp>You don’t have to only have a song be about desire, or only be about politics, or only be about a certain kind of love. It can be about a friendship love that also has a sexy element to it. Or if you want to read it a different way, like I’m singing to my girlfriend, fine. I just really like to write songs [with] the idea that you can be a lot of different things at once.\u003c/p>\n\u003cp>\u003cstrong>You’ve told a story about Bikini Kill being in the U.K. with Huggy Bear, where you heard people singing “Rebel Girl” through the wall from backstage. Do you remember this?\u003c/strong>\u003c/p>\n\u003cp>Oh my God, yes. I think there was, like, a bomb threat on the club — because of us, ostensibly. And there were a lot of guys there who were yelling stuff already at the opening band. We were in the dressing room, and we kind of just kept putting more and more makeup on, trying to avoid going downstairs, because we were scared: “Wait, should we cancel? What do we do?”\u003c/p>\n\u003cp>And then the girls in the crowd started singing “Rebel Girl” — like, chanting and clapping. And we just knew exactly what to do: We walked down the stairs and Tobi started playing that beat, and we sang with them. That was the only night that we ever started a show with “Rebel Girl.” And it was [still] a very aggressive, hostile show: There were guys screaming “Show us your t***” and calling us the c-word. I don’t know if we would have come down the stairs without those girls. It was one of those moments that happened in that band once or twice a year where you’re like, “We’re all together in this.” They were saying, “We want you, and we’re going to protect you.”\u003c/p>\n\u003cp>\u003cstrong>I love that you say that they wanted you. But I wonder if you felt in that moment that the song was an instrument of power for these girls, too. It wasn’t just about wanting you — it was about them protecting themselves via the song, in a way. \u003c/strong>\u003c/p>\n\u003cp>It’s a really different song when it’s chanted with no music: It was so much more beautiful, the way that they employed it, than I could ever sing it myself. They were letting us know that they were there, like a kind of Morse code, so we could hear through the floor that they wanted us to come down. Like, the song’s not about that: It’s not about, “Hey, band, please come downstairs and play a show for us.” But that’s what they communicated by the way they sang the song.\u003c/p>\n\u003cfigure id=\"attachment_13863823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863823\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg\" alt=\"Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c.jpg 1487w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s. \u003ccite>(Tammy Rae Carland/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You licensed “Rebel Girl” to the video game \u003c/strong>\u003cem>\u003cstrong>Rock Band\u003c/strong>\u003c/em>\u003cstrong> in 2008. In reporting on this song I’ve found it’s used in music education programs all over, not just at girls’ rock camps. I wonder if you think putting the song in that game expanded its reach, where it’s maybe reached girls that wouldn’t have otherwise had a chance to hear it. \u003c/strong>\u003c/p>\n\u003cp>Yes, and that’s exactly why I pushed for it. I just heard a podcast two days ago where the woman — I think she’s in her 20s — started off saying, “The first time I heard Bikini Kill was at my friend’s party, playing \u003cem>Rock Band\u003c/em>.” That was her first foray into the feminism mixing with punk thing, and now she has a podcast about women in music. It worked! Even just that one person.\u003c/p>\n\u003cp>You know what the really big thing is? \u003cem>10 Things I Hate About You\u003c/em>. Heath Ledger’s trying to impress Julia Stiles about his musical taste, and he says “Oh, I’m really into Bikini Kill,” or something like that. That was the sound of girls going onto the internet and checking it out; we got so many fans from that. I mean, I didn’t grow up with parents who listened to alternative or indie music or punk music or anything: We listened to a lot of Lynyrd Skynyrd and Molly Hatchet, me and my sister. So I learned about punk on television.\u003c/p>\n\u003cp>\u003cstrong>What does it feel like to perform the song now, at Bikini Kill’s reunion shows? The song has its own life, and you’ve gone through a lot of changes, done many different musical projects. Can you describe the feeling of playing “Rebel Girl” in 2019?\u003c/strong>\u003c/p>\n\u003cp>It kind of feels like coming home, but somebody fixed your house up really nice. Like, we’re not sleeping in the van anymore. Five thousand people are coming to see us a night, and that wasn’t what it was like for us in the ’90s. And the material feels very fresh, because we just started doing it again.\u003c/p>\n\u003cp>I’ll admit it: By the end of the band I was like, “God, if I have to play ‘Rebel Girl’ one more time … .” We could rotate everything else out, but you start feeling obligated to play the anthemic one, and it can get annoying. Now, 22 years later, it feels totally fresh again. Sometimes it’s about the people in the front row: I’m literally singing it to them, \u003cem>about \u003c/em>them, even though I don’t know them. Because I’m just psyched that they’re there.\u003c/p>\n\u003cp>\u003cstrong>We’re in an interesting turn of the wheel right now on the level of grassroots feminism and the youngest generations: There is this vitality and activism, and the #MeToo movement, and the gender fluidity of teens today that really fulfills and returns to what was happening in the ’90s. But then, of course, it’s also a very rough time politically. Can you talk about what the song might mean in this moment?\u003c/strong>\u003c/p>\n\u003cp>I almost feel like it was more of a dare in the ’90s, like diving off a high dive. Not because you needed a particular prowess to play that song, but because our shows were scary: There were confrontations, things thrown at us, stuff like that. So doing that song always felt like putting my superhero cape on at the end of the show and being like, “See, I showed you. We did it.”\u003c/p>\n\u003cp>Now, it feels more like a celebration. It feels like people are with us. Things really suck in a lot of ways, and we all know what’s going on. But things are also really changing culturally, and that’s a good thing. When we play the song live, a lot of people who do not like how things are going are all in the same room, dancing and celebrating — just having that moment of possibility in such a bad time period. It’s really important to celebrate how quickly things can change.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"title": "Fascination, Friendship And Desire: Kathleen Hanna On The Reign Of 'Rebel Girl' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003cp>\u003cem>The radio version of this story includes conversations with campers and counselors at girls’ rock camps, where “Rebel Girl” has become essential listening. Hear the piece at the audio link. \u003c/em>\u003c/p>\n\u003chr>\n\u003cp>There’s something contradictory about the very idea of a punk rock anthem. From original snotheads the Sex Pistols to contemporary insurgents Pussy Riot, punk bands kick down norms to make space for new ideas; their music smashes through the rhetoric that often gets people singing choruses en masse. Punk is meant to clear the head, not fill it with sentimental feelings. So it’s notable when a punk song survives its own explosion to become a uniting force for generations beyond its bloody birth. This is the story of “\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">Rebel Girl\u003c/a>,” the 1993 song by the feminist punk band \u003ca href=\"https://www.npr.org/artists/106311747/bikini-kill\">Bikini Kill\u003c/a> that still echoes through the hearts of girls and women today.\u003c/p>\n\u003cp>Bikini Kill was the emblematic band in the early-1990s riot grrrl movement, which sought to prove that feminism could become a central element within punk and fundamentally change the music in the process. Hanna, with her alarm bell of a voice and kinetic, funny, sometimes cutting presence, became riot grrrl’s most visible torch-bearer. The band stayed together for seven years, releasing a small discography full of nonstop attacks on sexism and celebrations of independence and self-love. Its breakup in 1997 and the eventual waning of riot grrrl felt to many like the inevitable demise of a dream too brilliant to last.\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/jfCqCKY5nUc'\n title='//www.youtube.com/embed/jfCqCKY5nUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Twenty-plus years after riot grrrl peaked, however, its influence runs even more strongly through punk and the larger independent music world, and “Rebel Girl” is the song that most often signals its continued relevance. As younger artists from \u003ca href=\"https://www.npr.org/artists/465284166/lucy-dacus\">Lucy Dacus\u003c/a> to \u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> carry riot grrrl’s messages forward into the new millennium, even younger girls around the world learn Bikini Kill’s anthem — often as part of the introduction to both music and feminism they receive at rock and roll camp.\u003c/p>\n\u003cp>Since the first rock camp for girls was founded by women directly inspired by riot grrrl nearly 20 years ago, these summer enclaves have multiplied around the world; the \u003ca href=\"https://www.girlsrockcampalliance.org/\">Girls’ Rock Camp Alliance\u003c/a> includes members from Buenos Aires to Pittsburgh to Tokyo. Thousands of kids aged 8 to 18 — mostly girls, though a few coed sessions aim to educate boys and welcome non-binary children — form their own bands, write their own songs and encounter riot grrrl’s feminist, anti-racist, LGBTQI-positive principles. And they yell out the inspiring, secretly deep lyrics to “Rebel Girl” in instrument classes and at camp showcases, to instructors and parents who loved it back when and hear it reborn in the voices of the girls they love.\u003c/p>\n\u003cp>Bikini Kill’s members found other ways to do the work they pursued in that band. Kathleen Hanna founded two influential groups, the electronic-based \u003ca href=\"https://www.npr.org/artists/15183638/le-tigre\">Le Tigre\u003c/a> and pop-punkers \u003ca href=\"https://www.npr.org/artists/487027362/the-julie-ruin\">The Julie Ruin\u003c/a>, finding new ways to explore the intersection of politics and her own subjectivity. She’s proud of riot grrrl’s enduring legacy, especially as it’s flourished at rock camps; in fact, she’s served as a counselor at the Willie Mae Rock Camp in New York.\u003c/p>\n\u003cp>As part of NPR’s \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">American Anthem\u003c/a> series, I spoke with Hanna about the song’s origins and continued resonance. (You can hear the full radio piece, including interviews with girls’ rock campers and counselors, at the audio link on this page.) The story of the song, it turns out, can serve as a pocket history of riot grrrl, a movement that was always as full of love and constructive confusion as it was grounded in revolutionary ideas. Bikini Kill reunited this year for a handful of tour dates in the U.S. and England; “Rebel Girl” became a huge singalong on every date. “It feels great,” Hanna says of singing the song now, to crowds of 5,000 people instead of basements of 10 or 20. “It kind of feels like coming home, but somebody fixed your house up really nice. You know what I mean? Like, we’re not sleeping in the van anymore.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Ann Powers: Tell me how the writing of “Rebel Girl” came about. I heard it was inspired by a friend. \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Kathleen Hanna:\u003c/strong> It was inspired by a bunch of friends. Bikini Kill was living in D.C., in this punk house called the Embassy. There was no air conditioning, and we were in the basement just writing songs. Me and Allison Wolfe [of the band Bratmobile] had started doing this group that later became riot grrrl, and it was a bunch of girls talking about starting bands and zines and how we could be feminist in the scene, including doing benefits for other groups that weren’t directly, you know, feminist with a capital “F.” I was also being mentored at the time by the spoken-word artist Juliana Luecking, who has always given me great advice and shown me the ropes as a feminist artist.\u003c/p>\n\u003cp>All of those girls were totally inspiring me, and the riot grrrl thing was inspiring me, and it was really like I just stuck my hand up in the air and there it was. I don’t really feel like I can take credit for writing it — I feel like it just kind of wrote itself.\u003c/p>\n\u003cp>\u003cstrong>I can definitely feel that in how the lyrics shift between various stances. It’s directed at one person narratively, but it is also an embrace that directs itself to anyone it touches. You wrote it as a young adult, but it could be the voice of a young girl — the rhetoric of it, the language of it. Did you feel like you were blending more than one voice in the song?\u003c/strong>\u003c/p>\n\u003cp>I mean, that was like my whole shtick in the ’90s. We were all talking about not being binary, not having a single narrator, all that kind of postmodernist stuff. And so of course, I was really influenced by the idea that identity is fluid. [But] it’s also that childhood, sexy feeling of having a crush on someone, where you don’t really understand what’s happening. … I always liked the older, kind of bitchy girls in my neighborhood, who used to leave me out of things. I wanted to be them, or be like them, or make out with them — I didn’t really know. [With “Rebel Girl”] I was kind of like, “All of the above.”\u003c/p>\n\u003cp>\u003cstrong>To me, the key line is in the chorus, when you sing: “I think wanna take you home / I wanna try on your clothes.” Because “I want to take you home” is a line that’s in every dude rock song, as a come-on. But then, surprise — I’m going to try on your clothes. Tell me about that line.\u003c/strong>\u003c/p>\n\u003cp>We had a thing in Bikini Kill where whoever looked best in an outfit got to keep it. The bad thing about that was, if my suitcase was open, I would come in and find Tobi and Kathi trying on all my clothes. And they looked better in a lot of my clothes than I did! Even if you’d just bought a dress, if someone else put it on and they looked just so great in it, you had to give it to them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>When my daughter was in her punk band, they did that. I never knew whose clothes I was washing. \u003c/strong>\u003c/p>\n\u003cp>But actually, when we wrote that song, the band was not getting along very well. And I think that’s really interesting, because there’s this total myth — especially when you have more than one woman in a band — that our friendship being really great is so important for us to be artistically productive. Sometimes our friendship was really bad: We weren’t communicating great, people weren’t adjusting to D.C. very well, I was working a lot. But we still wrote the song that everybody likes the best during that time period.\u003c/p>\n\u003cp>\u003cstrong>I think this correlates really well to what rock camps try to teach girls. At rock camp you have to form a band, and by the end of the week, write a song and perform it on stage. You aren’t necessarily going to get along with the girls in your band — and all those emotions happen in hyperdrive at camp. Twelve-year-old girls are expected to have girl power and be friends and support each other at all times, but then there’s the dark side of that, right? There’s something about “Rebel Girl” that acknowledges that tension and hostility, even within the performance of desire and connection.\u003c/strong>\u003c/p>\n\u003cp>I’m glad to hear that. I mean, the fact I wished things were better with me and Tobi and me and Kathi at that time — I’m sure there was a certain longing that came out in that song, because I missed being super close with them.\u003c/p>\n\u003cp>\u003cstrong>So let’s talk about recording the song, which the band did three times\u003c/strong>: \u003ca href=\"https://youtu.be/nrWYO2ylUFo?t=566\">\u003cstrong>once for a split record\u003c/strong>\u003c/a>\u003cstrong> with the British band Huggy Bear, \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=8yhk7f0ydq4\">\u003cstrong>once for your album\u003c/strong>\u003c/a> \u003cem>\u003cstrong>Pussy Whipped\u003c/strong>\u003c/em>\u003cstrong>, and a \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jfCqCKY5nUc\">\u003cstrong>single version\u003c/strong>\u003c/a>\u003cstrong> that Joan Jett produced, which is the version that’s most often heard now.\u003c/strong>\u003c/p>\n\u003cp>Third time’s the charm.\u003c/p>\n\u003cp>\u003cstrong>I read an interview where you talked about working with Jett, who of course is an icon of punk and of women in rock, but also her producer Kenny Laguna, who had done a lot of studio and pop work — I think he worked with The Archies. Did that pop side infuse that version of “Rebel Girl”?\u003c/strong>\u003c/p>\n\u003cp>Oh, definitely. I mean, he was in Tommy James and the Shondells. He was in The Shangri-Las for a while. He worked in the Brill Building doing bubblegum songs, like Fruitgum Company-type stuff. And I think that’s what works about the single that doesn’t work about anything else.\u003c/p>\n\u003cp>The song has this raw kind of emotional power. That sounds really cheesy if I’m saying it about my own song, but I’m just going to say it, because who cares. And if you take this song that’s kind of raw and put this bubblegum veneer over it, it creates this tension that is, to me, really electrifying and satisfying. It’s like I’m trying to scream myself out of this beautiful bubble. It needed to be produced like that because it provided a contrast to how raw the material was.\u003c/p>\n\u003cp>\u003cstrong>That also might be one reason why it works so well when a when a 12- to 15-year-old girl gets a hold of it. When you’re 12 you can feel that intense raw feeling about lots of things — about makeup, or about glitter, or about hamburgers. That is a beautiful state of humanity, to be able to feel out of control about something that seems mundane. “Rebel Girl” is about very deep things, but it’s also mixing in those elements of the pop world. It seems to work for that age. \u003c/strong>\u003c/p>\n\u003cp>Well, also, it’s a song about not having to decide. Like, I had a huge crush on my best friend in junior high — I hope she doesn’t hear this — and when she got married, I had a nervous breakdown. Because I realized that in my childhood head I had set out this thing that someday we’d be on a, you know, rocking chair porch together or something. She was my best friend, and I had a super-big crush on her, and I didn’t know how to tell her. And then I just was like, “Well, I can be friends with her \u003cem>and\u003c/em> have a crush on her. It’s fine.”\u003c/p>\n\u003cp>You don’t have to only have a song be about desire, or only be about politics, or only be about a certain kind of love. It can be about a friendship love that also has a sexy element to it. Or if you want to read it a different way, like I’m singing to my girlfriend, fine. I just really like to write songs [with] the idea that you can be a lot of different things at once.\u003c/p>\n\u003cp>\u003cstrong>You’ve told a story about Bikini Kill being in the U.K. with Huggy Bear, where you heard people singing “Rebel Girl” through the wall from backstage. Do you remember this?\u003c/strong>\u003c/p>\n\u003cp>Oh my God, yes. I think there was, like, a bomb threat on the club — because of us, ostensibly. And there were a lot of guys there who were yelling stuff already at the opening band. We were in the dressing room, and we kind of just kept putting more and more makeup on, trying to avoid going downstairs, because we were scared: “Wait, should we cancel? What do we do?”\u003c/p>\n\u003cp>And then the girls in the crowd started singing “Rebel Girl” — like, chanting and clapping. And we just knew exactly what to do: We walked down the stairs and Tobi started playing that beat, and we sang with them. That was the only night that we ever started a show with “Rebel Girl.” And it was [still] a very aggressive, hostile show: There were guys screaming “Show us your t***” and calling us the c-word. I don’t know if we would have come down the stairs without those girls. It was one of those moments that happened in that band once or twice a year where you’re like, “We’re all together in this.” They were saying, “We want you, and we’re going to protect you.”\u003c/p>\n\u003cp>\u003cstrong>I love that you say that they wanted you. But I wonder if you felt in that moment that the song was an instrument of power for these girls, too. It wasn’t just about wanting you — it was about them protecting themselves via the song, in a way. \u003c/strong>\u003c/p>\n\u003cp>It’s a really different song when it’s chanted with no music: It was so much more beautiful, the way that they employed it, than I could ever sing it myself. They were letting us know that they were there, like a kind of Morse code, so we could hear through the floor that they wanted us to come down. Like, the song’s not about that: It’s not about, “Hey, band, please come downstairs and play a show for us.” But that’s what they communicated by the way they sang the song.\u003c/p>\n\u003cfigure id=\"attachment_13863823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13863823\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg\" alt=\"Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s.\" width=\"800\" height=\"562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-800x562.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-768x540.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1020x717.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c-1200x843.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/bkill-by-tammy-rae-carland_custom-bbaf0b885950a5e9dc6a68364dfc9c35ad55805c.jpg 1487w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hanna with her Bikini Kill bandmates Kathi Wilcox (left) and Tobi Vail in the 1990s. \u003ccite>(Tammy Rae Carland/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>You licensed “Rebel Girl” to the video game \u003c/strong>\u003cem>\u003cstrong>Rock Band\u003c/strong>\u003c/em>\u003cstrong> in 2008. In reporting on this song I’ve found it’s used in music education programs all over, not just at girls’ rock camps. I wonder if you think putting the song in that game expanded its reach, where it’s maybe reached girls that wouldn’t have otherwise had a chance to hear it. \u003c/strong>\u003c/p>\n\u003cp>Yes, and that’s exactly why I pushed for it. I just heard a podcast two days ago where the woman — I think she’s in her 20s — started off saying, “The first time I heard Bikini Kill was at my friend’s party, playing \u003cem>Rock Band\u003c/em>.” That was her first foray into the feminism mixing with punk thing, and now she has a podcast about women in music. It worked! Even just that one person.\u003c/p>\n\u003cp>You know what the really big thing is? \u003cem>10 Things I Hate About You\u003c/em>. Heath Ledger’s trying to impress Julia Stiles about his musical taste, and he says “Oh, I’m really into Bikini Kill,” or something like that. That was the sound of girls going onto the internet and checking it out; we got so many fans from that. I mean, I didn’t grow up with parents who listened to alternative or indie music or punk music or anything: We listened to a lot of Lynyrd Skynyrd and Molly Hatchet, me and my sister. So I learned about punk on television.\u003c/p>\n\u003cp>\u003cstrong>What does it feel like to perform the song now, at Bikini Kill’s reunion shows? The song has its own life, and you’ve gone through a lot of changes, done many different musical projects. Can you describe the feeling of playing “Rebel Girl” in 2019?\u003c/strong>\u003c/p>\n\u003cp>It kind of feels like coming home, but somebody fixed your house up really nice. Like, we’re not sleeping in the van anymore. Five thousand people are coming to see us a night, and that wasn’t what it was like for us in the ’90s. And the material feels very fresh, because we just started doing it again.\u003c/p>\n\u003cp>I’ll admit it: By the end of the band I was like, “God, if I have to play ‘Rebel Girl’ one more time … .” We could rotate everything else out, but you start feeling obligated to play the anthemic one, and it can get annoying. Now, 22 years later, it feels totally fresh again. Sometimes it’s about the people in the front row: I’m literally singing it to them, \u003cem>about \u003c/em>them, even though I don’t know them. Because I’m just psyched that they’re there.\u003c/p>\n\u003cp>\u003cstrong>We’re in an interesting turn of the wheel right now on the level of grassroots feminism and the youngest generations: There is this vitality and activism, and the #MeToo movement, and the gender fluidity of teens today that really fulfills and returns to what was happening in the ’90s. But then, of course, it’s also a very rough time politically. Can you talk about what the song might mean in this moment?\u003c/strong>\u003c/p>\n\u003cp>I almost feel like it was more of a dare in the ’90s, like diving off a high dive. Not because you needed a particular prowess to play that song, but because our shows were scary: There were confrontations, things thrown at us, stuff like that. So doing that song always felt like putting my superhero cape on at the end of the show and being like, “See, I showed you. We did it.”\u003c/p>\n\u003cp>Now, it feels more like a celebration. It feels like people are with us. Things really suck in a lot of ways, and we all know what’s going on. But things are also really changing culturally, and that’s a good thing. When we play the song live, a lot of people who do not like how things are going are all in the same room, dancing and celebrating — just having that moment of possibility in such a bad time period. It’s really important to celebrate how quickly things can change.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> was in fifth grade when it came time to choose instruments for band. The choice was made for her when the music teacher paired her with the flute.\u003c/p>\n\u003cp>It turned out to be a good match: The singer and rapper fell in love with the instrument and went on to pursue a degree in music performance and music theory with the hopes of becoming a professional flutist. “I saw a life of concert black and Boston Pops and traveling the world,” Lizzo says. “When that didn’t pan out for me, I was very depressed.”\u003c/p>\n\u003cp>But Lizzo, who grew up in Detroit then Houston and found her footing in the \u003ca href=\"https://www.npr.org/sections/world-cafe/2015/12/08/458917692/sense-of-place-minneapolis-lizzo\">Minneapolis music scene\u003c/a>, was also a natural at freestyle rapping. She began working with local R&B and soul artists, eventually meeting and collaborating with Prince.\u003c/p>\n\u003cp>A self-described “showgirl at its finest,” Lizzo began touring even before she had albums. She says the high energy “hallelujah moments” of her shows reflect a childhood listening primarily to gospel music.\u003c/p>\n\u003cp>But Lizzo’s musical persona isn’t all flash. Her third studio album, \u003ca href=\"https://www.npr.org/2019/05/01/719013062/lizzo-proves-shes-ready-for-the-big-time-with-cuz-i-love-you\">Cuz I Love You\u003c/a> \u003cem>— \u003c/em>her major label debut under Atlantic Records — reveals a deep vulnerability, especially as she sings about self-love and body positivity. It’s a message born from Lizzo’s own long journey toward body acceptance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“About 10 years ago, I made the decision that I just wanted to be happy with my body and I just wanted to be happy with who I am,” the artist says. “That was the beginning of my journey with learning how to love my body. … You have to find that love for yourself deep down inside, underneath all of that questioning and ickiness.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her role in producing \u003c/strong>\u003cem>\u003cstrong>Cuz I Love You\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I am classically trained in music theory and music performance, so I have an innate ear and actually a highly skilled ear when it comes to frequency and harmony and dissonance and melody. So for me, it’s this thing that I can feel in my body. I’m almost like a tuning fork where if I hear the beat and I vibrate at the level that I’m supposed to, I know that that’s what I want to get on. And from being trained, I think it’s easier for me to speak a language to producers, and I can speak engineer to the engineers. I think we all just have so much fun nerding out. … I’m credited as a producer on a couple of the songs because I was there, and my DNA is in there as well.\u003c/p>\n\u003cp>\u003cstrong>On the idea that it’s odd to have a flute in rap music\u003c/strong>\u003c/p>\n\u003cp>You hear a lot of flute in rap! Have y’all heard of \u003ca href=\"https://www.npr.org/artists/15119741/j-dilla\">J Dilla\u003c/a>? Have y’all heard of Metro Boomin? Like, these producers use flute all the time. One of the biggest hits was “\u003ca href=\"https://www.npr.org/sections/allsongs/2017/05/23/529678820/perceived-extremes-kendrick-lamar-takes-his-mask-off-on-new-future-remix\">Mask Off,\u003c/a>” and … the chorus was just a flute solo. I think we don’t see rappers play flute. We hear it and we don’t subconsciously put two and two together. I think it would have been way more impactful to see \u003ca href=\"https://www.npr.org/artists/516952037/future\">Future\u003c/a> actually playing the line on the flute to “Mask Off,” but he wasn’t.\u003c/p>\n\u003cp>https://youtu.be/Wh4j5MY-4s0\u003c/p>\n\u003cp>I think that flute and hip-hop are very sexy. I think that flute and hip-hop have gone together for a long time. I think this is just the first time you actually see the artist actually playing the flute. There wasn’t a disconnect. Growing up in Houston, freestyle rapping was very first nature to me. That was what I wanted to do. That’s what you had to do as a rite of passage. I was very nerdy, and the fact that I knew how to freestyle on a bus, or freestyle in the cafeteria and bang on the desk, just gave me a little get-out-of-being-a-nerd-free pass.\u003c/p>\n\u003cp>Houston … that’s the city that freestyle really found its swag, and I’m just lucky that I was a part of that while it was happening — and also a classically trained flute player. I think it’s just weird to everybody else, but it’s not weird to me!\u003c/p>\n\u003cp>\u003cstrong>On writing \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WfEhyi8N__Q\">\u003cstrong>“My Skin,”\u003c/strong>\u003c/a>\u003cstrong> her first body positive song \u003c/strong>\u003c/p>\n\u003cp>Someone asked a question. … They asked me what’s my favorite thing about myself? And I told them my personality. And they said, “OK, but physically, what’s your favorite thing about yourself?” And I did not have an answer.\u003c/p>\n\u003cp>For the first time in my life I had to actually think about something that I liked about myself physically, and because it was so difficult, I was moved to tears.\u003c/p>\n\u003cp>In that moment, I remembered that I’d just fallen off a cliff. … I was rope swinging into the river, and I am just so heavy, and I fell off the rope and fell on the ground. It was really scary and traumatizing. I’ll never do anything like that again, but I scraped up my skin and I remember my friend was like, “Look what you did to your beautiful skin!”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “The thing that I like about myself the most is the thing that’s weaponized against us.” — Lizzo [/pullquote]\u003c/p>\n\u003cp>I still had the cane and I had the bandages on my legs during this interview. And I looked down and I was like, “Oh, my God. My skin. That is my favorite thing about myself.” And it was in that moment where I realized I damaged my skin where I saw the value in it. That was the first time I’d ever discovered my body love, and I just started with my skin and moved on from there. I wrote this song to celebrate that moment because it literally changed my life.\u003c/p>\n\u003cp>The thing that I like about myself the most is the thing that’s weaponized against us. People with black skin, you know, we get that weaponized, and this was [during] the beginning of #\u003ca href=\"https://www.npr.org/tags/428150615/black-lives-matter\">BlackLivesMatter\u003c/a>, when there was such a public amount of executions of unarmed black people by police officers. And so, I think that it was almost oxymoronic to be like, “I love my black skin,” when that was the thing that’s held against me the most in this society. I wanted to write a song about that too, and talk about how I’m proud of it no matter what.\u003c/p>\n\u003cp>\u003cstrong>On posing naked for her album cover\u003c/strong>\u003c/p>\n\u003cp>We had done a lot of poses that day, and I was tooting my butt up and then my back was hurting a little bit, so I just kind of relaxed and leaned forward and then the photographer, he was like, “Look at me,” and I looked at him, and that was the shot. So that was me just so comfortable not trying to cover anything up. But, you know, that’s just how the magic happens.\u003c/p>\n\u003cfigure id=\"attachment_13858113\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13858113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg\" alt='\"That was me just so comfortable not trying to cover anything up,\" Lizzo says of the cover photo for Cuz I Love You.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c.jpg 1410w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“That was me just so comfortable not trying to cover anything up,” Lizzo says of the cover photo for Cuz I Love You. \u003ccite>(Atlantic Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how her wearing sexy clothing is seen as a feminist statement \u003c/strong>\u003c/p>\n\u003cp>I feel like if I were a thin woman, maybe that wouldn’t be the case. I feel like women who are smaller aren’t really given the opportunities to be body positive or role models either, because we’ve been conditioned to believe that women are using their bodies for the male gaze. … And I think if I were slimmer I don’t think people would look to me with the same type of like, “Oh wow, she’s so brave she’s doing this and representing everyone!” [the way they do,] because I’m big.\u003c/p>\n\u003cp>I think what’s happening here is that there’s different waves of feminism. It’s like a generational thing. … Like, one generation asks one thing, and then that next generation is going to ask the complete opposite of it.\u003c/p>\n\u003cp>So where there was a wave of feminism where we were burning bras, now I’m like, “Bitch, my bra is in your f****** face!” And I think that that is just a testament to human beings and how we evolve. … I think that the wave of feminism right now that’s overtly sexual and in your face I think is just the response to where we were. Like, I’m going to wear a suit and I’m going to boss up on you. … You-can’t-tell-me-what-to-do type vibes, and [I’m] like, “No, I’m gonna tell \u003cem>you\u003c/em> what to do!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amy Salit and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lizzo+On+Feminism%2C+Self-Love+And+Bringing+%27Hallelujah+Moments%27+To+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> was in fifth grade when it came time to choose instruments for band. The choice was made for her when the music teacher paired her with the flute.\u003c/p>\n\u003cp>It turned out to be a good match: The singer and rapper fell in love with the instrument and went on to pursue a degree in music performance and music theory with the hopes of becoming a professional flutist. “I saw a life of concert black and Boston Pops and traveling the world,” Lizzo says. “When that didn’t pan out for me, I was very depressed.”\u003c/p>\n\u003cp>But Lizzo, who grew up in Detroit then Houston and found her footing in the \u003ca href=\"https://www.npr.org/sections/world-cafe/2015/12/08/458917692/sense-of-place-minneapolis-lizzo\">Minneapolis music scene\u003c/a>, was also a natural at freestyle rapping. She began working with local R&B and soul artists, eventually meeting and collaborating with Prince.\u003c/p>\n\u003cp>A self-described “showgirl at its finest,” Lizzo began touring even before she had albums. She says the high energy “hallelujah moments” of her shows reflect a childhood listening primarily to gospel music.\u003c/p>\n\u003cp>But Lizzo’s musical persona isn’t all flash. Her third studio album, \u003ca href=\"https://www.npr.org/2019/05/01/719013062/lizzo-proves-shes-ready-for-the-big-time-with-cuz-i-love-you\">Cuz I Love You\u003c/a> \u003cem>— \u003c/em>her major label debut under Atlantic Records — reveals a deep vulnerability, especially as she sings about self-love and body positivity. It’s a message born from Lizzo’s own long journey toward body acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“About 10 years ago, I made the decision that I just wanted to be happy with my body and I just wanted to be happy with who I am,” the artist says. “That was the beginning of my journey with learning how to love my body. … You have to find that love for yourself deep down inside, underneath all of that questioning and ickiness.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her role in producing \u003c/strong>\u003cem>\u003cstrong>Cuz I Love You\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I am classically trained in music theory and music performance, so I have an innate ear and actually a highly skilled ear when it comes to frequency and harmony and dissonance and melody. So for me, it’s this thing that I can feel in my body. I’m almost like a tuning fork where if I hear the beat and I vibrate at the level that I’m supposed to, I know that that’s what I want to get on. And from being trained, I think it’s easier for me to speak a language to producers, and I can speak engineer to the engineers. I think we all just have so much fun nerding out. … I’m credited as a producer on a couple of the songs because I was there, and my DNA is in there as well.\u003c/p>\n\u003cp>\u003cstrong>On the idea that it’s odd to have a flute in rap music\u003c/strong>\u003c/p>\n\u003cp>You hear a lot of flute in rap! Have y’all heard of \u003ca href=\"https://www.npr.org/artists/15119741/j-dilla\">J Dilla\u003c/a>? Have y’all heard of Metro Boomin? Like, these producers use flute all the time. One of the biggest hits was “\u003ca href=\"https://www.npr.org/sections/allsongs/2017/05/23/529678820/perceived-extremes-kendrick-lamar-takes-his-mask-off-on-new-future-remix\">Mask Off,\u003c/a>” and … the chorus was just a flute solo. I think we don’t see rappers play flute. We hear it and we don’t subconsciously put two and two together. I think it would have been way more impactful to see \u003ca href=\"https://www.npr.org/artists/516952037/future\">Future\u003c/a> actually playing the line on the flute to “Mask Off,” but he wasn’t.\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/Wh4j5MY-4s0'\n title='//www.youtube.com/embed/Wh4j5MY-4s0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think that flute and hip-hop are very sexy. I think that flute and hip-hop have gone together for a long time. I think this is just the first time you actually see the artist actually playing the flute. There wasn’t a disconnect. Growing up in Houston, freestyle rapping was very first nature to me. That was what I wanted to do. That’s what you had to do as a rite of passage. I was very nerdy, and the fact that I knew how to freestyle on a bus, or freestyle in the cafeteria and bang on the desk, just gave me a little get-out-of-being-a-nerd-free pass.\u003c/p>\n\u003cp>Houston … that’s the city that freestyle really found its swag, and I’m just lucky that I was a part of that while it was happening — and also a classically trained flute player. I think it’s just weird to everybody else, but it’s not weird to me!\u003c/p>\n\u003cp>\u003cstrong>On writing \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WfEhyi8N__Q\">\u003cstrong>“My Skin,”\u003c/strong>\u003c/a>\u003cstrong> her first body positive song \u003c/strong>\u003c/p>\n\u003cp>Someone asked a question. … They asked me what’s my favorite thing about myself? And I told them my personality. And they said, “OK, but physically, what’s your favorite thing about yourself?” And I did not have an answer.\u003c/p>\n\u003cp>For the first time in my life I had to actually think about something that I liked about myself physically, and because it was so difficult, I was moved to tears.\u003c/p>\n\u003cp>In that moment, I remembered that I’d just fallen off a cliff. … I was rope swinging into the river, and I am just so heavy, and I fell off the rope and fell on the ground. It was really scary and traumatizing. I’ll never do anything like that again, but I scraped up my skin and I remember my friend was like, “Look what you did to your beautiful skin!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": " “The thing that I like about myself the most is the thing that’s weaponized against us.” — Lizzo ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I still had the cane and I had the bandages on my legs during this interview. And I looked down and I was like, “Oh, my God. My skin. That is my favorite thing about myself.” And it was in that moment where I realized I damaged my skin where I saw the value in it. That was the first time I’d ever discovered my body love, and I just started with my skin and moved on from there. I wrote this song to celebrate that moment because it literally changed my life.\u003c/p>\n\u003cp>The thing that I like about myself the most is the thing that’s weaponized against us. People with black skin, you know, we get that weaponized, and this was [during] the beginning of #\u003ca href=\"https://www.npr.org/tags/428150615/black-lives-matter\">BlackLivesMatter\u003c/a>, when there was such a public amount of executions of unarmed black people by police officers. And so, I think that it was almost oxymoronic to be like, “I love my black skin,” when that was the thing that’s held against me the most in this society. I wanted to write a song about that too, and talk about how I’m proud of it no matter what.\u003c/p>\n\u003cp>\u003cstrong>On posing naked for her album cover\u003c/strong>\u003c/p>\n\u003cp>We had done a lot of poses that day, and I was tooting my butt up and then my back was hurting a little bit, so I just kind of relaxed and leaned forward and then the photographer, he was like, “Look at me,” and I looked at him, and that was the shot. So that was me just so comfortable not trying to cover anything up. But, you know, that’s just how the magic happens.\u003c/p>\n\u003cfigure id=\"attachment_13858113\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13858113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg\" alt='\"That was me just so comfortable not trying to cover anything up,\" Lizzo says of the cover photo for Cuz I Love You.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c.jpg 1410w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“That was me just so comfortable not trying to cover anything up,” Lizzo says of the cover photo for Cuz I Love You. \u003ccite>(Atlantic Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how her wearing sexy clothing is seen as a feminist statement \u003c/strong>\u003c/p>\n\u003cp>I feel like if I were a thin woman, maybe that wouldn’t be the case. I feel like women who are smaller aren’t really given the opportunities to be body positive or role models either, because we’ve been conditioned to believe that women are using their bodies for the male gaze. … And I think if I were slimmer I don’t think people would look to me with the same type of like, “Oh wow, she’s so brave she’s doing this and representing everyone!” [the way they do,] because I’m big.\u003c/p>\n\u003cp>I think what’s happening here is that there’s different waves of feminism. It’s like a generational thing. … Like, one generation asks one thing, and then that next generation is going to ask the complete opposite of it.\u003c/p>\n\u003cp>So where there was a wave of feminism where we were burning bras, now I’m like, “Bitch, my bra is in your f****** face!” And I think that that is just a testament to human beings and how we evolve. … I think that the wave of feminism right now that’s overtly sexual and in your face I think is just the response to where we were. Like, I’m going to wear a suit and I’m going to boss up on you. … You-can’t-tell-me-what-to-do type vibes, and [I’m] like, “No, I’m gonna tell \u003cem>you\u003c/em> what to do!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Amy Salit and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lizzo+On+Feminism%2C+Self-Love+And+Bringing+%27Hallelujah+Moments%27+To+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lizzo Backlash Raises the Question: Who Gets to Make Joyful Music?",
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"content": "\u003cp>Long before Lizzo made headlines with her \u003ca href=\"https://variety.com/2019/music/news/lizzo-coachella-weekend-two-sound-issues-1203194220/\" target=\"_blank\" rel=\"noopener noreferrer\">a cappella Coachella performance\u003c/a>, collaborated with Missy Elliott and hit No. 1 on the iTunes charts with her new album, millions of Americans already knew her voice.\u003c/p>\n\u003cp>The liberatory, soulful refrain of “Water Me” (“I am free, yeah, yeah!”) accompanied ads for \u003ca href=\"https://www.ispot.tv/ad/dCkO/2018-acura-mdx-by-design-for-any-road-t2\" target=\"_blank\" rel=\"noopener noreferrer\">Acura\u003c/a> and \u003ca href=\"https://www.ispot.tv/ad/w3wn/directv-now-your-thing-break-up-song-by-lizzo\" target=\"_blank\" rel=\"noopener noreferrer\">DIRECTV\u003c/a>; her kiss-off to online haters, “Let ‘Em Say,” soundtracked a \u003ca href=\"https://www.ispot.tv/ad/Amwt/target-well-chosen-song-by-lizzo-and-caroline-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Target commercial\u003c/a>. And, to her \u003ca href=\"https://snobette.com/2018/12/lizzo-weight-watchers-worship-controversy/\" target=\"_blank\" rel=\"noopener noreferrer\">body-positive fanbase’s frustration\u003c/a>, her sexy, self-empowerment anthem “Worship” pumped up dieters in a Weight Watchers commercial. (While I researched these, YouTube’s algorithm also fed me a low-cal margarita ad with Lizzo’s 2019 single, “Juice.”)\u003c/p>\n\u003cp>With music sales in decline and streaming royalties estimated at a fraction of a cent per play, musicians have to make strategic moves, once seen as selling out, to survive in today’s market. Given that the entertainment industry favors the thin, the light-skinned and the barely legal, the odds were stacked against Lizzo’s mainstream ascent as a 30-year-old, plus-sized, dark-skinned black woman. Licensing her music for commercials ensured that Lizzo would get paid for her creativity, while many others who look like her don’t.\u003c/p>\n\u003cp>https://youtu.be/XaCrQL_8eMY\u003c/p>\n\u003cp>That advertiser friendliness, however, has complicated the way listeners and critics receive her ultra-positive and inclusive new album, \u003cem>Cuz I Love You\u003c/em>. The image of Lizzo as a brand-aligned hashtag-feminist permeated Rawiya Kameir’s controversial \u003ca href=\"https://pitchfork.com/reviews/albums/lizzo-cuz-i-love-you/\" target=\"_blank\" rel=\"noopener noreferrer\">6.5 Pitchfork review\u003c/a>, where the writer likened her to this generation’s Natasha Bedingfield (ouch), whose nice but toothless girl-power bop “\u003ca href=\"https://www.youtube.com/watch?v=b7k0a5hYnSI\" target=\"_blank\" rel=\"noopener noreferrer\">Unwritten\u003c/a>” could play in “any given rom-com or yogurt commercial.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s room for critique of \u003cem>Cuz I Love You\u003c/em>, but it’s unfair to dismiss the content of Lizzo’s work because of its commercial appeal. (John Legend sold Pampers, and Cardi B peddled Pepsi at this year’s Super Bowl, and no one seems to take their creative output any less seriously.) It’s even more unfair to criticize it for what I think the Pitchfork review was really going after: its feel-goodness.\u003c/p>\n\u003cp>https://youtu.be/raVe1hZxFAc\u003c/p>\n\u003cp>Indeed, Lizzo has an important role in the music ecosystem. In a world filled with unresolved trauma, where we see daily violence, corruption, racism and sexism amplified in our social feeds, Lizzo offers the perspective of someone who has, against all odds, accepted and moved past her pain into sunnier, more optimistic terrain. She has an abundance mindset in a world of scarcity, and is stubbornly positive in a media climate that thrives on black trauma.\u003c/p>\n\u003cp>Trauma is big business. Music about unhealthy coping through drugs, consumerism and violence rules the charts. Black musicians who excavate the depths of racial trauma become lauded as Serious Artists, while those who make uplifting music, with uplifting lyrics, are often scoffed at as corny. (This trend drives media consumption as well: as an editor, I often notice that KQED Arts’ stories highlighting injustice perform astronomically better, traffic-wise, than our stories about solutions.)\u003c/p>\n\u003cp>Pop artists who do the difficult work of giving voice to social injustices, like Kendrick Lamar, Beyoncé and Solange, deserve all the praise they’re getting. But it’s clear that Lizzo doesn’t get permission to be joyous and carefree in the way that white peers such as Carly Rae Jepsen and Taylor Swift can—easily, profitably and without skepticism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are many stages of healing, and many shades of human emotion. We need songs that give voice to our bad impulses, our grief and our frustration at broken systems. But we also need to dance it out in the mirror sometimes, and that’s why self-love anthems like Lizzo’s “Juice” and “Soulmate” matter too—whether we hear them in a low-cal margarita ad on YouTube, while getting dressed in the morning or in a club with hundreds of strangers searching for connection, understanding or escape.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before Lizzo made headlines with her \u003ca href=\"https://variety.com/2019/music/news/lizzo-coachella-weekend-two-sound-issues-1203194220/\" target=\"_blank\" rel=\"noopener noreferrer\">a cappella Coachella performance\u003c/a>, collaborated with Missy Elliott and hit No. 1 on the iTunes charts with her new album, millions of Americans already knew her voice.\u003c/p>\n\u003cp>The liberatory, soulful refrain of “Water Me” (“I am free, yeah, yeah!”) accompanied ads for \u003ca href=\"https://www.ispot.tv/ad/dCkO/2018-acura-mdx-by-design-for-any-road-t2\" target=\"_blank\" rel=\"noopener noreferrer\">Acura\u003c/a> and \u003ca href=\"https://www.ispot.tv/ad/w3wn/directv-now-your-thing-break-up-song-by-lizzo\" target=\"_blank\" rel=\"noopener noreferrer\">DIRECTV\u003c/a>; her kiss-off to online haters, “Let ‘Em Say,” soundtracked a \u003ca href=\"https://www.ispot.tv/ad/Amwt/target-well-chosen-song-by-lizzo-and-caroline-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Target commercial\u003c/a>. And, to her \u003ca href=\"https://snobette.com/2018/12/lizzo-weight-watchers-worship-controversy/\" target=\"_blank\" rel=\"noopener noreferrer\">body-positive fanbase’s frustration\u003c/a>, her sexy, self-empowerment anthem “Worship” pumped up dieters in a Weight Watchers commercial. (While I researched these, YouTube’s algorithm also fed me a low-cal margarita ad with Lizzo’s 2019 single, “Juice.”)\u003c/p>\n\u003cp>With music sales in decline and streaming royalties estimated at a fraction of a cent per play, musicians have to make strategic moves, once seen as selling out, to survive in today’s market. Given that the entertainment industry favors the thin, the light-skinned and the barely legal, the odds were stacked against Lizzo’s mainstream ascent as a 30-year-old, plus-sized, dark-skinned black woman. Licensing her music for commercials ensured that Lizzo would get paid for her creativity, while many others who look like her don’t.\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/XaCrQL_8eMY'\n title='//www.youtube.com/embed/XaCrQL_8eMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That advertiser friendliness, however, has complicated the way listeners and critics receive her ultra-positive and inclusive new album, \u003cem>Cuz I Love You\u003c/em>. The image of Lizzo as a brand-aligned hashtag-feminist permeated Rawiya Kameir’s controversial \u003ca href=\"https://pitchfork.com/reviews/albums/lizzo-cuz-i-love-you/\" target=\"_blank\" rel=\"noopener noreferrer\">6.5 Pitchfork review\u003c/a>, where the writer likened her to this generation’s Natasha Bedingfield (ouch), whose nice but toothless girl-power bop “\u003ca href=\"https://www.youtube.com/watch?v=b7k0a5hYnSI\" target=\"_blank\" rel=\"noopener noreferrer\">Unwritten\u003c/a>” could play in “any given rom-com or yogurt commercial.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s room for critique of \u003cem>Cuz I Love You\u003c/em>, but it’s unfair to dismiss the content of Lizzo’s work because of its commercial appeal. (John Legend sold Pampers, and Cardi B peddled Pepsi at this year’s Super Bowl, and no one seems to take their creative output any less seriously.) It’s even more unfair to criticize it for what I think the Pitchfork review was really going after: its feel-goodness.\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/raVe1hZxFAc'\n title='//www.youtube.com/embed/raVe1hZxFAc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Indeed, Lizzo has an important role in the music ecosystem. In a world filled with unresolved trauma, where we see daily violence, corruption, racism and sexism amplified in our social feeds, Lizzo offers the perspective of someone who has, against all odds, accepted and moved past her pain into sunnier, more optimistic terrain. She has an abundance mindset in a world of scarcity, and is stubbornly positive in a media climate that thrives on black trauma.\u003c/p>\n\u003cp>Trauma is big business. Music about unhealthy coping through drugs, consumerism and violence rules the charts. Black musicians who excavate the depths of racial trauma become lauded as Serious Artists, while those who make uplifting music, with uplifting lyrics, are often scoffed at as corny. (This trend drives media consumption as well: as an editor, I often notice that KQED Arts’ stories highlighting injustice perform astronomically better, traffic-wise, than our stories about solutions.)\u003c/p>\n\u003cp>Pop artists who do the difficult work of giving voice to social injustices, like Kendrick Lamar, Beyoncé and Solange, deserve all the praise they’re getting. But it’s clear that Lizzo doesn’t get permission to be joyous and carefree in the way that white peers such as Carly Rae Jepsen and Taylor Swift can—easily, profitably and without skepticism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are many stages of healing, and many shades of human emotion. We need songs that give voice to our bad impulses, our grief and our frustration at broken systems. But we also need to dance it out in the mirror sometimes, and that’s why self-love anthems like Lizzo’s “Juice” and “Soulmate” matter too—whether we hear them in a low-cal margarita ad on YouTube, while getting dressed in the morning or in a club with hundreds of strangers searching for connection, understanding or escape.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "10-coachella-performances-worth-watching-on-youtube-this-weekend",
"title": "10 Coachella Performances Worth Watching On YouTube This Weekend",
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"content": "\u003cp>Now in its 19th year, the \u003ca href=\"https://www.youtube.com/user/coachella\">Coachella Valley Music and Arts Festival\u003c/a> is more than a music festival, or even a lifestyle. It’s a capital-M moment that seems to stop the world. (And not \u003cem>entirely\u003c/em> because Beyoncé willed it so last year.) Beyond the experience of bearing witness to celebrities of the A- and D-lists as they drench themselves in sweat and dust while gorging on trendy cuisine and novelty cocktails, Coachella’s influence extends far beyond the festival grounds of Indio, California.\u003c/p>\n\u003cp>Even Coachella seems to be aware of this: For the first time ever, it’s doubling down on its festival streams by showcasing both weekends of the festival. Emergent K-pop group BLACKPINK is set to broadcast its message of sensory-overload pop music \u003ca href=\"https://www.latimes.com/business/hollywood/la-fi-ct-youtube-coachella-times-square-20190408-story.html\">in Times Square\u003c/a> this weekend. Childish Gambino and Rihanna premiered a new film, and with the aid of Amazon and YouTube, will premiere it globally this weekend for free.\u003c/p>\n\u003cp>For those looking to avoid the hefty price tag of a festival pass — or reluctant to experience Coachella anywhere but on a couch — we’ve got you covered. The only catch: You’ll need to watch it \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">live on YouTube\u003c/a>, as Coachella does not make its sets available after the fact as on-demand videos.\u003c/p>\n\u003cp>So, without further ado, here are 10 Coachella 2019 acts worth planning your weekend around, in chronological order. And if you’re the adventurous sort, you can scan and skip between a whopping 83 live performances across three channels at \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">youtube.com/user/coachella/coachellalive\u003c/a>.\u003c/p>\n\u003ch3 class=\"hed\">10 Coachella Sets We’re Watching This Weekend\u003c/h3>\n\u003ch4>Kacey Musgraves\u003c/h4>\n\u003cfigure id=\"attachment_13854931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1134354848-5b17415d54e71f6f69f45040c5d07f81a6ccbdb2-800x600.jpg\" alt=\"Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>Even if it’s not quite golden hour elsewhere, getting to see Kacey Musgraves perform as the sun wanes in Coachella might just be worth the price of admission. (Lucky for you, it only requires access to a device that streams YouTube.)\u003c/p>\n\u003ch4>BLACKPINK\u003c/h4>\n\u003cfigure id=\"attachment_13854934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1098327268-f3b5abd610964c14e98248532cca79ff9f4ae201-800x600.jpg\" alt=\"Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 11:30 p.m. ET / 8:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>BLACKPINK’s Coachella set is one for the books: It’s the first ever K-pop group to perform at the hallowed festival grounds — and quite possibly the first act ever to simulcast a Coachella set from Times Square. If BLACKPINK is good enough for Times Square, it’s good enough for your living room, right?\u003c/p>\n\u003ch4>Janelle Monáe\u003c/h4>\n\u003cfigure id=\"attachment_13854936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1130408167-8985f8827768a01762d9a72ab6d2806afbba0377-800x600.jpg\" alt=\"Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\u003c/figcaption>\u003c/figure>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:30 a.m. ET / 10:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>No introduction needed: Janelle Monáe is an electric presence live. Come for her excellent music; stay for what will surely be a spectacle when she breaks out “Pynk.”\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003ch4>Billie Eilish\u003c/h4>\n\u003cfigure id=\"attachment_13855014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855014 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Billie-Eilish-800x600.jpg\" alt=\"Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California. \u003ccite>(Kevin Winter/Getty Images for KROQ/Entercom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:50 a.m. ET / 9:50 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>The one time this author saw Billie Eilish, her gloomy pop whipped a sold-out club full of Gen Z-ers into a total frenzy — and that was months before the release of her star-making album \u003cem>When We All Fall Asleep, Where Do We Go?\u003c/em> If anything, this one’s worth throwing on in the event you’re struggling to keep up with the kids.\u003c/p>\n\u003ch3>Tame Impala\u003c/h3>\n\u003cfigure id=\"attachment_13854940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-596739456-9da84f4f754005b4bf7b56124b7a03d4d521e356-800x600.jpg\" alt=\"Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 2:00 a.m. ET / 11:00 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>There probably won’t be a better nightcap for your Saturday than Tame Impala’s groovy psychedelia. Bandleader Kevin Parker will almost certainly break out a few new songs, too.\u003c/p>\n\u003ch3>Little Simz\u003c/h3>\n\u003cfigure id=\"attachment_13854942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-947860284-37ee00888c22a0d5f9342d6ad03d06115098c9f5-800x600.jpg\" alt=\"Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England. \u003ccite>(John Phillips/Getty Images for Global Citizen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 3:00 a.m. ET / 12:00 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 3\u003c/p>\n\u003cp>…but if you’re looking to stay up, U.K. rapper Little Simz put out a stellar album this year titled \u003cem>GREY Area\u003c/em>. At 25, she’s a commanding, already-seasoned stage presence.\u003c/p>\n\u003c/div>\n\u003ch4>Bad Bunny\u003c/h4>\n\u003cfigure id=\"attachment_13854944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1128323097-2fc7c2e7e7ee1dc244489d901fbc47a064a089dd-800x600.jpg\" alt=\"Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019. \u003ccite>(Claudio Reyes/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>You’d be remiss to skip Bad Bunny, \u003cem>urbano\u003c/em>‘s Puerto Rican goofball prince, live. Still riding the wave of his immaculate, long-awaited debut \u003cem>X 100PRE\u003c/em>, Bad Bunny has charisma and charm for days.\u003c/p>\n\u003ch3>Pusha T\u003c/h3>\n\u003cfigure id=\"attachment_13854946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-976138098-70fb8236baf65585d64ef5f3bd680737cb46666e-800x600.jpg\" alt=\"Rapper Pusha T performs during the debut of his residency at Drai's Beach Club - Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pusha T performs during the debut of his residency at Drai’s Beach Club – Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:35 a.m. ET / 9:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>King Push decreed himself the steel-eyed sorcerer of rap with \u003cem>DAYTONA\u003c/em>. Come witness his proper coronation.\u003c/p>\n\u003ch4>Lizzo\u003c/h4>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13854957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-800x599.jpg\" alt=\"Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California. \u003ccite>(Matt Winkelmeyer/Getty Images for GLAAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:40 a.m. ET / 10:40 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>We don’t know what to tell you: If \u003ca href=\"https://www.youtube.com/watch?v=XaCrQL_8eMY\">the “Juice” video\u003c/a> won’t convince you to watch, maybe the promise of Lizzo twerking whilst playing the flute will.\u003c/p>\n\u003ch4>Ariana Grande\u003c/h4>\n\u003cfigure id=\"attachment_13854955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-800x599.jpg\" alt=\"Ariana Grande\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande \u003ccite>(Bennett Raglin/Getty Images for FIJI Water)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:35 a.m. ET / 10:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To cap off the whole festival, come witness one of pop music’s biggest stars as she caps off a stunning run of music. (And, for what it’s worth, tickets for her ongoing tour sold out months in advance. This might be your only chance to see her.)\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+Coachella+Performances+Worth+Watching+On+YouTube+This+Weekend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 19th year, the \u003ca href=\"https://www.youtube.com/user/coachella\">Coachella Valley Music and Arts Festival\u003c/a> is more than a music festival, or even a lifestyle. It’s a capital-M moment that seems to stop the world. (And not \u003cem>entirely\u003c/em> because Beyoncé willed it so last year.) Beyond the experience of bearing witness to celebrities of the A- and D-lists as they drench themselves in sweat and dust while gorging on trendy cuisine and novelty cocktails, Coachella’s influence extends far beyond the festival grounds of Indio, California.\u003c/p>\n\u003cp>Even Coachella seems to be aware of this: For the first time ever, it’s doubling down on its festival streams by showcasing both weekends of the festival. Emergent K-pop group BLACKPINK is set to broadcast its message of sensory-overload pop music \u003ca href=\"https://www.latimes.com/business/hollywood/la-fi-ct-youtube-coachella-times-square-20190408-story.html\">in Times Square\u003c/a> this weekend. Childish Gambino and Rihanna premiered a new film, and with the aid of Amazon and YouTube, will premiere it globally this weekend for free.\u003c/p>\n\u003cp>For those looking to avoid the hefty price tag of a festival pass — or reluctant to experience Coachella anywhere but on a couch — we’ve got you covered. The only catch: You’ll need to watch it \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">live on YouTube\u003c/a>, as Coachella does not make its sets available after the fact as on-demand videos.\u003c/p>\n\u003cp>So, without further ado, here are 10 Coachella 2019 acts worth planning your weekend around, in chronological order. And if you’re the adventurous sort, you can scan and skip between a whopping 83 live performances across three channels at \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">youtube.com/user/coachella/coachellalive\u003c/a>.\u003c/p>\n\u003ch3 class=\"hed\">10 Coachella Sets We’re Watching This Weekend\u003c/h3>\n\u003ch4>Kacey Musgraves\u003c/h4>\n\u003cfigure id=\"attachment_13854931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1134354848-5b17415d54e71f6f69f45040c5d07f81a6ccbdb2-800x600.jpg\" alt=\"Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>Even if it’s not quite golden hour elsewhere, getting to see Kacey Musgraves perform as the sun wanes in Coachella might just be worth the price of admission. (Lucky for you, it only requires access to a device that streams YouTube.)\u003c/p>\n\u003ch4>BLACKPINK\u003c/h4>\n\u003cfigure id=\"attachment_13854934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1098327268-f3b5abd610964c14e98248532cca79ff9f4ae201-800x600.jpg\" alt=\"Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 11:30 p.m. ET / 8:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>BLACKPINK’s Coachella set is one for the books: It’s the first ever K-pop group to perform at the hallowed festival grounds — and quite possibly the first act ever to simulcast a Coachella set from Times Square. If BLACKPINK is good enough for Times Square, it’s good enough for your living room, right?\u003c/p>\n\u003ch4>Janelle Monáe\u003c/h4>\n\u003cfigure id=\"attachment_13854936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1130408167-8985f8827768a01762d9a72ab6d2806afbba0377-800x600.jpg\" alt=\"Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\u003c/figcaption>\u003c/figure>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:30 a.m. ET / 10:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>No introduction needed: Janelle Monáe is an electric presence live. Come for her excellent music; stay for what will surely be a spectacle when she breaks out “Pynk.”\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003ch4>Billie Eilish\u003c/h4>\n\u003cfigure id=\"attachment_13855014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855014 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Billie-Eilish-800x600.jpg\" alt=\"Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California. \u003ccite>(Kevin Winter/Getty Images for KROQ/Entercom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:50 a.m. ET / 9:50 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>The one time this author saw Billie Eilish, her gloomy pop whipped a sold-out club full of Gen Z-ers into a total frenzy — and that was months before the release of her star-making album \u003cem>When We All Fall Asleep, Where Do We Go?\u003c/em> If anything, this one’s worth throwing on in the event you’re struggling to keep up with the kids.\u003c/p>\n\u003ch3>Tame Impala\u003c/h3>\n\u003cfigure id=\"attachment_13854940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-596739456-9da84f4f754005b4bf7b56124b7a03d4d521e356-800x600.jpg\" alt=\"Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 2:00 a.m. ET / 11:00 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>There probably won’t be a better nightcap for your Saturday than Tame Impala’s groovy psychedelia. Bandleader Kevin Parker will almost certainly break out a few new songs, too.\u003c/p>\n\u003ch3>Little Simz\u003c/h3>\n\u003cfigure id=\"attachment_13854942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-947860284-37ee00888c22a0d5f9342d6ad03d06115098c9f5-800x600.jpg\" alt=\"Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England. \u003ccite>(John Phillips/Getty Images for Global Citizen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 3:00 a.m. ET / 12:00 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 3\u003c/p>\n\u003cp>…but if you’re looking to stay up, U.K. rapper Little Simz put out a stellar album this year titled \u003cem>GREY Area\u003c/em>. At 25, she’s a commanding, already-seasoned stage presence.\u003c/p>\n\u003c/div>\n\u003ch4>Bad Bunny\u003c/h4>\n\u003cfigure id=\"attachment_13854944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1128323097-2fc7c2e7e7ee1dc244489d901fbc47a064a089dd-800x600.jpg\" alt=\"Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019. \u003ccite>(Claudio Reyes/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>You’d be remiss to skip Bad Bunny, \u003cem>urbano\u003c/em>‘s Puerto Rican goofball prince, live. Still riding the wave of his immaculate, long-awaited debut \u003cem>X 100PRE\u003c/em>, Bad Bunny has charisma and charm for days.\u003c/p>\n\u003ch3>Pusha T\u003c/h3>\n\u003cfigure id=\"attachment_13854946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-976138098-70fb8236baf65585d64ef5f3bd680737cb46666e-800x600.jpg\" alt=\"Rapper Pusha T performs during the debut of his residency at Drai's Beach Club - Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pusha T performs during the debut of his residency at Drai’s Beach Club – Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:35 a.m. ET / 9:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>King Push decreed himself the steel-eyed sorcerer of rap with \u003cem>DAYTONA\u003c/em>. Come witness his proper coronation.\u003c/p>\n\u003ch4>Lizzo\u003c/h4>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13854957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-800x599.jpg\" alt=\"Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California. \u003ccite>(Matt Winkelmeyer/Getty Images for GLAAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:40 a.m. ET / 10:40 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>We don’t know what to tell you: If \u003ca href=\"https://www.youtube.com/watch?v=XaCrQL_8eMY\">the “Juice” video\u003c/a> won’t convince you to watch, maybe the promise of Lizzo twerking whilst playing the flute will.\u003c/p>\n\u003ch4>Ariana Grande\u003c/h4>\n\u003cfigure id=\"attachment_13854955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-800x599.jpg\" alt=\"Ariana Grande\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande \u003ccite>(Bennett Raglin/Getty Images for FIJI Water)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:35 a.m. ET / 10:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To cap off the whole festival, come witness one of pop music’s biggest stars as she caps off a stunning run of music. (And, for what it’s worth, tickets for her ongoing tour sold out months in advance. This might be your only chance to see her.)\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+Coachella+Performances+Worth+Watching+On+YouTube+This+Weekend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
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