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"content": "\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\u003c/p>\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=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Listen at the audio embed below to hear Eric Deggans’ review of \u003c/em>Surviving R. Kelly\u003cem>. Read on for his extended interview with the show’s executive producer, cultural critic dream hampton.\u003c/em>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/681851521/681851522\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>When executive producer dream hampton was pulling together Lifetime’s exhaustive six-part docuseries \u003cem>Surviving R. Kelly\u003c/em>, she made a point of reaching out to stars in the music business about the show’s core allegations: that one of R&B’s biggest-selling talents has spent decades pursuing sex with underage girls, maintaining abusive relationships with women and videotaping sexual activities without their consent.\u003c/p>\n\u003cp>The program about R. Kelly, which began airing Thursday and concludes Saturday, features a few big names in music, like Grammy winner John Legend and radio host Tom Joyner. But according to hampton, many more stars said no.\u003c/p>\n\u003cp>“We asked everyone,” hampton says, noting they also asked people from the record labels that have released Kelly’s work. “I think [they said no because] they’d have to deal with their own complicity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Surviving R. Kelly\u003c/em> makes the case that the music industry and many fans have downplayed or ignored controversies around Kelly as he allegedly used his fame and wealth to refine his strategies for seducing underage girls and young women. At its core is a succession of interviews with women who say the singer held them in residences and studios where they had to ask his permission to eat and use the bathroom; sometimes, they were cut off from family and friends, and were physically abused.\u003c/p>\n\u003cp>All of the women who say in the docuseries that they were abused by Kelly have previously made public allegations against the singer, but \u003cem>Surviving R. Kelly\u003c/em>‘s power comes in hearing their stories told on camera, and all together.\u003c/p>\n\u003cp>Kelly has denied such allegations in the past; the series notes in each episode that the singer and his representatives did not respond after several attempts to get their comments. TMZ reported Thursday that an attorney for Kelly sent a letter threatening to sue Lifetime if it aired the program, but no such legal action has yet been announced. (R. Kelly’s management declined to comment to NPR about the series or any possible legal action related to it.)\u003c/p>\n\u003cp>Featuring material from more than 50 interviews, the show reaches back to the singer’s earliest days, when he was Robert Sylvester Kelly growing up in Chicago. Producers spoke to two of Kelly’s brothers, his ex-wife, music journalists and several of Kelly’s former employees, along with experts in psychology and abuse who spoke about the dynamics of how such relationships evolve.\u003c/p>\n\u003cp>And several major controversies from Kelly’s past are explored in detail — from his marriage to 15-year-old protégée Aaliyah in the mid-1990s to the appearance of a leaked sex tape in the early 2000s allegedly showing him with an underage girl, his prosecution and acquittal six years later on child pornography charges connected to that video and recent allegations he has isolated young women in something resembling a “sex cult.”\u003c/p>\n\u003cp>In an interview with NPR, hampton — who is an occasional \u003ca href=\"https://www.npr.org/2018/08/16/639403572/black-people-will-be-free-aretha-franklin-lived-promise-detroit\">contributor\u003c/a> to NPR Music — talked about how, given Kelly’s success and range of projects, she believes that “dozens, if not hundreds of people” had to be complicit in helping him.\u003c/p>\n\u003cp>\u003cem>This interview has been edited for length and clarity\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Eric Deggans: Let’s start with you coming onto this project, and how you wound up being the showrunner on this docuseries.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>dream hampton: \u003c/strong>I was not thinking about R. Kelly. I mean, he has been somewhere in the back of my mind, particularly when the stories about Harvey Weinstein began to break and when the #MeToo movement really began to pick up steam. And like [#MeToo founder] \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">Tarana Burke\u003c/a>, I remember thinking, “Why isn’t R. Kelly being held accountable in this moment?”\u003c/p>\n\u003cp>But I can’t say that I was thinking about doing some exposé on him. I was invited into this project by an executive at Bunim/Murray [Productions] — and that executive, Jesse Daniels, and Tamara Simmons, another co-EP on this project, have been holding these relationships with some of his survivors for months before I came on board. I remember talking to them early on, kind of figuring out if we were going to work together. … Having been adjacent in some ways to the music industry, when there was one, I knew that it it took dozens, if not hundreds of people, for R. Kelly to operate as long as he has in the way that he has.\u003c/p>\n\u003cp>\u003cstrong>You’ve talked about feeling like you, yourself, had a missed opportunity with R. Kelly years ago, where you interviewed him but weren’t aware fully of all that he was doing.\u003c/strong>\u003c/p>\n\u003cp>When I went to interview R. Kelly, it was the summer of 2000 and I was doing a story for \u003cem>Vibe \u003c/em>magazine. We knew about the early marriage for sure: We knew that this 27-year-old man had married a 15-year-old, not unlike Elvis having married 14-year-old Priscilla. [\u003cem>See correction below: Elvis and Priscilla Presley met when she was 14, but were not married for another eight years\u003c/em>.\u003cem> -ed.\u003c/em>] There have been those relationships, if we’re honest, in our own families when we go back just a couple of generations — how old was our grandfather when he married our grandmother, and so on and so forth. But it was disgusting. … I absolutely asked him about Aaliyah. He was offended that I had. I remember he called me afterwards to kind of yell at me about it being in there.\u003c/p>\n\u003cp>What began to become clear a few months after my story was published, with [Chicago-based reporter] Jim DeRogatis’ \u003ca href=\"https://twitter.com/AM2DM/status/1081205979847356416\">relentless reporting\u003c/a> that really began in December of 2000 with the leak of the sex tape, was how many cases [Kelly] began to settle after Aaliyah. [\u003cem>DeRogatis is also a host of member station WBEZ’s program \u003c/em>Sound Opinions\u003cem>. -ed.\u003c/em>] That this wasn’t just some very not-OK marriage to a teenager — and I don’t mean to make light of that, it’s incredibly not OK. But that this was predatory behavior, that he had settled several lawsuits with teenagers, and then this sex abuse tape comes out.\u003c/p>\n\u003cp>It is with great regret that I say that I missed it. And to \u003cem>Vibe\u003c/em>‘s credit — Danyel Smith was editor-in-chief at the time — my story probably hit the streets in September, and by the time Jim’s story comes out in December, Danyel sent someone from \u003cem>Vibe\u003c/em> right back out to get the story right on R. Kelly. But that wasn’t me.\u003c/p>\n\u003cp>\u003cstrong>You got some very key people. I mean, his ex-wife [Andrea Kelly, who has \u003c/strong>\u003ca href=\"https://www.npr.org/2018/10/09/655803259/r-kellys-ex-wife-accuses-him-of-physical-abuse\">\u003cstrong>accused\u003c/strong>\u003c/a>\u003cstrong> R. Kelly of physical abuse]. Sparkle, his former protégée, who maintains that she introduced the underage girl who is the victim in the video to him. You got two of his brothers to speak on camera. How did you get these people, and how did you get them to talk about these subjects that are so tough to talk about?\u003c/strong>\u003c/p>\n\u003cp>Sparkle has a really good friend and manager … who vetted me for weeks, and I really appreciated how guarded he was of her. She testified at the trial that that was her teenage niece being abused by R. Kelly on camera, a girl that she had introduced to him at 12, just as she introduced a lot of her family.\u003c/p>\n\u003cp>Her story to me, and I don’t mean to sound too production-y, but it was a get. I’d heard Andrea Kelly tell a bit of her story; I had heard the brothers in different places, on radio, talk about their brother, and I knew those relationships were estranged. Sparkle was someone who, when she came forward, she risked it all, and she lost it all. Jive Records dropped her when she testified against R. Kelly. She of course was one of his artists, so he wasn’t going to manage or produce her anymore, and I’m sure she didn’t want that. But more than that, she lost her family. She talked about not speaking to her family for a decade because of coming forward. One of the things that she was most reticent about was reopening those wounds and possibly not being able to spend Christmas with her family because she was doing this show.\u003c/p>\n\u003cp>And that was a common theme: Yes, these girls’ lives are destroyed, but you see whole families who, decades later, are still dealing with the trauma that R. Kelly has left behind.\u003c/p>\n\u003cp>\u003cstrong>How long did it take you to pull these stories, all this material together?\u003c/strong>\u003c/p>\n\u003cp>Well, there were some false starts in terms of how we were going to tell the story. Again, Tamara Simmons and Jesse Daniels had been holding the space for these relationships [with accusers]. Tamara Simmons in particular was getting calls at 3 in the morning from the families — and then the families would introduce us to new victims, some of whom wanted to come on camera, many of whom did not.\u003c/p>\n\u003cp>And then, I come from a history of having done cultural criticism, so I was able to get a lot of those voices in there: Nelson George, [NPR correspondent] Ann Powers, Jamilah Lemieux. But when it came to industry insiders, I got a whole bunch of noes. I really want to shout out John Legend for even coming on camera — someone with his stature just agreeing to go on the record and say what he said.\u003c/p>\n\u003cp>\u003cstrong>Why do you think they said no?\u003c/strong>\u003c/p>\n\u003cp>I think they’d have to deal with their own complicity. There’s a whole lot of “what about”-ism; that is one of the ways that we see conversations around abuse derailed all of the time, whether it’s Weinstein and we get the “What about the casting couch in Hollywood in the ’30s?” And like, what? We’re talking about \u003cem>this \u003c/em>person and we’re talking about \u003cem>these \u003c/em>cases.\u003c/p>\n\u003cp>\u003cstrong>There are various messages in the series saying you guys tried to get a response from R. Kelly and he has not responded. [\u003c/strong>\u003cem>\u003cstrong>This interview was recorded on Jan. 2, the day before the first two episodes aired. -ed.\u003c/strong>\u003c/em>\u003cstrong>] Is that still true? \u003c/strong>\u003c/p>\n\u003cp>R. Kelly and his team have been given many of the quotes that are in the piece, many of the facts and obviously an opportunity to be interviewed several times. And he has turned us down.\u003c/p>\n\u003cp>\u003cstrong>Is there any concern that he might sue?\u003c/strong>\u003c/p>\n\u003cp>I mean, I think we had those concerns every single day that we were in production. There was never an interview that I conducted that didn’t have an attorney from Bunim/Murray in the room. A&E, who owns Lifetime, is a publicly held company and they have their legal department.So this was vetted beyond anything I’ve ever done before.\u003c/p>\n\u003cp>\u003cstrong>I know these are different cases, but I think about Bill Cosby and how people, for some reason, just seemed to get amnesia about the allegations against him — until we hit about 2015 and it seemed that our sensibility about those allegations changed. People took them more seriously, he wasn’t able to mount this whole rehabilitation tour that he had kind of built for himself, and he wound up being charged with crimes and and convicted.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Do you think that a series like this is meeting that moment? That maybe our feelings in regard to all these things that he’s been accused of and connected to over the decades have changed enough that people are going to react differently?\u003c/strong>\u003c/p>\n\u003cp>Well, I think it’s because of the work of people like the creators of \u003ca href=\"https://www.npr.org/2018/05/06/608802024/-muterkelly-gathers-momentum\">#MuteRKelly\u003c/a>, who are also in the docuseries, that somewhere like Lifetime was even interested. Say they were interested before; they knew that this was the moment that they could actually get this made.\u003c/p>\n\u003cp>But moreover, I filmed a #MuteRKelly protest in my hometown, Detroit, at a concert that he was at. And I watched those protesters, black women, be yelled at by other black women and black men. “Get a man.” “He was found innocent.” “You need to go home.” It disgusted me. If we were out there protesting about any number of issues … we would not have been met with the kind of scorn from black people that those protesters were met with.\u003c/p>\n\u003cp>And so it’s those people — I want them to be unable to loudly declare their defense of R. Kelly. They can do it quietly. They can play their R. Kelly records and do whatever they want to do. But they should have some shame attached to that.\u003c/p>\n\u003cp>\u003cstrong>You had to \u003c/strong>\u003ca href=\"https://www.npr.org/2018/12/05/673676491/after-threats-r-kelly-documentary-screening-in-manhattan-is-evacuated\">\u003cstrong>cancel one screening\u003c/strong>\u003c/a>\u003cstrong> because there were threats called in. Now we’re at the point of having the series here, on television. Are you concerned at all about what his more devoted fans might do when it hits the public?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I’m not afraid of R. Kelly or his fans. I mean, they can’t call in and cancel what’s going to be in people’s living rooms. I think that whatever energy they think they’re about to engage in trying to defend him … they all need to be looking at themselves. Don’t come looking for the girls; definitely don’t come looking for me. Look in the mirror.\u003c/p>\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=Making+%27Surviving+R.+Kelly%27%3A+A+Conversation+With+Executive+Producer+Dream+Hampton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> has dropped a famous singer accused of sexual assault from its roster for next year.\u003c/p>\n\u003cp>The American star countertenor David Daniels was scheduled to play the principle character of Medoro in the company’s June 2019 production of Handel’s \u003cem>Orlando\u003c/em> at the War Memorial Opera House.\u003c/p>\n\u003cp>San Francisco Opera issued a statement Thursday saying it has removed Daniels from the cast in the wake of multiple sexual assault allegations against the singer that emerged in recent months.\u003c/p>\n\u003cp>One of Daniels’ voice students at the University of Michigan \u003ca href=\"https://www.npr.org/2018/10/25/660555257/second-man-accuses-opera-star-david-daniels-of-sexual-assault\" target=\"_blank\" rel=\"noopener\">filed a lawsuit two weeks ago\u003c/a> alleging his teacher drugged and assaulted him and sent him sexually explicit photos and videos in 2017.\u003c/p>\n\u003cp>Another singer came forward in August saying Daniels raped him in 2010.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Daniels, 52, took a leave of absence at the University of Michigan after the first accusation emerged. He denies both allegations.\u003c/p>\n\u003cp>“The decision to part ways with Mr. Daniels, for business and professional reasons, was reached after considerable deliberation given the serious allegations of sexual assault, an on-going police investigation and a lawsuit filed against the American opera singer,” reads the San Francisco Opera’s statement. “While these situations remain under investigation, San Francisco Opera is unable to present the artist on the War Memorial Opera House stage.”\u003c/p>\n\u003cp>One of the world’s most renowned contemporary exponents of the “countertenor” voice (a rare, high male voice similar in range to that of a female contralto), Daniels has appeared in five San Francisco Opera productions since 1997.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“David Daniels is very beloved as a singer,” said \u003ca href=\"http://operatattler.com/\" target=\"_blank\" rel=\"noopener\">San Francisco-based opera blogger Charlise Tiee\u003c/a> in a phone interview. “He’s probably the most famous singer of that voice type in the world.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Tiee said the opera community has come out in support of the alleged victims. “I haven’t seen anyone disbelieve the accusers. They sound pretty credible,” Tiee said. “I mean, why would you make allegations if they weren’t true, especially against somebody who is very famous and powerful?”\u003c/p>\n\u003cp>Tiee said firing Daniels was the right thing for San Francisco Opera to do, even if the move comes months after the initial accusations emerged. “I was surprised they didn’t drop him right away after the first allegations,” Tiee said.\u003c/p>\n\u003cp>San Francisco Opera didn’t immediately respond to questions about the timing of the decision.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.sfopera.com\" target=\"_blank\" rel=\"noopener\">San Francisco Opera\u003c/a> has dropped a famous singer accused of sexual assault from its roster for next year.\u003c/p>\n\u003cp>The American star countertenor David Daniels was scheduled to play the principle character of Medoro in the company’s June 2019 production of Handel’s \u003cem>Orlando\u003c/em> at the War Memorial Opera House.\u003c/p>\n\u003cp>San Francisco Opera issued a statement Thursday saying it has removed Daniels from the cast in the wake of multiple sexual assault allegations against the singer that emerged in recent months.\u003c/p>\n\u003cp>One of Daniels’ voice students at the University of Michigan \u003ca href=\"https://www.npr.org/2018/10/25/660555257/second-man-accuses-opera-star-david-daniels-of-sexual-assault\" target=\"_blank\" rel=\"noopener\">filed a lawsuit two weeks ago\u003c/a> alleging his teacher drugged and assaulted him and sent him sexually explicit photos and videos in 2017.\u003c/p>\n\u003cp>Another singer came forward in August saying Daniels raped him in 2010.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Daniels, 52, took a leave of absence at the University of Michigan after the first accusation emerged. He denies both allegations.\u003c/p>\n\u003cp>“The decision to part ways with Mr. Daniels, for business and professional reasons, was reached after considerable deliberation given the serious allegations of sexual assault, an on-going police investigation and a lawsuit filed against the American opera singer,” reads the San Francisco Opera’s statement. “While these situations remain under investigation, San Francisco Opera is unable to present the artist on the War Memorial Opera House stage.”\u003c/p>\n\u003cp>One of the world’s most renowned contemporary exponents of the “countertenor” voice (a rare, high male voice similar in range to that of a female contralto), Daniels has appeared in five San Francisco Opera productions since 1997.\u003c/p>\n\u003cp>\u003cb>\u003c/b>“David Daniels is very beloved as a singer,” said \u003ca href=\"http://operatattler.com/\" target=\"_blank\" rel=\"noopener\">San Francisco-based opera blogger Charlise Tiee\u003c/a> in a phone interview. “He’s probably the most famous singer of that voice type in the world.”\u003c/p>\n\u003cp>\u003cb>\u003c/b>Tiee said the opera community has come out in support of the alleged victims. “I haven’t seen anyone disbelieve the accusers. They sound pretty credible,” Tiee said. “I mean, why would you make allegations if they weren’t true, especially against somebody who is very famous and powerful?”\u003c/p>\n\u003cp>Tiee said firing Daniels was the right thing for San Francisco Opera to do, even if the move comes months after the initial accusations emerged. “I was surprised they didn’t drop him right away after the first allegations,” Tiee said.\u003c/p>\n\u003cp>San Francisco Opera didn’t immediately respond to questions about the timing of the decision.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "SOB x RBE's 'All Facts' is Disturbingly Casual About Domestic Violence",
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"content": "\u003cp>“Got no sympathy for hoes / I’ll slap a bitch!” rages Slimmy B of SOB x RBE on the song “All Facts Not 1 Opinion” from the Vallejo rap group’s new album, \u003cem>Gangin II\u003c/em>, miming a slapping motion as he says the words in the \u003ca href=\"https://www.youtube.com/watch?v=TnV3N4vBYuI\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a>. [contextly_sidebar id=”jPle1J88AxGljmTqMfqKIqJ6BL1b7Yyi”]\u003c/p>\n\u003cp>SOB x RBE aren’t the only young, rising rap artists making light of violence against women in recent releases. Twenty-two-year-old breakout Atlanta star Playboi Carti also brags, “Got me mad as shit, so I slapped that bitch” on “\u003ca href=\"https://www.youtube.com/watch?v=GRoa6w-wnT4\" target=\"_blank\" rel=\"noopener noreferrer\">R.I.P.\u003c/a>” from his album \u003cem>Die Lit\u003c/em>, which peaked at No. 2 on Billboard’s rap albums chart in May.\u003c/p>\n\u003cp>The dialogue surrounding misogyny and abuse in rap culture—whether in lyrics or real life—has been a constant for decades. But it’s notably regressed since last fall, when the #MeToo movement reached a fever pitch. Yes, some of the main protagonists in that debate, namely 6ix9ine and XXXtentacion, continue to elicit a loud minority of detractors. But 6ix9ine has enjoyed chart success and a \u003ca href=\"https://www.thedailybeast.com/why-is-nicki-minaj-co-signing-convicted-sex-criminal-tekashi-6ix9ine\" target=\"_blank\" rel=\"noopener noreferrer\">high-profile collaboration with Nicki Minaj\u003c/a> despite his guilty plea to using a child in a sex tape. Meanwhile, many fans and artists have re-imagined the late XXXtentacion as a romantic fallen hero while glossing over the\u003ca href=\"https://www.miaminewtimes.com/music/the-real-story-of-rapper-xxxtentacion-10410980\" target=\"_blank\" rel=\"noopener noreferrer\"> allegations\u003c/a> of brutal domestic violence against him.\u003c/p>\n\u003cp>https://youtu.be/RZhcRrurulc\u003c/p>\n\u003cp>“I’ma be sympathetic to a kid who has clearly been through so much f-cked up shit that he inflicted this on someone else,” rapper J. Cole told \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8476757/j-cole-interview-billboard-cover-story\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard\u003c/a> in September. In the same interview, Cole expressed disappointment with his hero, Nas (Nas’ ex, Kelis, recently accused him of domestic violence). But even as some factions of the rap world grapple with talented artists who have appalling accusations against them, we seem to not have a problem with lyrics that reinforce the same behavior.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This isn’t to say that domestic violence shouldn’t be categorically exempt as thematic material in rap. There are plenty of songs where it’s treated with nuance, such as when Vic Mensa raps with remorse about choking his girlfriend on the 2016 track, “\u003ca href=\"https://www.youtube.com/watch?v=d4VflaXIJCQ\" target=\"_blank\" rel=\"noopener noreferrer\">There’s Alot Going On\u003c/a>“: “She came out the room swingin’, hit me in the jaw / I was really tryna fend her off / But I ended up in the closet with my hands around her neck / I was trippin’, dawg.” (Mensa recently stoked XXXtentacion fans’ ire with his unreleased freestyle from the BET Hip-Hop Awards, which air on Oct. 16. He says he was calling out a “trend in hip-hop of championing abusers.”)\u003c/p>\n\u003cp>https://twitter.com/PopCrave/status/1049476232633573376\u003c/p>\n\u003cp>Still, one of the challenges of critically discussing abusive artists is the increasing pushback against the concept of “cancel” culture. “We’re talking less about whether a work is good art but simply whether it’s good—good for us, good for the culture, good for the world,” writes Wesley Morris in a recent \u003ca href=\"https://www.nytimes.com/interactive/2018/10/03/magazine/morality-social-justice-art-entertainment.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay\u003c/a> for \u003cem>The New York Times\u003c/em>. His concern is that morality and so‐called identity politics are overtaking aesthetics as the primary reasons for celebrating popular art. Besides, “cancel” culture doesn’t seem to work in popular music, which is more decentralized and less contained by corporations than the film and television industry.[contextly_sidebar id=”JE0pIQJoiIYdavnXCytg1sp7mSORod5d”]\u003c/p>\n\u003cp>It’s one thing to try and “cancel” artists’ careers over taboo lyrics and real‐life criminal allegations—and indeed, there are some corners of social media that try to do that—and another to insist that artists simply be held to account for their bodies of work. No one claims that ’80s and ’90s rap stars like Beatnuts (where Psycho Les called himself “the crazy rapist” on “\u003ca href=\"https://www.youtube.com/watch?v=SXeypq9dWAA\" target=\"_blank\" rel=\"noopener noreferrer\">Reign of the Tec\u003c/a>“) or Geto Boys (with their notorious rape-and-pillage horrorcore classic, “\u003ca href=\"https://www.youtube.com/watch?v=66Tuirx98Qk\" target=\"_blank\" rel=\"noopener noreferrer\">Assassins\u003c/a>“) should be wiped from history. However, rap audiences’ tastes have evolved considerably over the past 30 years.\u003c/p>\n\u003cp>As Rich Homie Quan and Rick Ross learned when they apologized for their lyrics on the songs “\u003ca href=\"http://theboombox.com/rich-homie-quan-apologizes-for-controversial-rape-lyrics-on-i-made-it/\" target=\"_blank\" rel=\"noopener noreferrer\">I Made It\u003c/a>” and “\u003ca href=\"https://www.spin.com/2013/05/rick-ross-rocko-rape-rap-controversy-uoeno-childish-major/\" target=\"_blank\" rel=\"noopener noreferrer\">UOENO\u003c/a>“—which both coyly described rape scenarios—that type of material is becoming less acceptable, especially in front of mass audiences. Hip-hop loves its outlaws, but outrageously noxious tropes about sexual assault and statutory rape have become taboo. If the culture is to continue to evolve, it’s worth asking why rap songs about beating women still fly under the radar.[contextly_sidebar id=”OKWCdWGTyEhe7zOsFNFPVAQ8MZvjAqZR”]\u003c/p>\n\u003cp>At its best, rap music reflects society as a whole, no matter how beautiful or ugly. But tracks where violence against women is treated like a joke—like Playboi Carti’s “R.I.P.” and SOB x RBE’s “All Facts Not 1 Opinion”—seem beyond the pale now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>People of all genders deserve better from the art form.\u003c/p>\n\n",
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"headline": "SOB x RBE's 'All Facts' is Disturbingly Casual About Domestic Violence",
"datePublished": "2018-10-09T17:29:32-07:00",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Got no sympathy for hoes / I’ll slap a bitch!” rages Slimmy B of SOB x RBE on the song “All Facts Not 1 Opinion” from the Vallejo rap group’s new album, \u003cem>Gangin II\u003c/em>, miming a slapping motion as he says the words in the \u003ca href=\"https://www.youtube.com/watch?v=TnV3N4vBYuI\" target=\"_blank\" rel=\"noopener noreferrer\">music video\u003c/a>. \u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>SOB x RBE aren’t the only young, rising rap artists making light of violence against women in recent releases. Twenty-two-year-old breakout Atlanta star Playboi Carti also brags, “Got me mad as shit, so I slapped that bitch” on “\u003ca href=\"https://www.youtube.com/watch?v=GRoa6w-wnT4\" target=\"_blank\" rel=\"noopener noreferrer\">R.I.P.\u003c/a>” from his album \u003cem>Die Lit\u003c/em>, which peaked at No. 2 on Billboard’s rap albums chart in May.\u003c/p>\n\u003cp>The dialogue surrounding misogyny and abuse in rap culture—whether in lyrics or real life—has been a constant for decades. But it’s notably regressed since last fall, when the #MeToo movement reached a fever pitch. Yes, some of the main protagonists in that debate, namely 6ix9ine and XXXtentacion, continue to elicit a loud minority of detractors. But 6ix9ine has enjoyed chart success and a \u003ca href=\"https://www.thedailybeast.com/why-is-nicki-minaj-co-signing-convicted-sex-criminal-tekashi-6ix9ine\" target=\"_blank\" rel=\"noopener noreferrer\">high-profile collaboration with Nicki Minaj\u003c/a> despite his guilty plea to using a child in a sex tape. Meanwhile, many fans and artists have re-imagined the late XXXtentacion as a romantic fallen hero while glossing over the\u003ca href=\"https://www.miaminewtimes.com/music/the-real-story-of-rapper-xxxtentacion-10410980\" target=\"_blank\" rel=\"noopener noreferrer\"> allegations\u003c/a> of brutal domestic violence against him.\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/RZhcRrurulc'\n title='//www.youtube.com/embed/RZhcRrurulc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“I’ma be sympathetic to a kid who has clearly been through so much f-cked up shit that he inflicted this on someone else,” rapper J. Cole told \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8476757/j-cole-interview-billboard-cover-story\" target=\"_blank\" rel=\"noopener noreferrer\">Billboard\u003c/a> in September. In the same interview, Cole expressed disappointment with his hero, Nas (Nas’ ex, Kelis, recently accused him of domestic violence). But even as some factions of the rap world grapple with talented artists who have appalling accusations against them, we seem to not have a problem with lyrics that reinforce the same behavior.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This isn’t to say that domestic violence shouldn’t be categorically exempt as thematic material in rap. There are plenty of songs where it’s treated with nuance, such as when Vic Mensa raps with remorse about choking his girlfriend on the 2016 track, “\u003ca href=\"https://www.youtube.com/watch?v=d4VflaXIJCQ\" target=\"_blank\" rel=\"noopener noreferrer\">There’s Alot Going On\u003c/a>“: “She came out the room swingin’, hit me in the jaw / I was really tryna fend her off / But I ended up in the closet with my hands around her neck / I was trippin’, dawg.” (Mensa recently stoked XXXtentacion fans’ ire with his unreleased freestyle from the BET Hip-Hop Awards, which air on Oct. 16. He says he was calling out a “trend in hip-hop of championing abusers.”)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Still, one of the challenges of critically discussing abusive artists is the increasing pushback against the concept of “cancel” culture. “We’re talking less about whether a work is good art but simply whether it’s good—good for us, good for the culture, good for the world,” writes Wesley Morris in a recent \u003ca href=\"https://www.nytimes.com/interactive/2018/10/03/magazine/morality-social-justice-art-entertainment.html\" target=\"_blank\" rel=\"noopener noreferrer\">essay\u003c/a> for \u003cem>The New York Times\u003c/em>. His concern is that morality and so‐called identity politics are overtaking aesthetics as the primary reasons for celebrating popular art. Besides, “cancel” culture doesn’t seem to work in popular music, which is more decentralized and less contained by corporations than the film and television industry.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>It’s one thing to try and “cancel” artists’ careers over taboo lyrics and real‐life criminal allegations—and indeed, there are some corners of social media that try to do that—and another to insist that artists simply be held to account for their bodies of work. No one claims that ’80s and ’90s rap stars like Beatnuts (where Psycho Les called himself “the crazy rapist” on “\u003ca href=\"https://www.youtube.com/watch?v=SXeypq9dWAA\" target=\"_blank\" rel=\"noopener noreferrer\">Reign of the Tec\u003c/a>“) or Geto Boys (with their notorious rape-and-pillage horrorcore classic, “\u003ca href=\"https://www.youtube.com/watch?v=66Tuirx98Qk\" target=\"_blank\" rel=\"noopener noreferrer\">Assassins\u003c/a>“) should be wiped from history. However, rap audiences’ tastes have evolved considerably over the past 30 years.\u003c/p>\n\u003cp>As Rich Homie Quan and Rick Ross learned when they apologized for their lyrics on the songs “\u003ca href=\"http://theboombox.com/rich-homie-quan-apologizes-for-controversial-rape-lyrics-on-i-made-it/\" target=\"_blank\" rel=\"noopener noreferrer\">I Made It\u003c/a>” and “\u003ca href=\"https://www.spin.com/2013/05/rick-ross-rocko-rape-rap-controversy-uoeno-childish-major/\" target=\"_blank\" rel=\"noopener noreferrer\">UOENO\u003c/a>“—which both coyly described rape scenarios—that type of material is becoming less acceptable, especially in front of mass audiences. Hip-hop loves its outlaws, but outrageously noxious tropes about sexual assault and statutory rape have become taboo. If the culture is to continue to evolve, it’s worth asking why rap songs about beating women still fly under the radar.\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At its best, rap music reflects society as a whole, no matter how beautiful or ugly. But tracks where violence against women is treated like a joke—like Playboi Carti’s “R.I.P.” and SOB x RBE’s “All Facts Not 1 Opinion”—seem beyond the pale now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>People of all genders deserve better from the art form.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "jackson-monae-feminist-pop-sunday-outside-lands",
"title": "Jackson, Monáe Connect Past and Present of Feminist Pop at Outside Lands' Close",
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"headTitle": "Jackson, Monáe Connect Past and Present of Feminist Pop at Outside Lands’ Close | KQED",
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"content": "\u003cp>With songs speaking out against sexual harassment and domestic violence dating back to the ’80s and ’90s, Janet Jackson was lightyears ahead of the current conversations about gender equality as far as pop stars are concerned. Her headlining set at Outside Lands Sunday night was not only an expertly crafted spectacle, but a powerful, timely statement that vindicated her legacy and reignited her relevance in the current political moment.\u003c/p>\n\u003cp>[contextly_sidebar id=”aS0D4cEJIv3NvCXBJ9mQDpYYtEn0DmTJ”]\u003c/p>\n\u003cp>As white supremacist “Unite the Right” rallies took place around the country over the weekend, Jackson opened her set with her 1989 song “The Knowledge,” declaring, “Prejudice—no! / Ignorance—no! Bigotry—no!” over a funky breakbeat as a giant Black Power fist flashed onscreen.\u003c/p>\n\u003cp>Her strong opening statement set the tone for the rest of the show: throughout, Jackson celebrated female sexuality (did you know 1986’s seemingly PG “When I Think of You” is actually about masturbation?) and decried abuses against women through a potent combination of lyrics, choreo and multimedia.\u003c/p>\n\u003cp>Over the course of the energetic 90-minute performance spanning three decades of hits, Jackson never stopped moving her feet. She channeled rage, vulnerability and sensuality, bringing the audience to giddy, nostalgic highs and plunging them into deep moments of catharsis.\u003c/p>\n\u003cfigure id=\"attachment_13838861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8564-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of Jackson’s music coats her feminist message in sassiness and humor (“No, my first name ain’t ‘baby’ / It’s Janet / Miss Jackson if you’re nasty,” she sings in 1986’s hip-shaking hit, “Nasty”), her set also occasionally treaded into shocking territory. During Jackson’s performance of “What About,” her angry 1997 ballad about an abusive relationship, a white, male dancer mimed attacking a black, female dancer, even putting his hands on her face. As Jackson sang the chorus (“What about the times you lied to me / What about the times you said no one would want me”), she sat the man in a chair as she danced fiercely behind him, mimicking knocking him to the ground.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Jackson finished the song, tears flooded her eyes and trickled down her cheeks. For a second, she looked overcome with emotion—a touching, genuine moment. “I am done with you,” she declared to the male dancer—and what felt like the patriarchy as a whole—as she shoved him out of his chair.\u003c/p>\n\u003cp>It seemed like no accident that at this point in the show, Jackson changed into an Alexander Wang football jersey, evoking the 2004 Super Bowl halftime show that many critics \u003ca href=\"https://www.usatoday.com/story/life/entertainthis/2017/10/23/why-justin-timberlake-owes-janet-jackson-super-bowl-sized-apology/790290001/\" target=\"_blank\" rel=\"noopener\">now argue\u003c/a> unfairly sidelined her from the music industry in a case of sexist double standards. Jackson appears keenly self-aware of how perceptions of her music have shifted in today’s cultural moment of reckoning with misogyny and abuse. Her forthcoming single, also announced Sunday, is called “Made For Now.” Riding on a high of headlining festivals and receiving the Billboard Icon Award this year, she knows the time for her comeback is ripe, and rightfully so.\u003c/p>\n\u003cfigure id=\"attachment_13838834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8235-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson’s Outside Lands set was also a reminder of how she’s inspired younger generations. Just a few hours earlier on the main stage, Janelle Monáe delivered a boldly feminist performance of her own, taking her seat atop a red, velvet throne as she rapped “Django Jane” from her new album, \u003cem>Dirty Computer\u003c/em>, with her Kansas drawl: “Black girl magic, y’all can’t stand it / Y’all can’t ban it, made out like a bandit.” Witnessing her ultra-confident body language as she regally took her seat was contagiously empowering, and her screaming fans seemed just about ready to hail her as their queen.\u003c/p>\n\u003cp>With her tight choreography, androgynous, wide-shouldered outfit and funky, all-woman band that included an expert horn section, Monáe’s set channeled a legacy of futuristic black pop that Janet and Michael Jackson and Prince pioneered over thirty years prior. In many ways, Monáe’s body of work builds on the themes Janet Jackson put forth in her music; Monáe’s work expands upon that legacy, adding queerness to the conversation as well.\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> (the album and short film) is arguably the most impactful pro-LGBTQ statement we’ve seen in mainstream pop all year, and Monáe’s expressions of queerness also celebrate and center blackness and femininity. That mindfulness of the intersections of our identities and how they shape life experience translated to her set. “You all learned about how I choose to love,” Monáe declared, alluding to the \u003cem>Rolling Stone\u003c/em> interview where she formally came out as pansexual. “No matter how you choose to love, what god you serve or what class you come from, you are welcome here.”\u003c/p>\n\u003cfigure id=\"attachment_13838833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8229-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson and Monáe’s sets, hours apart on the big Lands End stage, connected a legacy of black feminism past and present. And as Jackson later revealed on her Instagram, Monáe was in the audience cheering her on in a “Made For Now” T-shirt—a sweet display of camaraderie between the two artists.\u003c/p>\n\u003cp>Just a few years ago, it would have been hard to believe that Outside Lands—a fest traditionally associated with mostly white, male indie rock—would become the site of these powerful black feminist performances. But this year, as the festival put forth its most diverse lineup yet, it set the stage for a impactful statement, and Jackson and Monáe went above and beyond, eclipsing the rest of the day’s sets with their larger-than-life shows and empowering messages.\u003c/p>\n\u003cp>“With music by our side / To break the color lines / Let’s work together / To improve our way of life,” Jackson sang in her closing number, 1989’s “Rhythm Nation.” On Sunday at Outside Lands, she offered a glimmer of hope that that dream is still possible.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>More photos from Outside Lands\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8495-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838855\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8481-800x533.jpg\" alt=\"Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-800x533.jpg\" alt=\"James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8332-800x533.jpg\" alt=\"The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8316-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8385-800x533.jpg\" alt=\"LP performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LP backstage at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8588-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8379-800x533.jpg\" alt=\"Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "Jackson's headlining set on Sunday was a powerful, timely statement that vindicated her legacy and reignited her relevance in the current political moment.",
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"title": "Jackson, Monáe Connect Past and Present of Feminist Pop at Outside Lands' Close | KQED",
"description": "Jackson's headlining set on Sunday was a powerful, timely statement that vindicated her legacy and reignited her relevance in the current political moment.",
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"headline": "Jackson, Monáe Connect Past and Present of Feminist Pop at Outside Lands' Close",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With songs speaking out against sexual harassment and domestic violence dating back to the ’80s and ’90s, Janet Jackson was lightyears ahead of the current conversations about gender equality as far as pop stars are concerned. Her headlining set at Outside Lands Sunday night was not only an expertly crafted spectacle, but a powerful, timely statement that vindicated her legacy and reignited her relevance in the current political moment.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As white supremacist “Unite the Right” rallies took place around the country over the weekend, Jackson opened her set with her 1989 song “The Knowledge,” declaring, “Prejudice—no! / Ignorance—no! Bigotry—no!” over a funky breakbeat as a giant Black Power fist flashed onscreen.\u003c/p>\n\u003cp>Her strong opening statement set the tone for the rest of the show: throughout, Jackson celebrated female sexuality (did you know 1986’s seemingly PG “When I Think of You” is actually about masturbation?) and decried abuses against women through a potent combination of lyrics, choreo and multimedia.\u003c/p>\n\u003cp>Over the course of the energetic 90-minute performance spanning three decades of hits, Jackson never stopped moving her feet. She channeled rage, vulnerability and sensuality, bringing the audience to giddy, nostalgic highs and plunging them into deep moments of catharsis.\u003c/p>\n\u003cfigure id=\"attachment_13838861\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838861\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8564-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8564-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of Jackson’s music coats her feminist message in sassiness and humor (“No, my first name ain’t ‘baby’ / It’s Janet / Miss Jackson if you’re nasty,” she sings in 1986’s hip-shaking hit, “Nasty”), her set also occasionally treaded into shocking territory. During Jackson’s performance of “What About,” her angry 1997 ballad about an abusive relationship, a white, male dancer mimed attacking a black, female dancer, even putting his hands on her face. As Jackson sang the chorus (“What about the times you lied to me / What about the times you said no one would want me”), she sat the man in a chair as she danced fiercely behind him, mimicking knocking him to the ground.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Jackson finished the song, tears flooded her eyes and trickled down her cheeks. For a second, she looked overcome with emotion—a touching, genuine moment. “I am done with you,” she declared to the male dancer—and what felt like the patriarchy as a whole—as she shoved him out of his chair.\u003c/p>\n\u003cp>It seemed like no accident that at this point in the show, Jackson changed into an Alexander Wang football jersey, evoking the 2004 Super Bowl halftime show that many critics \u003ca href=\"https://www.usatoday.com/story/life/entertainthis/2017/10/23/why-justin-timberlake-owes-janet-jackson-super-bowl-sized-apology/790290001/\" target=\"_blank\" rel=\"noopener\">now argue\u003c/a> unfairly sidelined her from the music industry in a case of sexist double standards. Jackson appears keenly self-aware of how perceptions of her music have shifted in today’s cultural moment of reckoning with misogyny and abuse. Her forthcoming single, also announced Sunday, is called “Made For Now.” Riding on a high of headlining festivals and receiving the Billboard Icon Award this year, she knows the time for her comeback is ripe, and rightfully so.\u003c/p>\n\u003cfigure id=\"attachment_13838834\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838834\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8235-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8235-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson’s Outside Lands set was also a reminder of how she’s inspired younger generations. Just a few hours earlier on the main stage, Janelle Monáe delivered a boldly feminist performance of her own, taking her seat atop a red, velvet throne as she rapped “Django Jane” from her new album, \u003cem>Dirty Computer\u003c/em>, with her Kansas drawl: “Black girl magic, y’all can’t stand it / Y’all can’t ban it, made out like a bandit.” Witnessing her ultra-confident body language as she regally took her seat was contagiously empowering, and her screaming fans seemed just about ready to hail her as their queen.\u003c/p>\n\u003cp>With her tight choreography, androgynous, wide-shouldered outfit and funky, all-woman band that included an expert horn section, Monáe’s set channeled a legacy of futuristic black pop that Janet and Michael Jackson and Prince pioneered over thirty years prior. In many ways, Monáe’s body of work builds on the themes Janet Jackson put forth in her music; Monáe’s work expands upon that legacy, adding queerness to the conversation as well.\u003c/p>\n\u003cp>\u003cem>Dirty Computer\u003c/em> (the album and short film) is arguably the most impactful pro-LGBTQ statement we’ve seen in mainstream pop all year, and Monáe’s expressions of queerness also celebrate and center blackness and femininity. That mindfulness of the intersections of our identities and how they shape life experience translated to her set. “You all learned about how I choose to love,” Monáe declared, alluding to the \u003cem>Rolling Stone\u003c/em> interview where she formally came out as pansexual. “No matter how you choose to love, what god you serve or what class you come from, you are welcome here.”\u003c/p>\n\u003cfigure id=\"attachment_13838833\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838833\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8229-800x533.jpg\" alt=\"Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8229-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monáe performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jackson and Monáe’s sets, hours apart on the big Lands End stage, connected a legacy of black feminism past and present. And as Jackson later revealed on her Instagram, Monáe was in the audience cheering her on in a “Made For Now” T-shirt—a sweet display of camaraderie between the two artists.\u003c/p>\n\u003cp>Just a few years ago, it would have been hard to believe that Outside Lands—a fest traditionally associated with mostly white, male indie rock—would become the site of these powerful black feminist performances. But this year, as the festival put forth its most diverse lineup yet, it set the stage for a impactful statement, and Jackson and Monáe went above and beyond, eclipsing the rest of the day’s sets with their larger-than-life shows and empowering messages.\u003c/p>\n\u003cp>“With music by our side / To break the color lines / Let’s work together / To improve our way of life,” Jackson sang in her closing number, 1989’s “Rhythm Nation.” On Sunday at Outside Lands, she offered a glimmer of hope that that dream is still possible.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>More photos from Outside Lands\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13838872\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838872\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8495-800x533.jpg\" alt=\"Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8495-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Janet Jackson performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838855\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838855\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8481-800x533.jpg\" alt=\"Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8481-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Salt N Pepa performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838852\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838852\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-800x533.jpg\" alt=\"James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8442-Edit-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">James Blake performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838841\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838841\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8332-800x533.jpg\" alt=\"The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8332-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Internet performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838839\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838839\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8316-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8316-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838848\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838848\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8385-800x533.jpg\" alt=\"LP performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8385-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">LP backstage at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838863\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838863\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8588-800x533.jpg\" alt=\"The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8588-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13838846\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13838846\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/MG_8379-800x533.jpg\" alt=\"Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/MG_8379-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Portugal. The Man performs at the Outside Lands music festival in San Francisco, Aug. 12, 2018. \u003ccite>(Estefany Gonzalez )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Think of the \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA 100\u003c/a> as the Yerba Buena Center for the Arts’ more grassroots alternative to \u003cem>TIME\u003c/em>‘s list of the 100 most influential people on earth. While celebrities like Cardi B, Meghan Markle and Virgil Abloh grace the \u003ca href=\"http://time.com/collection/most-influential-people-2018/\" target=\"_blank\" rel=\"noopener\">\u003cem>TIME\u003c/em> 100\u003c/a> alongside mainstream politicians and high-profile artists, this year’s edition of the YBCA 100 features a mix of local and national changemakers and organizations working in arts and social justice.\u003c/p>\n\u003cp>https://youtu.be/WFADD7kC-lE\u003c/p>\n\u003cp>Honorees include Janet Mock, the best-selling author and activist who recently made her directorial debut on FX’s hit show \u003cem>Pose\u003c/em>; Steve Kerr, the Warriors’ head coach who regularly voices his opinion on national politics; photographer \u003ca href=\"https://www.kqed.org/arts/11508333/women-to-watch-brittani-sensabaugh-brittsense\" target=\"_blank\" rel=\"noopener\">Brittsense\u003c/a>, whose colorful images celebrate working-class African-American communities; Chicago-based rapper NoName, who makes poetry out of ineffable truths about gun violence; and Rafael Casal, an MC, educator and co-star of Daveed Diggs’ new film, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13808582/daveed-diggs-is-working-on-a-buddy-comedy-about-oakland-gentrification\" target=\"_blank\" rel=\"noopener\">Blindspotting\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are also some unexpected faces: Ashley Sinn, the founder of the volunteer organization Small Hands with Helping Hearts, is YBCA’s youngest honoree at just nine years old. Along with individuals, the YBCA 100 also spotlights nonprofits and social movements, which this year include the “me too” movement; student activists from Marjorie Stoneman High School in Parkland, Florida; Red Bay Coffee, a local cafe that hosts social justice-focused events and employs formerly incarcerated people; and the Oakland organization Lesbians Who Tech.\u003c/p>\n\u003cp>More information about the honorees can be found at \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA’s website\u003c/a>. Many of them will be presenting at the \u003ca href=\"https://ybca.org/ybca-100-2018-summit\" target=\"_blank\" rel=\"noopener\">YBCA 100 summit\u003c/a> on Saturday, Nov. 3.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Think of the \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA 100\u003c/a> as the Yerba Buena Center for the Arts’ more grassroots alternative to \u003cem>TIME\u003c/em>‘s list of the 100 most influential people on earth. While celebrities like Cardi B, Meghan Markle and Virgil Abloh grace the \u003ca href=\"http://time.com/collection/most-influential-people-2018/\" target=\"_blank\" rel=\"noopener\">\u003cem>TIME\u003c/em> 100\u003c/a> alongside mainstream politicians and high-profile artists, this year’s edition of the YBCA 100 features a mix of local and national changemakers and organizations working in arts and social justice.\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/WFADD7kC-lE'\n title='//www.youtube.com/embed/WFADD7kC-lE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Honorees include Janet Mock, the best-selling author and activist who recently made her directorial debut on FX’s hit show \u003cem>Pose\u003c/em>; Steve Kerr, the Warriors’ head coach who regularly voices his opinion on national politics; photographer \u003ca href=\"https://www.kqed.org/arts/11508333/women-to-watch-brittani-sensabaugh-brittsense\" target=\"_blank\" rel=\"noopener\">Brittsense\u003c/a>, whose colorful images celebrate working-class African-American communities; Chicago-based rapper NoName, who makes poetry out of ineffable truths about gun violence; and Rafael Casal, an MC, educator and co-star of Daveed Diggs’ new film, \u003cem>\u003ca href=\"https://www.kqed.org/arts/13808582/daveed-diggs-is-working-on-a-buddy-comedy-about-oakland-gentrification\" target=\"_blank\" rel=\"noopener\">Blindspotting\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>There are also some unexpected faces: Ashley Sinn, the founder of the volunteer organization Small Hands with Helping Hearts, is YBCA’s youngest honoree at just nine years old. Along with individuals, the YBCA 100 also spotlights nonprofits and social movements, which this year include the “me too” movement; student activists from Marjorie Stoneman High School in Parkland, Florida; Red Bay Coffee, a local cafe that hosts social justice-focused events and employs formerly incarcerated people; and the Oakland organization Lesbians Who Tech.\u003c/p>\n\u003cp>More information about the honorees can be found at \u003ca href=\"https://ybca.org/ybca-100\" target=\"_blank\" rel=\"noopener\">YBCA’s website\u003c/a>. Many of them will be presenting at the \u003ca href=\"https://ybca.org/ybca-100-2018-summit\" target=\"_blank\" rel=\"noopener\">YBCA 100 summit\u003c/a> on Saturday, Nov. 3.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Woody Allen says he should be the face of the #MeToo movement in terms of what to do right.\u003c/p>\n\u003cp>Allen spoke during an interview with Argentine journalist Jorge Lanata that was broadcast Sunday night.\u003c/p>\n\u003cp>Allen says he’s a “big advocate” of #MeToo and that he should be the poster face for the movement because he has worked with hundreds of actresses over 50 years, and they’ve never “suggested any impropriety.”\u003c/p>\n\u003cp>Dylan Farrow, Allen’s daughter, in 2014 renewed the claim that Allen molested her in 1992 when she was seven. Allen has long denied the allegations. He was investigated but not charged.\u003c/p>\n\u003cp>A number of actors have distanced themselves from Allen, raising questions about the future of the prolific filmmaker in a Hollywood newly sensitive to allegations of sexual misconduct.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>Updated at 9:58 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Harvey Weinstein surrendered Friday to authorities at a police station in New York City, where the former Hollywood megaproducer has been charged with rape and sexual misconduct.\u003c/p>\n\u003cp>Weinstein arrived early in the morning at the New York Police Department’s 1st Precinct in Lower Manhattan, ushered into the station by law enforcement officers as members of the media crowded behind metal barriers. He kept his gaze lowered amid a barrage of shouted questions.\u003c/p>\n\u003cp>Once inside, Weinstein was charged with one count each of first- and third-degree rape, as well as first-degree criminal sex act. The felony charges concern “forcible sexual acts against two women in 2013 and 2004, respectively,” the Manhattan District Attorney’s Office announced Friday.\u003c/p>\n\u003cp>“Today’s charges reflect significant progress in this active, ongoing investigation,” District Attorney Cyrus Vance said in a statement. “I thank the brave survivors who have come forward, and my Office’s prosecutors who have worked tirelessly on this investigation.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Officers later escorted Weinstein from the police station to a courtroom, where he entered wearing handcuffs for arraignment. There, a judge set bail at $1 million cash or $10 million bond and assigned Weinstein to wear a monitoring device that he must pay for himself.\u003c/p>\n\u003cp>After the arraignment, his lawyer, Benjamin Brafman, announced that Weinstein intends to plead not guilty. Weinstein has denied wrongdoing, asserting that he believes any sexual encounters he engaged in were consensual.\u003c/p>\n\u003cfigure id=\"attachment_13833518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NY – MAY 25: Harvey Weinstein arrives at the New York Police Department’s First Precinct to turn himself in after being served with criminal charges by the Manhattan District Attorney’s office on May 25, 2018 in New York City. (Photo by Spencer Platt/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Once one of the most powerful men in the film industry, Weinstein had long been rumored to have engaged in sexual misconduct — but it was not until reports in \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">The New York Times\u003c/a> and \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\">The New Yorker\u003c/a> surfaced decades’ worth of sexual assault and harassment allegations that the producer experienced his precipitate fall from grace last autumn.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/24/614270727/harvey-weinstein-will-turn-himself-in-on-rape-sexual-assault-charges\">According to\u003c/a> the \u003cem>Times\u003c/em>‘ Ben Mueller, one of the two women cited in the charges is actress Lucia Evans, who told her story to journalist Ronan Farrow in \u003cem>The New Yorker\u003c/em> last year. Evans alleged that in 2004, Weinstein forced her to perform oral sex on him after luring her into an encounter under false pretenses.\u003c/p>\n\u003cp>“I said, over and over, ‘I don’t want to do this, stop, don’t,’ ” she told the publication, adding that in the end, “He’s a big guy. He overpowered me.”\u003c/p>\n\u003cp>Evans’ allegations added to those of dozens of other women, who claimed that Weinstein had engaged in a vast range of sexual misconduct dating back \u003ca href=\"https://www.nytimes.com/2017/10/30/us/harvey-weinstein-sexual-assault-allegations.html\">nearly four decades\u003c/a>, ranging from inappropriate touching to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">incidents \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">of \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/world-us-canada-41626563\">rape\u003c/a>.\u003c/p>\n\u003cp>And when women or journalists threatened to publicize these claims, Weinstein allegedly sought to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41803009\">pay for their silence\u003c/a> or intimidate them with threats and even a reported \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/07/562631069/report-weinstein-hired-agents-to-investigate-and-suppress-accusations-against-hi\">“army of spies”\u003c/a> to press for their silence.\u003c/p>\n\u003cp>The claims against Weinstein helped catalyze a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/04/608411474/amid-sex-abuse-scandal-swedish-academy-wont-award-nobel-in-literature-this-year\">worldwide \u003c/a>movement that came to be known by the social media hashtag \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a>. Since Evans and others came forward, scores of women have shared their own stories of suffering sexual assault and harassment — stories that have implicated powerful men in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/23/559458214/director-james-toback-accused-of-harassment-by-dozens-of-women\">Hollywood\u003c/a> and beyond, from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">media \u003c/a>and \u003ca href=\"https://www.npr.org/2018/05/06/608868149/author-junot-diaz-faces-sexual-misconduct-accusations\">literature \u003c/a>to \u003ca href=\"https://www.npr.org/2017/12/05/567160325/conyers-resigning-amid-sexual-harassment-allegations\">politics \u003c/a>and \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">music\u003c/a>.\u003c/p>\n\u003cp>Weinstein, for his part, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\">was fired\u003c/a> by the board of the film studio he founded with his brother, Bob, not long after the initial reports were published last October. The Weinstein Co. filed for Chapter 11 bankruptcy \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\">in March\u003c/a> and, after a winding path through the courts, received permission \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\">earlier this month\u003c/a> to sell its assets to a private equity firm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since the claims surfaced last fall, Harvey Weinstein has been investigated by police in\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/19/558910752/lapd-investigating-accusation-of-2013-rape-by-harvey-weinstein\"> several cities\u003c/a> in addition to New York, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/01/607309644/ashley-judd-sues-harvey-weinstein-saying-he-tried-to-damage-her-career\">has been sued\u003c/a> for sexual harassment and defamation, and has been \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\">expelled from\u003c/a> the Academy of Motion Pictures Arts and Sciences.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Charged+With+Rape+After+Surrendering+To+N.Y.+Police&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 9:58 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Harvey Weinstein surrendered Friday to authorities at a police station in New York City, where the former Hollywood megaproducer has been charged with rape and sexual misconduct.\u003c/p>\n\u003cp>Weinstein arrived early in the morning at the New York Police Department’s 1st Precinct in Lower Manhattan, ushered into the station by law enforcement officers as members of the media crowded behind metal barriers. He kept his gaze lowered amid a barrage of shouted questions.\u003c/p>\n\u003cp>Once inside, Weinstein was charged with one count each of first- and third-degree rape, as well as first-degree criminal sex act. The felony charges concern “forcible sexual acts against two women in 2013 and 2004, respectively,” the Manhattan District Attorney’s Office announced Friday.\u003c/p>\n\u003cp>“Today’s charges reflect significant progress in this active, ongoing investigation,” District Attorney Cyrus Vance said in a statement. “I thank the brave survivors who have come forward, and my Office’s prosecutors who have worked tirelessly on this investigation.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Officers later escorted Weinstein from the police station to a courtroom, where he entered wearing handcuffs for arraignment. There, a judge set bail at $1 million cash or $10 million bond and assigned Weinstein to wear a monitoring device that he must pay for himself.\u003c/p>\n\u003cp>After the arraignment, his lawyer, Benjamin Brafman, announced that Weinstein intends to plead not guilty. Weinstein has denied wrongdoing, asserting that he believes any sexual encounters he engaged in were consensual.\u003c/p>\n\u003cfigure id=\"attachment_13833518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13833518\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/GettyImages-962341384-520x346.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">NEW YORK, NY – MAY 25: Harvey Weinstein arrives at the New York Police Department’s First Precinct to turn himself in after being served with criminal charges by the Manhattan District Attorney’s office on May 25, 2018 in New York City. (Photo by Spencer Platt/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>Once one of the most powerful men in the film industry, Weinstein had long been rumored to have engaged in sexual misconduct — but it was not until reports in \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">The New York Times\u003c/a> and \u003ca href=\"https://www.newyorker.com/news/news-desk/from-aggressive-overtures-to-sexual-assault-harvey-weinsteins-accusers-tell-their-stories\">The New Yorker\u003c/a> surfaced decades’ worth of sexual assault and harassment allegations that the producer experienced his precipitate fall from grace last autumn.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/24/614270727/harvey-weinstein-will-turn-himself-in-on-rape-sexual-assault-charges\">According to\u003c/a> the \u003cem>Times\u003c/em>‘ Ben Mueller, one of the two women cited in the charges is actress Lucia Evans, who told her story to journalist Ronan Farrow in \u003cem>The New Yorker\u003c/em> last year. Evans alleged that in 2004, Weinstein forced her to perform oral sex on him after luring her into an encounter under false pretenses.\u003c/p>\n\u003cp>“I said, over and over, ‘I don’t want to do this, stop, don’t,’ ” she told the publication, adding that in the end, “He’s a big guy. He overpowered me.”\u003c/p>\n\u003cp>Evans’ allegations added to those of dozens of other women, who claimed that Weinstein had engaged in a vast range of sexual misconduct dating back \u003ca href=\"https://www.nytimes.com/2017/10/30/us/harvey-weinstein-sexual-assault-allegations.html\">nearly four decades\u003c/a>, ranging from inappropriate touching to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">incidents \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41760069\">of \u003c/a>\u003ca href=\"http://www.bbc.co.uk/news/world-us-canada-41626563\">rape\u003c/a>.\u003c/p>\n\u003cp>And when women or journalists threatened to publicize these claims, Weinstein allegedly sought to \u003ca href=\"http://www.bbc.co.uk/news/entertainment-arts-41803009\">pay for their silence\u003c/a> or intimidate them with threats and even a reported \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/07/562631069/report-weinstein-hired-agents-to-investigate-and-suppress-accusations-against-hi\">“army of spies”\u003c/a> to press for their silence.\u003c/p>\n\u003cp>The claims against Weinstein helped catalyze a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/04/608411474/amid-sex-abuse-scandal-swedish-academy-wont-award-nobel-in-literature-this-year\">worldwide \u003c/a>movement that came to be known by the social media hashtag \u003ca href=\"https://www.npr.org/tags/570698249/-metoo\">#MeToo\u003c/a>. Since Evans and others came forward, scores of women have shared their own stories of suffering sexual assault and harassment — stories that have implicated powerful men in \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/23/559458214/director-james-toback-accused-of-harassment-by-dozens-of-women\">Hollywood\u003c/a> and beyond, from \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/20/565542031/charlie-rose-is-accused-of-sexual-harassment-by-eight-women\">media \u003c/a>and \u003ca href=\"https://www.npr.org/2018/05/06/608868149/author-junot-diaz-faces-sexual-misconduct-accusations\">literature \u003c/a>to \u003ca href=\"https://www.npr.org/2017/12/05/567160325/conyers-resigning-amid-sexual-harassment-allegations\">politics \u003c/a>and \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/01/607448801/-metoo-founder-tarana-burke-responds-to-r-kelly\">music\u003c/a>.\u003c/p>\n\u003cp>Weinstein, for his part, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\">was fired\u003c/a> by the board of the film studio he founded with his brother, Bob, not long after the initial reports were published last October. The Weinstein Co. filed for Chapter 11 bankruptcy \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/19/595089301/the-weinstein-co-files-for-bankruptcy-cancels-non-disclosure-agreements\">in March\u003c/a> and, after a winding path through the courts, received permission \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/08/609476924/the-weinstein-co-gets-court-ok-to-sell-itself-to-lantern-capital-partners\">earlier this month\u003c/a> to sell its assets to a private equity firm.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since the claims surfaced last fall, Harvey Weinstein has been investigated by police in\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/19/558910752/lapd-investigating-accusation-of-2013-rape-by-harvey-weinstein\"> several cities\u003c/a> in addition to New York, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/05/01/607309644/ashley-judd-sues-harvey-weinstein-saying-he-tried-to-damage-her-career\">has been sued\u003c/a> for sexual harassment and defamation, and has been \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\">expelled from\u003c/a> the Academy of Motion Pictures Arts and Sciences.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Harvey+Weinstein+Charged+With+Rape+After+Surrendering+To+N.Y.+Police&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Onstage at the Billboard Music Awards, Janet Jackson finally got her due.\u003c/p>\n\u003cp>In the 14 years since the “wardrobe malfunction” incident at the 2004 Super Bowl, \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener\">fans have drawn attention to the music industry’s blackball of Jackson\u003c/a> as a clear case of sexist double standards, considering that Justin Timberlake, who was actively involved in the incident, emerged unscathed. Meanwhile, a mix of racism, sexism and the abstinence-only cultural climate of the Bush era meant that the media dragged Jackson’s name through the mud, and the five-time Grammy winning artist receded from the spotlight.\u003c/p>\n\u003cp>Now, with the ongoing #TimesUp movement against gender inequality in the music industry, the moment is ripe for Jackson to have her long overdue comeback.\u003c/p>\n\u003cp>https://twitter.com/BBMAs/status/998386324699688966\u003c/p>\n\u003cp>Sunday at the Billboard Music Awards, Jackson became the first black female artist to receive the Icon Award, which honors an artist “whose body of work has made a profound influence over pop music on a global level.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We live at a glorious moment in history,” Jackson said as she accepted the award. “It’s a moment when at long last women have made it clear that we will no longer be controlled, manipulated or abused. I stand with those women and with those men equally outraged by discrimination who support us in heart and mind.”\u003c/p>\n\u003cp>https://twitter.com/essencefest/status/998385619469414401\u003c/p>\n\u003cp>Jackson then delivered her first television performance in nine years—a powerful display of female solidarity, with dancers of diverse body types and ethnicities on the stage. “Nasty” particularly struck a chord, when the dancers fiercely assembled (got in formation?) along the steps of a pyramid with Jackson at the top. The song is a warning to disrespectful dudes, and the anti-Trump reclamation of the “nasty woman” epithet also came to mind as Jackson and the dancers stared boldly at the audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With this inspiring night and Jackson’s upcoming headlining set at \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in San Francisco this August, 2018 is proving to be her year.\u003c/p>\n\n",
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"headline": "Janet Jackson Accepts Icon Award; Invokes Female Solidarity at Billboard Awards",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Onstage at the Billboard Music Awards, Janet Jackson finally got her due.\u003c/p>\n\u003cp>In the 14 years since the “wardrobe malfunction” incident at the 2004 Super Bowl, \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener\">fans have drawn attention to the music industry’s blackball of Jackson\u003c/a> as a clear case of sexist double standards, considering that Justin Timberlake, who was actively involved in the incident, emerged unscathed. Meanwhile, a mix of racism, sexism and the abstinence-only cultural climate of the Bush era meant that the media dragged Jackson’s name through the mud, and the five-time Grammy winning artist receded from the spotlight.\u003c/p>\n\u003cp>Now, with the ongoing #TimesUp movement against gender inequality in the music industry, the moment is ripe for Jackson to have her long overdue comeback.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Sunday at the Billboard Music Awards, Jackson became the first black female artist to receive the Icon Award, which honors an artist “whose body of work has made a profound influence over pop music on a global level.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We live at a glorious moment in history,” Jackson said as she accepted the award. “It’s a moment when at long last women have made it clear that we will no longer be controlled, manipulated or abused. I stand with those women and with those men equally outraged by discrimination who support us in heart and mind.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Jackson then delivered her first television performance in nine years—a powerful display of female solidarity, with dancers of diverse body types and ethnicities on the stage. “Nasty” particularly struck a chord, when the dancers fiercely assembled (got in formation?) along the steps of a pyramid with Jackson at the top. The song is a warning to disrespectful dudes, and the anti-Trump reclamation of the “nasty woman” epithet also came to mind as Jackson and the dancers stared boldly at the audience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With this inspiring night and Jackson’s upcoming headlining set at \u003ca href=\"https://www.kqed.org/arts/13828348/janet-jackson-to-play-outside-lands-ending-10-year-run-of-no-female-headliners\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a> in San Francisco this August, 2018 is proving to be her year.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“A lot of men call me a man-basher, but I consider those the guys who really need to listen to me instead of being angry at me,” says \u003ca href=\"https://soundcloud.com/qingqi\" target=\"_blank\" rel=\"noopener\">Qing Qi\u003c/a> (pronounced King Key), taking a break behind her desk in the small office of Horizons Unlimited, a nonprofit that offers job training and support groups to under-served San Francisco youth.\u003c/p>\n\u003cp>In rap and in life, Qing Qi doesn’t censor herself. With her combed-out Afro, giant hoop earrings and visible neck tattoo, she comes to her day job as she is—and gets respect for it. As senior program coordinator, she oversees a cohort of 34 teens, supporting them through job searches, school and life’s ups and downs. In fact, nine years ago, Qing Qi was one of these kids: she came to Horizons after becoming pregnant at 14, and she credits the nonprofit for helping her find stability for herself and her son.\u003c/p>\n\u003cp>Raised in East Palo Alto and based in Oakland, Qing Qi recently rose to local acclaim with her outspoken January mixtape, \u003cem>If a N-ggah Ain’t Sh-t, Play This for his B-tch \u003c/em>(\u003cem>IANASPTFHB\u003c/em>), a 14-track manifesto that airs out resentments about the state of hetero dating in 2018, calling out guys who rely on women for financial support without picking up the slack—emotionally, sexually, domestically or elsewhere.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=Zkjdwut_jbI]\u003c/p>\n\u003cp>“When I came up with the idea, I was thinking of my friends,” she says. “The three closest women in my life were with trifflin’ ass dudes, and it made me so mad because men are not necessary. Men are an option. You don’t need a man to be happy.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“And then when my boyfriend got out of jail and I realized he’s a f-ck n-gga,” she adds, raising her voice in a playfully threatening way, “I had all the passion to put behind the content.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/playlists/448702773″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>TLC might have made an anthem about these kinds of men with “No Scrubs” in 1999, but Qing Qi’s mixtape is a whole dissertation: “Running they lips like they trying to be rich/But the work ethic trash, can’t get it without a b-tch,” she fires off on “F-ckn-ggahs.” (PartzUnknown, best known for his work with SOB x RBE, produced the track.) Throughout \u003cem>IANASPTFHB\u003c/em>, Qing Qi tackles the subject of male entitlement with irreverent humor; with features from her girl squad, Pu Tang, the mixtape is full of wisecracks rarely shared outside of the intimacy of gossip sessions with friends.\u003c/p>\n\u003cp>“I think we’re really relatable, and I think that’s missing,” she says of her crew. “And we all are hella different. At my video shoot, two of our Pu Tang members were walking around with bulletproof vests on; three of them were wearing heels.”\u003c/p>\n\u003cfigure id=\"attachment_13832602\" class=\"wp-caption alignright\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832602\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/qing-qi.jpg\" alt=\"Qing Qi's 8 year old son Tooka is her hype man.\" width=\"735\" height=\"1055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-375x538.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-520x746.jpg 520w\" sizes=\"auto, (max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Qing Qi’s 8 year old son Tooka is her hype man. \u003ccite>(O Banga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Off the strength of \u003cem>IANASPTFHB\u003c/em>, Qing Qi’s career has been taking off in recent months: she provided main support for “Tomboy” rapper \u003ca href=\"https://noisey.vice.com/en_au/article/ypnpzk/why-princess-nokia-matters-now-more-than-ever\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a> when she headlined 1015 Folsom’s 4/20 party. Qing Qi’s show calendar doesn’t seem to have slowed down since then: this Friday, May 18, she opens for Sacramento’s \u003ca href=\"https://www.ticketweb.com/event/stunna-girl-brick-and-mortar-music-hall-tickets/8331375?pl=brickmortar\" target=\"_blank\" rel=\"noopener\">Stunna Girl at Brick and Mortar Music Hall\u003c/a> in San Francisco, and the following week, she’ll perform at Carnaval San Francisco.\u003c/p>\n\u003cp>The topics Qing Qi raps about rarely get air time in the traditionally masculine space of hip-hop. But with her new role as co-host of \u003ca href=\"https://www.thizzler.com/blog/2018/03/01/thats-my-word-the-bays-hottest-talk-show.html\" target=\"_blank\" rel=\"noopener\">\u003cem>That’s My Word\u003c/em>\u003c/a>, local rap blog Thizzler’s YouTube talk show, Qing Qi brings much-needed balance to the platform’s dude-centric content. She’s not the typically meek female sidekick one might find on \u003cem>The Breakfast Club\u003c/em> and other hip-hop talk shows. A few minutes into an \u003ca href=\"https://www.youtube.com/watch?v=_-Oit7vKSUw\" target=\"_blank\" rel=\"noopener\">episode featuring Philthy Rich\u003c/a>, for example, Rich casually comments that his brother doesn’t like women “who talk too much.” “Damn, well, it’s gonna be a rough interview, then,” Qing Qi retorts without skipping a beat. The tension lasts only for a second, but her subtle cringe is a familiar sight for women who have felt undermined by male colleagues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Coming from the world of social justice nonprofits, where women are often a majority in the workplace, Qing Qi says that hosting \u003cem>That’s My Word\u003c/em> was a culture shock at first, but that contending with men’s biases is something she’s come to expect in entertainment. “This is just a test of what’s to come as an artist,” she says with resolve. “I know there are going to be a lot more situations where men are going to talk down to me, or assume I don’t know anything, or antagonize me. I know I just gotta be saucy.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“A lot of men call me a man-basher, but I consider those the guys who really need to listen to me instead of being angry at me,” says \u003ca href=\"https://soundcloud.com/qingqi\" target=\"_blank\" rel=\"noopener\">Qing Qi\u003c/a> (pronounced King Key), taking a break behind her desk in the small office of Horizons Unlimited, a nonprofit that offers job training and support groups to under-served San Francisco youth.\u003c/p>\n\u003cp>In rap and in life, Qing Qi doesn’t censor herself. With her combed-out Afro, giant hoop earrings and visible neck tattoo, she comes to her day job as she is—and gets respect for it. As senior program coordinator, she oversees a cohort of 34 teens, supporting them through job searches, school and life’s ups and downs. In fact, nine years ago, Qing Qi was one of these kids: she came to Horizons after becoming pregnant at 14, and she credits the nonprofit for helping her find stability for herself and her son.\u003c/p>\n\u003cp>Raised in East Palo Alto and based in Oakland, Qing Qi recently rose to local acclaim with her outspoken January mixtape, \u003cem>If a N-ggah Ain’t Sh-t, Play This for his B-tch \u003c/em>(\u003cem>IANASPTFHB\u003c/em>), a 14-track manifesto that airs out resentments about the state of hetero dating in 2018, calling out guys who rely on women for financial support without picking up the slack—emotionally, sexually, domestically or elsewhere.\u003c/p>\n\u003cp>\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/Zkjdwut_jbI'\n title='//www.youtube.com/embed/Zkjdwut_jbI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“When I came up with the idea, I was thinking of my friends,” she says. “The three closest women in my life were with trifflin’ ass dudes, and it made me so mad because men are not necessary. Men are an option. You don’t need a man to be happy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“And then when my boyfriend got out of jail and I realized he’s a f-ck n-gga,” she adds, raising her voice in a playfully threatening way, “I had all the passion to put behind the content.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/playlists/448702773″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/playlists/448702773″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>TLC might have made an anthem about these kinds of men with “No Scrubs” in 1999, but Qing Qi’s mixtape is a whole dissertation: “Running they lips like they trying to be rich/But the work ethic trash, can’t get it without a b-tch,” she fires off on “F-ckn-ggahs.” (PartzUnknown, best known for his work with SOB x RBE, produced the track.) Throughout \u003cem>IANASPTFHB\u003c/em>, Qing Qi tackles the subject of male entitlement with irreverent humor; with features from her girl squad, Pu Tang, the mixtape is full of wisecracks rarely shared outside of the intimacy of gossip sessions with friends.\u003c/p>\n\u003cp>“I think we’re really relatable, and I think that’s missing,” she says of her crew. “And we all are hella different. At my video shoot, two of our Pu Tang members were walking around with bulletproof vests on; three of them were wearing heels.”\u003c/p>\n\u003cfigure id=\"attachment_13832602\" class=\"wp-caption alignright\" style=\"max-width: 735px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13832602\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/qing-qi.jpg\" alt=\"Qing Qi's 8 year old son Tooka is her hype man.\" width=\"735\" height=\"1055\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi.jpg 735w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-240x344.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-375x538.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/qing-qi-520x746.jpg 520w\" sizes=\"auto, (max-width: 735px) 100vw, 735px\">\u003cfigcaption class=\"wp-caption-text\">Qing Qi’s 8 year old son Tooka is her hype man. \u003ccite>(O Banga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Off the strength of \u003cem>IANASPTFHB\u003c/em>, Qing Qi’s career has been taking off in recent months: she provided main support for “Tomboy” rapper \u003ca href=\"https://noisey.vice.com/en_au/article/ypnpzk/why-princess-nokia-matters-now-more-than-ever\" target=\"_blank\" rel=\"noopener\">Princess Nokia\u003c/a> when she headlined 1015 Folsom’s 4/20 party. Qing Qi’s show calendar doesn’t seem to have slowed down since then: this Friday, May 18, she opens for Sacramento’s \u003ca href=\"https://www.ticketweb.com/event/stunna-girl-brick-and-mortar-music-hall-tickets/8331375?pl=brickmortar\" target=\"_blank\" rel=\"noopener\">Stunna Girl at Brick and Mortar Music Hall\u003c/a> in San Francisco, and the following week, she’ll perform at Carnaval San Francisco.\u003c/p>\n\u003cp>The topics Qing Qi raps about rarely get air time in the traditionally masculine space of hip-hop. But with her new role as co-host of \u003ca href=\"https://www.thizzler.com/blog/2018/03/01/thats-my-word-the-bays-hottest-talk-show.html\" target=\"_blank\" rel=\"noopener\">\u003cem>That’s My Word\u003c/em>\u003c/a>, local rap blog Thizzler’s YouTube talk show, Qing Qi brings much-needed balance to the platform’s dude-centric content. She’s not the typically meek female sidekick one might find on \u003cem>The Breakfast Club\u003c/em> and other hip-hop talk shows. A few minutes into an \u003ca href=\"https://www.youtube.com/watch?v=_-Oit7vKSUw\" target=\"_blank\" rel=\"noopener\">episode featuring Philthy Rich\u003c/a>, for example, Rich casually comments that his brother doesn’t like women “who talk too much.” “Damn, well, it’s gonna be a rough interview, then,” Qing Qi retorts without skipping a beat. The tension lasts only for a second, but her subtle cringe is a familiar sight for women who have felt undermined by male colleagues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Coming from the world of social justice nonprofits, where women are often a majority in the workplace, Qing Qi says that hosting \u003cem>That’s My Word\u003c/em> was a culture shock at first, but that contending with men’s biases is something she’s come to expect in entertainment. “This is just a test of what’s to come as an artist,” she says with resolve. “I know there are going to be a lot more situations where men are going to talk down to me, or assume I don’t know anything, or antagonize me. I know I just gotta be saucy.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Whole World of Books at Berkeley's Bay Area Book Fest",
"headTitle": "A Whole World of Books at Berkeley’s Bay Area Book Fest | KQED",
"content": "\u003cp>East Bay book stores Black Oak Books and Cody’s may be gone, but Berkeley is still book crazy. The Bay Area Book Festival settles into California’s original college town this weekend for readings and discussions with 250 authors and hundreds of other events. Look for panels on the #metoo movement with authors Saru Jayaraman, Winnie M. Li, T. Christian Miller and Bernice Yeung — also moderated by KQED’s Sandya Dirks — plus another panel on the impact of Tony Kushner’s play \u003cem>Angels in America\u003c/em>. And bring the kids, as the festival has invited plenty of young adult writers.\u003c/p>\n\u003cfigure id=\"attachment_13830376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830376\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-L%C3%B8demel-Tvedt-e1524675966132-800x534.jpg\" alt=\"Greil Marcus wil discuss movie and book 'The Manchurian Candidate' at the Bay Area Book Festival in Berkeley\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132.jpg 1995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greil Marcus wil discuss movie and book ‘The Manchurian Candidate’ at the Bay Area Book Festival in Berkeley \u003ccite>(Ida Lødemel Tvedt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also collaborations with the Pacific Film Archive, with cultural critic Greil Marcus talking about \u003cem>The Manchurian Candidate,\u003c/em> the creepy 1962 political thriller starring Angela Lansbury and Frank Sinatra, and based on the book by Richard Condon.\u003c/p>\n\u003cfigure id=\"attachment_13830380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830380\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-800x450.jpg\" alt=\"Former ACLU President Nadine Strossen will speak at the Bay Area Book Fair on free speech\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former ACLU President Nadine Strossen will speak at the Bay Area Book Fair on free speech \u003ccite>(Anthony Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most controversial session may be a discussion on free speech with former ACLU President Nadine Strossen. Her new book is \u003cem>Hate: Why We Should Resist it With Free Speech, Not Censorship\u003c/em>, and that is definitely a controversial message these days. College campuses like University of California, Berkeley have been free speech battlegrounds, with student protesters shutting down planned talks by right wing apostles Milo Yiannopoulos and Ann Coulter. \u003c/p>\n\u003cp>The fourth annual Bay Area Book Festival is in Berkeley Saturday and Sunday April 28 and 29. Take BART, as parking will be nigh impossible. \u003ca href=\"https://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Find an intellectual feast and fun at the Bay Area Book Festival this weekend in Berkeley.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>East Bay book stores Black Oak Books and Cody’s may be gone, but Berkeley is still book crazy. The Bay Area Book Festival settles into California’s original college town this weekend for readings and discussions with 250 authors and hundreds of other events. Look for panels on the #metoo movement with authors Saru Jayaraman, Winnie M. Li, T. Christian Miller and Bernice Yeung — also moderated by KQED’s Sandya Dirks — plus another panel on the impact of Tony Kushner’s play \u003cem>Angels in America\u003c/em>. And bring the kids, as the festival has invited plenty of young adult writers.\u003c/p>\n\u003cfigure id=\"attachment_13830376\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830376\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-L%C3%B8demel-Tvedt-e1524675966132-800x534.jpg\" alt=\"Greil Marcus wil discuss movie and book 'The Manchurian Candidate' at the Bay Area Book Festival in Berkeley\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Marcus-Greil-c-Ida-Lødemel-Tvedt-e1524675966132.jpg 1995w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Greil Marcus wil discuss movie and book ‘The Manchurian Candidate’ at the Bay Area Book Festival in Berkeley \u003ccite>(Ida Lødemel Tvedt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are also collaborations with the Pacific Film Archive, with cultural critic Greil Marcus talking about \u003cem>The Manchurian Candidate,\u003c/em> the creepy 1962 political thriller starring Angela Lansbury and Frank Sinatra, and based on the book by Richard Condon.\u003c/p>\n\u003cfigure id=\"attachment_13830380\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830380\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-800x450.jpg\" alt=\"Former ACLU President Nadine Strossen will speak at the Bay Area Book Fair on free speech\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Strossen-Nadine-c-Anthony-Alvarez-e1524677736670.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former ACLU President Nadine Strossen will speak at the Bay Area Book Fair on free speech \u003ccite>(Anthony Alvarez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The most controversial session may be a discussion on free speech with former ACLU President Nadine Strossen. Her new book is \u003cem>Hate: Why We Should Resist it With Free Speech, Not Censorship\u003c/em>, and that is definitely a controversial message these days. College campuses like University of California, Berkeley have been free speech battlegrounds, with student protesters shutting down planned talks by right wing apostles Milo Yiannopoulos and Ann Coulter. \u003c/p>\n\u003cp>The fourth annual Bay Area Book Festival is in Berkeley Saturday and Sunday April 28 and 29. Take BART, as parking will be nigh impossible. \u003ca href=\"https://www.baybookfest.org/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The play, \u003cem>Disruption\u003c/em>, is timed perfectly for the #MeToo moment. It’s about a female CEO who’s accused of sexually harassing a male employee at a Silicon Valley company. As my co-host Eli Wirtschafter notes, that’s still a lot rarer in real life than men harassing women. But the playwright AJ Baker told Eli that by turning the tables, she hoped to make audiences really look at our assumptions about gender and power. \u003c/p>\n\u003cp>“Does the fact that she’s a woman,” Baker said, “is that going to color your reaction? Are you harder on her? Are you easier on her? I wanted to see a woman in that situation, see how it felt.” \u003c/p>\n\u003cp>3Girls Theatre Company’s production of Disruption runs April 6 to April 28 at Z Below. \u003ca href=\"https://3girlstheatre.org/disruption-by-aj-baker/\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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