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On Tuesday night, \u003ca href=\"https://www.kqed.org/arts/13964057/taylor-swift-endorses-kamala-harris-for-president-after-debate\">Swift endorsed the vice president\u003c/a>, moments after Harris’ debate with former president Donald Trump ended.\u003c/p>\n\u003cp>Swift’s awards haul brings her to a career total of 30, tying her and Beyoncé for the title of most-awarded musician in VMA history. Eminem is now the male artist with the most VMAs, at 15.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Swift and Post Malone also took home the first televised award of the VMAs for best collaboration, for “Fortnight,” handed to them by Flavor Flav and Olympian Jordan Chiles.\u003c/p>\n\u003cp>Swift started that speech by giving remembrance to everyone who lost their lives and loved ones during 9/11, 23 years ago.\u003c/p>\n\u003cp>“I’ve just been thinking about what happened 23 years ago, everyone who lost a loved one and everyone that we lost and that is the most important thing about today,” she said. “And everything that happens tonight falls behind that.”\u003c/p>\n\u003cp>[aside postid='arts_13963964']She then turned to discussing Malone.\u003c/p>\n\u003cp>“There is a reason Post Malone is everyone in music’s favorite person to collaborate with,” she shifted her attention to him. “It has taken forever for me to get him to stop calling me ma’am.”\u003c/p>\n\u003cp>Chappell Roan won the MTV Video Music Award for best new artist.\u003c/p>\n\u003cp>“I dedicate this to all the drag artists who inspire me,” she said in her speech, while wearing chain mail, reading from a written speech in her diary. “And I dedicate this to queer and trans people who run pop. … Thank you for listening.”\u003c/p>\n\u003cp>Women dominated the award show, no example greater than an imaginative, medieval set from Roan.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=65m4u4IxZLg\u003c/p>\n\u003cp>Drag queen Sasha Colby introduced her with “your favorite drag queen’s favorite artist,” a reference to Roan’s now famous Coachella performance, which in turn was inspired by Colby. Real fans no doubt got a kick out of the hyper-referential tidbit.\u003c/p>\n\u003cp>Roan appeared in armor, shooting a lit crossbow at castle gates that stood behind her, burning them in the process. Her dancers were knights, battling each other in incredible choreography as she sang her queer pop hit, “Good Luck, Babe.”\u003c/p>\n\u003cp>The other voice of 2024 pop, Sabrina Carpenter, won the trophy for song of the year for “Espresso.”\u003c/p>\n\u003cp>“This is really special,” she said in her speech, dedicated to her fans. “And thank you to that me-espresso.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=I8c-UQ_rEYY\u003c/p>\n\u003cp>Earlier in the night, she brought her summery-pop to the award show, powering through her hit singles “Please Please Please,” “Taste” and “Espresso” while dancing with a moon man and an alien.\u003c/p>\n\u003cp>Katy Perry received the Video Vanguard Award, performing an eight-song medley spanning her career: “Roar,” “E.T.,” “California Gurls,” “Teenage Dream,” “I Kissed a Girl,” “Firework,” and “Lifetimes.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=3XXAMJ_0htg\">I did that all on the first day of my period, can you believe it?\u003c/a>” she joked after accepting the honor from her partner, Orlando Bloom. “There are so many things that have to align to have a long and successful career as an artist. There are no decade long accidents.”\u003c/p>\n\u003cp>She also teased a new song, “I’m His, He’s Mine,” featuring Doechii, which samples the Crystal Waters classic, “Gypsy Woman (La Da Dee La Da Da).”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=p7zrX4NU8YE\u003c/p>\n\u003cp>Previous recipients of the Video Vanguard Award include Shakira, Beyoncé, Minaj, Madonna, Janet Jackson, Jennifer Lopez, Rihanna and Missy Elliott.\u003c/p>\n\u003cp>An army of Slim Shady-lookalikes followed Eminem as he kicked off the VMAs , launching into a medley of his hits “Houdini” and “Somebody Save Me,” featuring a broadcast feed of Jelly Roll. (The song references Jelly Roll’s massive country radio hit, “Save Me.”)\u003c/p>\n\u003cp>[aside postid='arts_13964087']Megan Thee Stallion welcomed the crowd as a first-time host Wednesday night, who joked that the VMAs now stands for the “voluptuous Megan awards.” She later performed.\u003c/p>\n\u003cp>Earlier in the evening, Karol G took over, for a fiery performance of her hit, “Si Antes Te Hubiera Conocido.” Rauw Alejandro brought Puerto Rico to the stage, running through “Touching The Sky,” “DILUIVO” and “Déjame Entrar.”\u003c/p>\n\u003cp>Tyla won the best Afrobeats award.\u003c/p>\n\u003cp>LL COOL J celebrated 40 years of Def Jam Records with Public Enemy’s Flavor Flav and Chuck D.\u003c/p>\n\u003cp>Halsey took it to the suburbs for her new single, “Ego,” channeling garage bands. GloRilla’s “Yeah Glo!” and “TGIF” brought style.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DNwoQODmZUE\u003c/p>\n\u003cp>Blackpink’s LISA, the best K-pop award winner, made her way to the VMA stage for the first time as a soloist, powering through two of her brand-new singles, “New Woman” and “Rockstar.” Shawn Mendes made along-awaited return, debuting a new John Mayer-esq. acoustic number, “Nobody Knows.”\u003c/p>\n\u003cp>[aside postid='arts_13963789']Anitta performed “Paradise,” “Alegria,” and “Savage Funk,” joined by DJ Khaled, Fat Joe and Tiago PZK and won the award for best Latin. Camilla Cabello performed in a panopticon. Benson Boone seemed as stoked as ever to perform his viral hit “Beautiful Things” on the VMAs stage. Lenny Kravitz proved rock isn’t dead with “Are You Gonna Go My Way,” “Human” and finally “Fly,” in which he was joined by Quavo.\u003c/p>\n\u003cp>The 40th VMAs were held at the UBS Arena on New York’s Long Island.\u003c/p>\n\u003cp>The night was stacked with celebrities and featured plenty of Swift, who arrived at the award show wearing a green tartan corset with a matching train and long black leather gloves.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Throughout the night, MTV flashed back to history-making across the VMAs’ 40-year-run, including Britney Spears’ albino python and Madonna’s performance of “Like A Virgin.”\u003c/p>\n\n",
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"title": "MTV VMAs 2024 Recap: A Huge Night for Taylor Swift | KQED",
"description": "From the VMAs stage, Swift thanked Travis Kielce, encouraged fans to register to vote and also praised Post Malone.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Taylor Swift’s dominance continued at the MTV Video Music Awards, where she took home seven awards — including the night’s biggest, the trophy for video of the year.\u003c/p>\n\u003cp>In her speech Wednesday night, Swift thanked her “boyfriend, Travis” for being on set of the “Fortnight” music video and cheering her on. Fans rewarded the mention of NFL star Travis Kelce with loud screams.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Everything this man touches turns to happiness and fun and magic,” she said, before shifting gears to the 2024 presidential election and instructing her fans who are over 18 to register to vote.\u003c/p>\n\u003cp>Swift did, however, avoid discussing Kamala Harris’ presidential bid on stage. On Tuesday night, \u003ca href=\"https://www.kqed.org/arts/13964057/taylor-swift-endorses-kamala-harris-for-president-after-debate\">Swift endorsed the vice president\u003c/a>, moments after Harris’ debate with former president Donald Trump ended.\u003c/p>\n\u003cp>Swift’s awards haul brings her to a career total of 30, tying her and Beyoncé for the title of most-awarded musician in VMA history. Eminem is now the male artist with the most VMAs, at 15.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Swift and Post Malone also took home the first televised award of the VMAs for best collaboration, for “Fortnight,” handed to them by Flavor Flav and Olympian Jordan Chiles.\u003c/p>\n\u003cp>Swift started that speech by giving remembrance to everyone who lost their lives and loved ones during 9/11, 23 years ago.\u003c/p>\n\u003cp>“I’ve just been thinking about what happened 23 years ago, everyone who lost a loved one and everyone that we lost and that is the most important thing about today,” she said. “And everything that happens tonight falls behind that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She then turned to discussing Malone.\u003c/p>\n\u003cp>“There is a reason Post Malone is everyone in music’s favorite person to collaborate with,” she shifted her attention to him. “It has taken forever for me to get him to stop calling me ma’am.”\u003c/p>\n\u003cp>Chappell Roan won the MTV Video Music Award for best new artist.\u003c/p>\n\u003cp>“I dedicate this to all the drag artists who inspire me,” she said in her speech, while wearing chain mail, reading from a written speech in her diary. “And I dedicate this to queer and trans people who run pop. … Thank you for listening.”\u003c/p>\n\u003cp>Women dominated the award show, no example greater than an imaginative, medieval set from Roan.\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/65m4u4IxZLg'\n title='//www.youtube.com/embed/65m4u4IxZLg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Drag queen Sasha Colby introduced her with “your favorite drag queen’s favorite artist,” a reference to Roan’s now famous Coachella performance, which in turn was inspired by Colby. Real fans no doubt got a kick out of the hyper-referential tidbit.\u003c/p>\n\u003cp>Roan appeared in armor, shooting a lit crossbow at castle gates that stood behind her, burning them in the process. Her dancers were knights, battling each other in incredible choreography as she sang her queer pop hit, “Good Luck, Babe.”\u003c/p>\n\u003cp>The other voice of 2024 pop, Sabrina Carpenter, won the trophy for song of the year for “Espresso.”\u003c/p>\n\u003cp>“This is really special,” she said in her speech, dedicated to her fans. “And thank you to that me-espresso.”\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/I8c-UQ_rEYY'\n title='//www.youtube.com/embed/I8c-UQ_rEYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Earlier in the night, she brought her summery-pop to the award show, powering through her hit singles “Please Please Please,” “Taste” and “Espresso” while dancing with a moon man and an alien.\u003c/p>\n\u003cp>Katy Perry received the Video Vanguard Award, performing an eight-song medley spanning her career: “Roar,” “E.T.,” “California Gurls,” “Teenage Dream,” “I Kissed a Girl,” “Firework,” and “Lifetimes.”\u003c/p>\n\u003cp>“\u003ca href=\"https://www.youtube.com/watch?v=3XXAMJ_0htg\">I did that all on the first day of my period, can you believe it?\u003c/a>” she joked after accepting the honor from her partner, Orlando Bloom. “There are so many things that have to align to have a long and successful career as an artist. There are no decade long accidents.”\u003c/p>\n\u003cp>She also teased a new song, “I’m His, He’s Mine,” featuring Doechii, which samples the Crystal Waters classic, “Gypsy Woman (La Da Dee La Da Da).”\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/p7zrX4NU8YE'\n title='//www.youtube.com/embed/p7zrX4NU8YE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Previous recipients of the Video Vanguard Award include Shakira, Beyoncé, Minaj, Madonna, Janet Jackson, Jennifer Lopez, Rihanna and Missy Elliott.\u003c/p>\n\u003cp>An army of Slim Shady-lookalikes followed Eminem as he kicked off the VMAs , launching into a medley of his hits “Houdini” and “Somebody Save Me,” featuring a broadcast feed of Jelly Roll. (The song references Jelly Roll’s massive country radio hit, “Save Me.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Megan Thee Stallion welcomed the crowd as a first-time host Wednesday night, who joked that the VMAs now stands for the “voluptuous Megan awards.” She later performed.\u003c/p>\n\u003cp>Earlier in the evening, Karol G took over, for a fiery performance of her hit, “Si Antes Te Hubiera Conocido.” Rauw Alejandro brought Puerto Rico to the stage, running through “Touching The Sky,” “DILUIVO” and “Déjame Entrar.”\u003c/p>\n\u003cp>Tyla won the best Afrobeats award.\u003c/p>\n\u003cp>LL COOL J celebrated 40 years of Def Jam Records with Public Enemy’s Flavor Flav and Chuck D.\u003c/p>\n\u003cp>Halsey took it to the suburbs for her new single, “Ego,” channeling garage bands. GloRilla’s “Yeah Glo!” and “TGIF” brought style.\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/DNwoQODmZUE'\n title='//www.youtube.com/embed/DNwoQODmZUE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blackpink’s LISA, the best K-pop award winner, made her way to the VMA stage for the first time as a soloist, powering through two of her brand-new singles, “New Woman” and “Rockstar.” Shawn Mendes made along-awaited return, debuting a new John Mayer-esq. acoustic number, “Nobody Knows.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Anitta performed “Paradise,” “Alegria,” and “Savage Funk,” joined by DJ Khaled, Fat Joe and Tiago PZK and won the award for best Latin. Camilla Cabello performed in a panopticon. Benson Boone seemed as stoked as ever to perform his viral hit “Beautiful Things” on the VMAs stage. Lenny Kravitz proved rock isn’t dead with “Are You Gonna Go My Way,” “Human” and finally “Fly,” in which he was joined by Quavo.\u003c/p>\n\u003cp>The 40th VMAs were held at the UBS Arena on New York’s Long Island.\u003c/p>\n\u003cp>The night was stacked with celebrities and featured plenty of Swift, who arrived at the award show wearing a green tartan corset with a matching train and long black leather gloves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Throughout the night, MTV flashed back to history-making across the VMAs’ 40-year-run, including Britney Spears’ albino python and Madonna’s performance of “Like A Virgin.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New 'New York Times' Doc Takes a Closer Look at Janet Jackson's Super Bowl Scandal",
"headTitle": "New ‘New York Times’ Doc Takes a Closer Look at Janet Jackson’s Super Bowl Scandal | KQED",
"content": "\u003cp>The initial announcement sent ripples through the pop culture universe: \u003cem>The New York Time\u003c/em>s is developing a documentary on Janet Jackson’s Super Bowl incident.\u003c/p>\n\u003cp>That’s because the newspaper’s documentary work for FX’s \u003cem>The New York Times Presents\u003c/em> series has been nothing short of spectacular. In particular, its two films on Britney Spears—\u003cem>Framing Britney Spears\u003c/em>, released in February and \u003cem>Controlling Britney Spears\u003c/em>, aired in September—are widely credited with jump-starting a public conversation which culminated in a judge ending the pop star’s 13-year conservatorship just last week.\u003c/p>\n\u003cp>Those films had such impact, in part, because they pushed us all to reconsider how Spears was treated more than a decade ago by media outlets, standup comics, the music industry and even her friends and family in light of modern attitudes about misogyny and mental health.\u003c/p>\n\u003cp>But their new documentary, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em>, doesn’t have quite the same impact—in part, because the film itself reveals a more complicated situation and fails to answer some basic questions.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OddhPlcQrmo\u003c/p>\n\u003ch3>Sorting through the Super Bowl controversy\u003c/h3>\n\u003cp>It’s centered on the massively explosive controversy kicked off when surprise guest Justin Timberlake ripped off a piece of Jackson’s costume during their performance at the Super Bowl halftime show in 2004, briefly exposing one of her breasts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The thesis of the film is summed up in its title: it contends Jackson was unfairly and inordinately punished for the “wardrobe malfunction,” as it came to be known, while Timberlake, in particular, went on to win Grammy awards and continue his charmed show business life.\u003c/p>\n\u003cp>Hiding in plain sight, the film suggests, was how sexism and racism focused criticism on Jackson—given a helping hand by former CBS chairman and CEO Les Moonves, who took the whole scandal personally, since he had promised NFL officials the halftime show would be fit for family entertainment.\u003c/p>\n\u003cp>The documentary presents a former employee of the The Recording Academy saying Moonves, who stepped down from CBS in 2018 after several women made sexual harassment and assault allegations against him, insisted Jackson and Timberlake apologize at that year’s Grammy awards. (Timberlake attended and apologized, but Jackson did not attend.) As the film shows, Jackson’s eighth album \u003cem>Damita Jo\u003c/em>, released a couple of months after the halftime show, floundered amid the controversy as MTV and VH1 seemed to avoid playing her videos.\u003c/p>\n\u003cp>“It didn’t just happen to her … it rippled and touched all of us,” says Jenna Wortham, a \u003cem>New York Times\u003c/em> writer who spoke about identifying with Jackson as a Black woman. “I still don’t understand how hard they came for Janet.”\u003c/p>\n\u003cp>This isn’t a new idea; Jackson’s fans have complained for a long time that Timberlake paid a much smaller price than she did when their stunt went wrong in front of a massive TV audience.\u003c/p>\n\u003cp>But the film also implies that the idea for the stunt came from Jackson or one of her staff, quoting former MTV executive Salli Frattini, a senior vice president at MTV who worked on the halftime show. Frattini says Jackson left the stadium immediately after the incident and never really explained to CBS or MTV staff onsite what happened, though the star later issued several public apologies.\u003c/p>\n\u003cp>[aside postid='pop_20175']According to the film, people who worked on the halftime show recall watching a rehearsal with Timberlake where he pulled her skirt off, concluding it didn’t work. MTV was producing the halftime show; with a roster of performers that included Nelly, Kid Rock and P. Diddy, the lineup had already spooked the NFL and the network, which made it clear they didn’t want anything overly risqué to occur.\u003c/p>\n\u003cp>The film notes news reports implying Jackson’s stylist may have purchased new wardrobe items, including a sunburst-shaped nipple shield, after the rehearsal. According to Frattini, Timberlake met with Jackson and her stylist privately for a few minutes before the performance and they did the show, where Jackson’s naked breast and a sunburst nipple shield were exposed for an instant.\u003c/p>\n\u003cp>“I felt betrayed,” Frattini adds during the film. “My instincts told me that there was a private conversation between wardrobe, stylist and artist, where someone thought this would be a good idea. And it backfired.”\u003c/p>\n\u003cp>And while it is tragic to see how much criticism and backlash Jackson endured, the film never quite contends with the notion that this was a mess which may have originated with the singer herself, at a time when everyone involved knew that sexual content on TV was a hot-button issue with CBS, the NFL and the general public.\u003c/p>\n\u003cfigure id=\"attachment_13906342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg\" alt=\"A Black woman with cropped hair and glasses wears a blue silk shirt and sits talking in a white room with plants visible behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jenna Wortham, reporter for the ‘New York Times,’ speaks during ‘Malfunction: The Dressing Down of Janet Jackson.’\u003c/figcaption>\u003c/figure>\n\u003ch3>Key questions remain unanswered\u003c/h3>\n\u003cp>One reason the word “implying” surfaces here, is that the film lacks original interviews with some primary characters: namely, Jackson, Timberlake and Moonves. They also didn’t speak to the stylist who allegedly bought Jackson’s new wardrobe items. (\u003ca href=\"https://pagesix.com/2021/04/11/justin-timberlake-set-up-wardrobe-malfunction-to-one-up-britney-spears-stylist/\" target=\"_blank\" rel=\"noopener noreferrer\">That stylist, Wayne Scot Lukas, told \u003cem>The New York Post\u003c/em>\u003c/a> in April that the stunt was Timberlake’s idea, as a way to show up Britney Spears, Madonna and Christina Aguilera, who had kissed onstage at the 2003 MTV Video Music Awards.)\u003c/p>\n\u003cp>[aside postid='arts_13892744']As the film notes, the day after the halftime show, Jackson did issue a written apology, which said in part: “The decision to have a costume reveal at the end of my halftime show performance was made after final rehearsals … MTV was completely unaware of it. It was not my intention that it go as far as it did. I apologize to anyone offended—including the audience, MTV, CBS and the NFL.” She issued \u003ca href=\"https://www.youtube.com/watch?v=aavUakg4S74&t=1s\" target=\"_blank\" rel=\"noopener noreferrer\">a similar statement on video\u003c/a> two days after the incident.\u003c/p>\n\u003cp>So, who actually came up with the idea? And did the stunt go off as planned, or was the intention only to reveal her bra, as Timberlake and Jackson’s representatives later claimed? The film’s inability to answer some of these basic questions definitively is disappointing and robs the program of some power.\u003c/p>\n\u003cp>The film documents how a deluge of media reaction focused on criticizing Jackson, sometimes referencing race and gender in dismissive, insulting ways. It also suggests another reason Timberlake survived the controversy because he apologized to Moonves in person and distanced himself from Jackson in his initial public statements, essentially allowing her to take the full brunt of the negative publicity.\u003c/p>\n\u003cp>Timberlake offered a \u003ca href=\"https://www.nytimes.com/2021/02/12/arts/music/justin-timberlake-statement-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">vague apology on Instagram\u003c/a> to both Spears and Jackson in February, admitting he “benefited from a system that condones misogyny and racism.” Of course, a better apology might have been to say this in interviews for any of the \u003cem>New York Times\u003c/em> documentaries on either artist. But the film also notes Timberlake and Jackson share the same publicist, indicating they must not be too cross with each other.\u003c/p>\n\u003cp>What the documentary does well, is explain how controversy over the incident—which Frattini admits happened so quickly she didn’t initially notice it—was fueled in part by conservative activists who had been advocating stricter crackdowns on TV and radio content for years.\u003c/p>\n\u003cp>Back then, broadcast TV and radio outlets dominated the media landscape. The Federal Communications Commission had the power to fine broadcasters for presenting material it found to be indecent, and eventually tried to levy a $550,000 fine against CBS, which was \u003ca href=\"https://www.washingtonpost.com/blogs/tv-column/post/court-tosses-out-550000-fine-on-cbs-stations-for-airing-janet-jackson-wardrobe-malfunction/2011/11/02/gIQADvDYgM_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">eventually thrown out\u003c/a> by an appeals court.\u003c/p>\n\u003cp>[aside postid='pop_108058']In modern times, with a media landscape dominated by streaming services, cable channels and online platforms not regulated by the FCC, it almost feels quaint to see a time when a flash of nudity drew such condemnation. Especially at a sporting event which features the violence of professional football and the sexiness of scantily-clad cheerleaders.\u003c/p>\n\u003cp>That may be the biggest reason why this documentary feels less impactful than other projects urging us to reconsider past scandals distorted by sexism and racism; unlike Spears’ conservatorship, what happened to Jackson is not ongoing as the film airs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.rockhall.com/inductees/janet-jackson\" target=\"_blank\" rel=\"noopener noreferrer\">She survived the scandal, was inducted into the Rock and Roll Hall of Fame\u003c/a> and has \u003ca href=\"https://www.rollingstone.com/movies/movie-features/janet-jackson-documentary-1231938/\" target=\"_blank\" rel=\"noopener noreferrer\">a two-night documentary of her own\u003c/a> set to air on A&E and Lifetime early next year, promising to tell her life story her way. And the concern about conservative crackdowns on media content has been obliterated by the Internet.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em> serves as an important reminder of how differently the nation viewed sexual content on TV less than two decades ago, sparked by a high-profile stunt that pushed society’s buttons in ways none of the performers seemed to anticipate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+York+Times+doc+on+Janet+Jackson%27s+Super+Bowl+scandal+leaves+questions+unanswered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The initial announcement sent ripples through the pop culture universe: \u003cem>The New York Time\u003c/em>s is developing a documentary on Janet Jackson’s Super Bowl incident.\u003c/p>\n\u003cp>That’s because the newspaper’s documentary work for FX’s \u003cem>The New York Times Presents\u003c/em> series has been nothing short of spectacular. In particular, its two films on Britney Spears—\u003cem>Framing Britney Spears\u003c/em>, released in February and \u003cem>Controlling Britney Spears\u003c/em>, aired in September—are widely credited with jump-starting a public conversation which culminated in a judge ending the pop star’s 13-year conservatorship just last week.\u003c/p>\n\u003cp>Those films had such impact, in part, because they pushed us all to reconsider how Spears was treated more than a decade ago by media outlets, standup comics, the music industry and even her friends and family in light of modern attitudes about misogyny and mental health.\u003c/p>\n\u003cp>But their new documentary, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em>, doesn’t have quite the same impact—in part, because the film itself reveals a more complicated situation and fails to answer some basic questions.\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/OddhPlcQrmo'\n title='//www.youtube.com/embed/OddhPlcQrmo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Sorting through the Super Bowl controversy\u003c/h3>\n\u003cp>It’s centered on the massively explosive controversy kicked off when surprise guest Justin Timberlake ripped off a piece of Jackson’s costume during their performance at the Super Bowl halftime show in 2004, briefly exposing one of her breasts.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The thesis of the film is summed up in its title: it contends Jackson was unfairly and inordinately punished for the “wardrobe malfunction,” as it came to be known, while Timberlake, in particular, went on to win Grammy awards and continue his charmed show business life.\u003c/p>\n\u003cp>Hiding in plain sight, the film suggests, was how sexism and racism focused criticism on Jackson—given a helping hand by former CBS chairman and CEO Les Moonves, who took the whole scandal personally, since he had promised NFL officials the halftime show would be fit for family entertainment.\u003c/p>\n\u003cp>The documentary presents a former employee of the The Recording Academy saying Moonves, who stepped down from CBS in 2018 after several women made sexual harassment and assault allegations against him, insisted Jackson and Timberlake apologize at that year’s Grammy awards. (Timberlake attended and apologized, but Jackson did not attend.) As the film shows, Jackson’s eighth album \u003cem>Damita Jo\u003c/em>, released a couple of months after the halftime show, floundered amid the controversy as MTV and VH1 seemed to avoid playing her videos.\u003c/p>\n\u003cp>“It didn’t just happen to her … it rippled and touched all of us,” says Jenna Wortham, a \u003cem>New York Times\u003c/em> writer who spoke about identifying with Jackson as a Black woman. “I still don’t understand how hard they came for Janet.”\u003c/p>\n\u003cp>This isn’t a new idea; Jackson’s fans have complained for a long time that Timberlake paid a much smaller price than she did when their stunt went wrong in front of a massive TV audience.\u003c/p>\n\u003cp>But the film also implies that the idea for the stunt came from Jackson or one of her staff, quoting former MTV executive Salli Frattini, a senior vice president at MTV who worked on the halftime show. Frattini says Jackson left the stadium immediately after the incident and never really explained to CBS or MTV staff onsite what happened, though the star later issued several public apologies.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>According to the film, people who worked on the halftime show recall watching a rehearsal with Timberlake where he pulled her skirt off, concluding it didn’t work. MTV was producing the halftime show; with a roster of performers that included Nelly, Kid Rock and P. Diddy, the lineup had already spooked the NFL and the network, which made it clear they didn’t want anything overly risqué to occur.\u003c/p>\n\u003cp>The film notes news reports implying Jackson’s stylist may have purchased new wardrobe items, including a sunburst-shaped nipple shield, after the rehearsal. According to Frattini, Timberlake met with Jackson and her stylist privately for a few minutes before the performance and they did the show, where Jackson’s naked breast and a sunburst nipple shield were exposed for an instant.\u003c/p>\n\u003cp>“I felt betrayed,” Frattini adds during the film. “My instincts told me that there was a private conversation between wardrobe, stylist and artist, where someone thought this would be a good idea. And it backfired.”\u003c/p>\n\u003cp>And while it is tragic to see how much criticism and backlash Jackson endured, the film never quite contends with the notion that this was a mess which may have originated with the singer herself, at a time when everyone involved knew that sexual content on TV was a hot-button issue with CBS, the NFL and the general public.\u003c/p>\n\u003cfigure id=\"attachment_13906342\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13906342\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg\" alt=\"A Black woman with cropped hair and glasses wears a blue silk shirt and sits talking in a white room with plants visible behind her.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-2048x1536.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/11/nytp_mal-prod-stills-uhd_101521_001-copy-2-dc937831f385fea5078d49dda2c00334dbe6c757-1920x1440.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jenna Wortham, reporter for the ‘New York Times,’ speaks during ‘Malfunction: The Dressing Down of Janet Jackson.’\u003c/figcaption>\u003c/figure>\n\u003ch3>Key questions remain unanswered\u003c/h3>\n\u003cp>One reason the word “implying” surfaces here, is that the film lacks original interviews with some primary characters: namely, Jackson, Timberlake and Moonves. They also didn’t speak to the stylist who allegedly bought Jackson’s new wardrobe items. (\u003ca href=\"https://pagesix.com/2021/04/11/justin-timberlake-set-up-wardrobe-malfunction-to-one-up-britney-spears-stylist/\" target=\"_blank\" rel=\"noopener noreferrer\">That stylist, Wayne Scot Lukas, told \u003cem>The New York Post\u003c/em>\u003c/a> in April that the stunt was Timberlake’s idea, as a way to show up Britney Spears, Madonna and Christina Aguilera, who had kissed onstage at the 2003 MTV Video Music Awards.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As the film notes, the day after the halftime show, Jackson did issue a written apology, which said in part: “The decision to have a costume reveal at the end of my halftime show performance was made after final rehearsals … MTV was completely unaware of it. It was not my intention that it go as far as it did. I apologize to anyone offended—including the audience, MTV, CBS and the NFL.” She issued \u003ca href=\"https://www.youtube.com/watch?v=aavUakg4S74&t=1s\" target=\"_blank\" rel=\"noopener noreferrer\">a similar statement on video\u003c/a> two days after the incident.\u003c/p>\n\u003cp>So, who actually came up with the idea? And did the stunt go off as planned, or was the intention only to reveal her bra, as Timberlake and Jackson’s representatives later claimed? The film’s inability to answer some of these basic questions definitively is disappointing and robs the program of some power.\u003c/p>\n\u003cp>The film documents how a deluge of media reaction focused on criticizing Jackson, sometimes referencing race and gender in dismissive, insulting ways. It also suggests another reason Timberlake survived the controversy because he apologized to Moonves in person and distanced himself from Jackson in his initial public statements, essentially allowing her to take the full brunt of the negative publicity.\u003c/p>\n\u003cp>Timberlake offered a \u003ca href=\"https://www.nytimes.com/2021/02/12/arts/music/justin-timberlake-statement-britney-spears.html\" target=\"_blank\" rel=\"noopener noreferrer\">vague apology on Instagram\u003c/a> to both Spears and Jackson in February, admitting he “benefited from a system that condones misogyny and racism.” Of course, a better apology might have been to say this in interviews for any of the \u003cem>New York Times\u003c/em> documentaries on either artist. But the film also notes Timberlake and Jackson share the same publicist, indicating they must not be too cross with each other.\u003c/p>\n\u003cp>What the documentary does well, is explain how controversy over the incident—which Frattini admits happened so quickly she didn’t initially notice it—was fueled in part by conservative activists who had been advocating stricter crackdowns on TV and radio content for years.\u003c/p>\n\u003cp>Back then, broadcast TV and radio outlets dominated the media landscape. The Federal Communications Commission had the power to fine broadcasters for presenting material it found to be indecent, and eventually tried to levy a $550,000 fine against CBS, which was \u003ca href=\"https://www.washingtonpost.com/blogs/tv-column/post/court-tosses-out-550000-fine-on-cbs-stations-for-airing-janet-jackson-wardrobe-malfunction/2011/11/02/gIQADvDYgM_blog.html\" target=\"_blank\" rel=\"noopener noreferrer\">eventually thrown out\u003c/a> by an appeals court.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In modern times, with a media landscape dominated by streaming services, cable channels and online platforms not regulated by the FCC, it almost feels quaint to see a time when a flash of nudity drew such condemnation. Especially at a sporting event which features the violence of professional football and the sexiness of scantily-clad cheerleaders.\u003c/p>\n\u003cp>That may be the biggest reason why this documentary feels less impactful than other projects urging us to reconsider past scandals distorted by sexism and racism; unlike Spears’ conservatorship, what happened to Jackson is not ongoing as the film airs.\u003c/p>\n\u003cp>\u003ca href=\"https://www.rockhall.com/inductees/janet-jackson\" target=\"_blank\" rel=\"noopener noreferrer\">She survived the scandal, was inducted into the Rock and Roll Hall of Fame\u003c/a> and has \u003ca href=\"https://www.rollingstone.com/movies/movie-features/janet-jackson-documentary-1231938/\" target=\"_blank\" rel=\"noopener noreferrer\">a two-night documentary of her own\u003c/a> set to air on A&E and Lifetime early next year, promising to tell her life story her way. And the concern about conservative crackdowns on media content has been obliterated by the Internet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, \u003cem>Malfunction: The Dressing Down of Janet Jackson\u003c/em> serves as an important reminder of how differently the nation viewed sexual content on TV less than two decades ago, sparked by a high-profile stunt that pushed society’s buttons in ways none of the performers seemed to anticipate.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+York+Times+doc+on+Janet+Jackson%27s+Super+Bowl+scandal+leaves+questions+unanswered&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Best Moments From the MTV VMAs",
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"content": "\u003cp>MTV’s Video Music Awards returned to the stage after 2020’s \u003ca href=\"https://www.npr.org/2020/08/31/907789356/the-vmas-10-takeaways-for-2020\" target=\"_blank\" rel=\"noopener noreferrer\">socially distanced show\u003c/a>. The show also marked the network’s milestone 40th year.\u003c/p>\n\u003cp>It was a big night for Olivia Rodrigo, Justin Bieber and Lil Nas X, among others. Here are some of the memorable moments and “Moon person” winners.\u003c/p>\n\u003ch3>Standout performances and memorable moments\u003c/h3>\n\u003cp>The night saw performances from Justin Bieber, Camila Cabello, Chlöe, Lil Nas X, Machine Gun Kelly, Kacey Musgraves, Ed Sheeran, Alicia Keys, Busta Rhymes, Olivia Rodrigo, Shawn Mendes, Twenty One Pilots and others. \u003ca href=\"https://www.mtv.com/vma/performers\" target=\"_blank\" rel=\"noopener noreferrer\">Watch those videos here\u003c/a>.\u003c/p>\n\u003cp>Some stars were making their VMA debuts with brand-new songs. \u003ca href=\"http://www.mtv.com/news/3180883/kacey-musgraves-star-crossed-vmas-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Musgraves performed “Star-Crossed,”\u003c/a> the title track off her recently released studio album, while Chlöe (who you may know as half of the sister R&B duo Chlöe x Halle) \u003ca href=\"http://www.mtv.com/news/3181152/chloe-2021-vma-have-mercy/\" target=\"_blank\" rel=\"noopener noreferrer\">performed her debut solo single “Have Mercy”\u003c/a> onstage for the first time.\u003c/p>\n\u003cp>https://twitter.com/MTVNEWS/status/1437227865301475334\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Other veterans returned to the stage: Brooklyn legend \u003ca href=\"https://www.mtv.com/news/3181168/busta-rhymes-vma-medley/\" target=\"_blank\" rel=\"noopener noreferrer\">Busta Rhymes performed a medley\u003c/a> of some of his biggest hits, while \u003ca href=\"https://www.mtv.com/news/3180807/alicia-keys-swae-lee-2021-vma-performance/\" target=\"_blank\" rel=\"noopener noreferrer\">Alicia Keys honored\u003c/a> the anniversary of 9/11 by finishing her performance with a piano version of “Empire State of Mind.”\u003c/p>\n\u003cp>Some other notable moments, as collected by MTV: Olivia Rodrigo \u003ca href=\"https://www.mtv.com/news/3181066/olivia-rodrigo-vmas-good-4-u/\" target=\"_blank\" rel=\"noopener noreferrer\">descended onstage from a cloud\u003c/a> (Good 4 Her, honestly), Doja Cat \u003ca href=\"https://www.mtv.com/news/3180914/doja-cat-2021-vma-performance/\" target=\"_blank\" rel=\"noopener noreferrer\">danced midair\u003c/a> after being introduced by fellow gravity defier Simone Biles (and later accepted an award dressed as a worm) and the Foo Fighters received the VMAs’ \u003ca href=\"http://www.mtv.com/news/3180017/foo-fighters-vma-global-icon-award/\" target=\"_blank\" rel=\"noopener noreferrer\">first-ever Global Icon Award\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/MTVNEWS/status/1437236596991041546?s=20\u003c/p>\n\u003cp>See \u003cem>USA Today\u003c/em>‘s \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2021/09/12/vmas-2021-performance-reviews-ranked/8307348002/\" target=\"_blank\" rel=\"noopener noreferrer\">ranking of the performances\u003c/a>.\u003c/p>\n\u003ch3>A star-studded roster of nominees and winners\u003c/h3>\n\u003cp>Justin Bieber led with seven nominations, followed by Megan Thee Stallion (who got six but went home empty-handed). Billie Eilish, BTS, Doja Cat, Drake, Lil Nas X, Olivia Rodrigo and Giveon each got five nominations.\u003c/p>\n\u003cp>Lil Nas X won the top prize for video of the year with “Montero (Call Me By Your Name),” then began \u003ca href=\"https://twitter.com/vmas/status/1437254299390816257?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">his acceptance speech\u003c/a> by thanking “the gay agenda.” That video also won for best direction and best visual effects.\u003c/p>\n\u003cp>https://twitter.com/untrell92/status/1437219090133921792\u003c/p>\n\u003cp>Justin Bieber won the award for artist of the year and shared “best pop” with Daniel Caesar and Giveon for “Peaches.”\u003c/p>\n\u003cp>Olivia Rodrigo’s “Drivers License” won song of the year and best push performance of the year. She also took home the award for best new artist.\u003c/p>\n\u003cp>https://twitter.com/MTV/status/1437244845748326404\u003c/p>\n\u003cp>\u003ca href=\"http://www.mtv.com/news/3180634/vma-winners-list-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Here’s the full list\u003c/a>.\u003c/p>\n\u003ch3>A milestone birthday\u003c/h3>\n\u003cp>The awards show paid tribute to MTV’s history from start to finish.\u003c/p>\n\u003cp>It opened with a surprise appearance from Madonna, \u003ca href=\"http://www.mtv.com/news/3180876/madonna-opens-2021-vmas/\" target=\"_blank\" rel=\"noopener noreferrer\">a VMA legend\u003c/a> with 20 moon person awards to her name.\u003c/p>\n\u003cp>https://twitter.com/kathygriffin/status/1437225962530164736\u003c/p>\n\u003cp>The queen of pop celebrated her decades-long relationship with MTV—and New York City—\u003ca href=\"https://www.today.com/popculture/madonna-makes-surprise-appearance-vmas-celebrate-mtv-s-40th-anniversary-t230760\" target=\"_blank\" rel=\"noopener noreferrer\">in a video sequence\u003c/a> that showed her in the back of a taxi, in Times Square and eventually live onstage at Brooklyn’s Barclays Center, surrounded by screens projecting some of her iconic music videos (and dropping her trench coat to reveal a \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a37566779/twitter-madonna-butt-2021-vmas/\" target=\"_blank\" rel=\"noopener noreferrer\">cheeky leather outfit\u003c/a>).\u003c/p>\n\u003cp>[aside postid='arts_13897634']“Forty years ago, another underdog arrived in New York City, hoping to create something revolutionary. An all-music channel premiered in the middle of the night and called itself MTV,” Madonna said. “We found each other and formed a bond that changed my life, changed music and created a whole new art form. That’s why there’s only one place to be tonight.”\u003c/p>\n\u003cp>Cyndi Lauper, who won a moon person at the first-ever VMAs in 1984, reminded viewers of how much has changed since then. \u003ca href=\"https://www.etonline.com/cyndi-lauper-speaks-out-for-womens-rights-at-2021-mtv-vmas-171922\" target=\"_blank\" rel=\"noopener noreferrer\">In brief remarks before presenting an award\u003c/a>, she tied her hit song to the fight for women’s rights.\u003c/p>\n\u003cp>“Yeah, girls still wanna have fun,” Lauper said as the crowd roared. “But we also want to have funds. Equal pay. Control over our bodies! You know, fundamental rights.”\u003c/p>\n\u003cp>https://twitter.com/liamgareau/status/1437218572174983172\u003c/p>\n\u003cp>The evening ended with another nod to the past. The Buggles’ “Video Killed The Radio Star,” the \u003ca href=\"https://www.npr.org/sections/world-cafe/2021/07/30/1021813462/the-first-100-videos-played-on-mtv\" target=\"_blank\" rel=\"noopener noreferrer\">very first video to air on MTV\u003c/a> in 1981, played over the closing credits.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared on \u003ca href=\"https://www.npr.org/live-updates/california-wildfire-recall-election-biden#highlights-from-the-mtv-vmas\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Morning Edition \u003c/em>live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Best+Moments+From+The+MTV+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>MTV’s Video Music Awards returned to the stage after 2020’s \u003ca href=\"https://www.npr.org/2020/08/31/907789356/the-vmas-10-takeaways-for-2020\" target=\"_blank\" rel=\"noopener noreferrer\">socially distanced show\u003c/a>. The show also marked the network’s milestone 40th year.\u003c/p>\n\u003cp>It was a big night for Olivia Rodrigo, Justin Bieber and Lil Nas X, among others. Here are some of the memorable moments and “Moon person” winners.\u003c/p>\n\u003ch3>Standout performances and memorable moments\u003c/h3>\n\u003cp>The night saw performances from Justin Bieber, Camila Cabello, Chlöe, Lil Nas X, Machine Gun Kelly, Kacey Musgraves, Ed Sheeran, Alicia Keys, Busta Rhymes, Olivia Rodrigo, Shawn Mendes, Twenty One Pilots and others. \u003ca href=\"https://www.mtv.com/vma/performers\" target=\"_blank\" rel=\"noopener noreferrer\">Watch those videos here\u003c/a>.\u003c/p>\n\u003cp>Some stars were making their VMA debuts with brand-new songs. \u003ca href=\"http://www.mtv.com/news/3180883/kacey-musgraves-star-crossed-vmas-2021/\" target=\"_blank\" rel=\"noopener noreferrer\">Musgraves performed “Star-Crossed,”\u003c/a> the title track off her recently released studio album, while Chlöe (who you may know as half of the sister R&B duo Chlöe x Halle) \u003ca href=\"http://www.mtv.com/news/3181152/chloe-2021-vma-have-mercy/\" target=\"_blank\" rel=\"noopener noreferrer\">performed her debut solo single “Have Mercy”\u003c/a> onstage for the first time.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Other veterans returned to the stage: Brooklyn legend \u003ca href=\"https://www.mtv.com/news/3181168/busta-rhymes-vma-medley/\" target=\"_blank\" rel=\"noopener noreferrer\">Busta Rhymes performed a medley\u003c/a> of some of his biggest hits, while \u003ca href=\"https://www.mtv.com/news/3180807/alicia-keys-swae-lee-2021-vma-performance/\" target=\"_blank\" rel=\"noopener noreferrer\">Alicia Keys honored\u003c/a> the anniversary of 9/11 by finishing her performance with a piano version of “Empire State of Mind.”\u003c/p>\n\u003cp>Some other notable moments, as collected by MTV: Olivia Rodrigo \u003ca href=\"https://www.mtv.com/news/3181066/olivia-rodrigo-vmas-good-4-u/\" target=\"_blank\" rel=\"noopener noreferrer\">descended onstage from a cloud\u003c/a> (Good 4 Her, honestly), Doja Cat \u003ca href=\"https://www.mtv.com/news/3180914/doja-cat-2021-vma-performance/\" target=\"_blank\" rel=\"noopener noreferrer\">danced midair\u003c/a> after being introduced by fellow gravity defier Simone Biles (and later accepted an award dressed as a worm) and the Foo Fighters received the VMAs’ \u003ca href=\"http://www.mtv.com/news/3180017/foo-fighters-vma-global-icon-award/\" target=\"_blank\" rel=\"noopener noreferrer\">first-ever Global Icon Award\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>See \u003cem>USA Today\u003c/em>‘s \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2021/09/12/vmas-2021-performance-reviews-ranked/8307348002/\" target=\"_blank\" rel=\"noopener noreferrer\">ranking of the performances\u003c/a>.\u003c/p>\n\u003ch3>A star-studded roster of nominees and winners\u003c/h3>\n\u003cp>Justin Bieber led with seven nominations, followed by Megan Thee Stallion (who got six but went home empty-handed). Billie Eilish, BTS, Doja Cat, Drake, Lil Nas X, Olivia Rodrigo and Giveon each got five nominations.\u003c/p>\n\u003cp>Lil Nas X won the top prize for video of the year with “Montero (Call Me By Your Name),” then began \u003ca href=\"https://twitter.com/vmas/status/1437254299390816257?s=20\" target=\"_blank\" rel=\"noopener noreferrer\">his acceptance speech\u003c/a> by thanking “the gay agenda.” That video also won for best direction and best visual effects.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Justin Bieber won the award for artist of the year and shared “best pop” with Daniel Caesar and Giveon for “Peaches.”\u003c/p>\n\u003cp>Olivia Rodrigo’s “Drivers License” won song of the year and best push performance of the year. She also took home the award for best new artist.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The queen of pop celebrated her decades-long relationship with MTV—and New York City—\u003ca href=\"https://www.today.com/popculture/madonna-makes-surprise-appearance-vmas-celebrate-mtv-s-40th-anniversary-t230760\" target=\"_blank\" rel=\"noopener noreferrer\">in a video sequence\u003c/a> that showed her in the back of a taxi, in Times Square and eventually live onstage at Brooklyn’s Barclays Center, surrounded by screens projecting some of her iconic music videos (and dropping her trench coat to reveal a \u003ca href=\"https://www.harpersbazaar.com/celebrity/latest/a37566779/twitter-madonna-butt-2021-vmas/\" target=\"_blank\" rel=\"noopener noreferrer\">cheeky leather outfit\u003c/a>).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Forty years ago, another underdog arrived in New York City, hoping to create something revolutionary. An all-music channel premiered in the middle of the night and called itself MTV,” Madonna said. “We found each other and formed a bond that changed my life, changed music and created a whole new art form. That’s why there’s only one place to be tonight.”\u003c/p>\n\u003cp>Cyndi Lauper, who won a moon person at the first-ever VMAs in 1984, reminded viewers of how much has changed since then. \u003ca href=\"https://www.etonline.com/cyndi-lauper-speaks-out-for-womens-rights-at-2021-mtv-vmas-171922\" target=\"_blank\" rel=\"noopener noreferrer\">In brief remarks before presenting an award\u003c/a>, she tied her hit song to the fight for women’s rights.\u003c/p>\n\u003cp>“Yeah, girls still wanna have fun,” Lauper said as the crowd roared. “But we also want to have funds. Equal pay. Control over our bodies! You know, fundamental rights.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The evening ended with another nod to the past. The Buggles’ “Video Killed The Radio Star,” the \u003ca href=\"https://www.npr.org/sections/world-cafe/2021/07/30/1021813462/the-first-100-videos-played-on-mtv\" target=\"_blank\" rel=\"noopener noreferrer\">very first video to air on MTV\u003c/a> in 1981, played over the closing credits.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>This story originally appeared on \u003ca href=\"https://www.npr.org/live-updates/california-wildfire-recall-election-biden#highlights-from-the-mtv-vmas\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Morning Edition \u003c/em>live blog\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Best+Moments+From+The+MTV+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "MTV is Turning 40—Here's How Beavis, Butt-Head and Daria Disrupted Cable",
"headTitle": "MTV is Turning 40—Here’s How Beavis, Butt-Head and Daria Disrupted Cable | KQED",
"content": "\u003cdiv class=\"storyMajorUpdateDate\">\u003cstrong>Updated July 30, 2021 at 8:42 AM ET\u003c/strong>\u003c/div>\n\u003cp>From the moment MTV launched on Aug. 1, 1981, it was bound to rattle the nerves of parents and moral crusaders. In its first decade on air, provocative videos and performances from pop stars including Madonna and George Michael invited attention and ignited controversy.\u003c/p>\n\u003cp>Though it’s fairly established by now that the cable channel-turned-entertainment brand stopped being the home of music videos some time ago, its contribution to the television landscape transcends music and reality TV. By the 1990s, the network’s biggest stars also included its resident pair of animated knuckleheads: Beavis and Butt-Head.\u003c/p>\n\u003ch3>Critic-proof, crudely drawn rebels go pop\u003c/h3>\n\u003cp>[aside postid='arts_13885553']The show about brain dead teens and their pubescent whims debuted on MTV in 1993 and was quick to catch flack for everything from its rougher animation style to the impulsive actions of its stars. Critics called the duo \u003ca href=\"https://www.youtube.com/watch?v=7vhPukfBAwQ\" target=\"_blank\" rel=\"noopener noreferrer\">“crude,” “ugly” and “self-destructive.”\u003c/a>\u003c/p>\n\u003cp>Kris Brown became the head writer of \u003cem>Beavis and Butt-Head \u003c/em>in 1994. He says when he was assigned his first episode, he described the show to his own father as being “about these two 13-year-olds that are really stupid and they’re just self-destructive. They’re really into heavy metal, and I mean I don’t think it’s for you really, but I’m really excited about it.” His dad paused and, as Brown recalls, said, “Well, do you plan on writing for anything else?”\u003c/p>\n\u003cp>But the show was critic-proof. \u003cem>Beavis and Butt-Head \u003c/em>became MTV’s highest rated show at one time and expanded into a 1996 feature film—\u003cem>Beavis and Butt-Head Do America\u003c/em>. The movie got two thumbs up from critics Gene Siskel and Roger Ebert and featured multiple cameos, including one from super-fan David Letterman as a roadie who most certainly sired Butt-Head.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jRnVQ4NBXko\u003c/p>\n\u003ch3>A hub for experimentation and innovation\u003c/h3>\n\u003cp>\u003cem>Beavis and Butt-Head \u003c/em>may have been a cartoon, but it was also central to MTV’s identity. Animation, it turns out, was baked into the network’s foundation, says Fred Seibert, who helped develop MTV’s initial branding campaigns.\u003c/p>\n\u003cp>“We kind of realized that in many ways cartoons, like \u003cem>Looney Tunes\u003c/em>, were kind of like the kid equivalent of rock ‘n’ roll,” Seibert explains.\u003c/p>\n\u003cp>For animators who wanted to work outside of TV conventions at the time, MTV became a destination and a laboratory. According to Maureen Furniss, who is an animation historian at the California Institute of the Arts, “[MTV] showed people in the public things they had never seen before in animation and gave opportunities to a lot of independent animators and experimental animators.”\u003c/p>\n\u003cp>One of the most important of those experiments were shorts that served as the station’s promotional IDs: the “M” of the MTV logo morphing into various forms, for example.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PrUfMqRlYpk\u003c/p>\n\u003cp>The freedom given to the creators of these promos by MTV’s marketing teams helped serve as a prototype for how the network approached its longer animated shows, says Abby Terkuhle. He became head of the network’s on-air promotions—and eventually oversaw MTV animation.\u003c/p>\n\u003cp>“MTV animation was truly an outgrowth and extension of MTV on-air promotion and MTV on-air promotion was incredible. It was a creative laboratory, ” Terkuhle says. “We were not only allowed to take risks, but encouraged to take risks and the executives had our back.”\u003c/p>\n\u003cfigure id=\"attachment_13900491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg\" alt=\"'Beavis and Butt-Head' creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, 'Beavis and Butt-Head Do America.' From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a.jpg 1838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beavis and Butt-Head’ creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, ‘Beavis and Butt-Head Do America.’ From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation. \u003ccite>(Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That ethos of a creative laboratory that took risks drew show creators to pitch and push for ideas that wouldn’t end up elsewhere on television.\u003c/p>\n\u003cp>MTV’s first full animated program \u003cem>Liquid Television\u003c/em> premiered in 1991 and was a free-flowing showcase of all kinds of animation. It included the cable debut of \u003cem>Beavis and Butt-Head \u003c/em>in the short “\u003ca href=\"https://www.youtube.com/watch?v=m0HpG7Nx7fA\" target=\"_blank\" rel=\"noopener noreferrer\">Frog Baseball\u003c/a>“—an animation festival favorite at the time—as well as parodies of existing TV genres such as game shows and soap operas.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ir2qcPwZFdQ\u003c/p>\n\u003cp>\u003cem>Liquid Television\u003c/em> also included bold experiments in narrative storytelling—and introduced the visually sumptuous world of \u003cem>Aeon Flux\u003c/em>—a spy who has since become a cult icon.\u003c/p>\n\u003cp>Peter Chung, who developed \u003cem>Aeon Flux \u003c/em>for MTV, says, “It had to be something you could not see anywhere else. And so that really encouraged me to make something that was as loaded with as much innuendo, making it a point to make it as transgressive and as eye-catching as I could make it.”\u003c/p>\n\u003ch3>Self-aware ’90s teen angst and claymation wars\u003c/h3>\n\u003cp>From the the mid-1990s to the early 2000s, MTV also ran its own animation studio which produced multiple series—including a \u003cem>Beavis and Butt-Head\u003c/em> spinoff that gave audiences another iconic character.\u003c/p>\n\u003cp>\u003cem>Daria\u003c/em> premiered in 1997 and was a show unafraid to bite the hand that feeds it. Its incisive main character regularly went after the superficialities and commodification of teen life—a tendency MTV itself has long been accused of. But the show could also offer poignant coming-of-age moments.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L0WBODNzyCg\u003c/p>\n\u003cp>“We kind of just went with the typical stories that every show about teenagers covers, but because it was from the eyes of Daria, it ended up with a completely different tone, which was funny and deadpan kind of humor,” says \u003cem>Daria\u003c/em> co-creator Susie Lewis.\u003c/p>\n\u003cp>MTV animation wasn’t only hand-drawn images. The network also produced a hit claymation series called \u003cem>Celebrity Deathmatch\u003c/em> in which mock-ups of celebrities took each other on in the wrestling ring and fought, well, to the death. The pilot episode aired at the same time as the Super Bowl halftime show in 1998.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3hDNXE0v8kU\u003c/p>\n\u003cp>In recent years, MTV hasn’t had the same track record in animation. Other networks and streaming services have become home to even bolder cartoons intended for older audiences.\u003c/p>\n\u003cp>But MTV Entertainment president Chris McCarthy says you shouldn’t count MTV out just yet. McCarthy says MTV is developing new animated ideas as well as rebooting a few old favorites.\u003c/p>\n\u003cp>“Animation has been critical to the MTV brand from its inception, ” says McCarthy.\u003c/p>\n\u003cp>Among the shows coming back are \u003cem>Beavis and Butt-Head\u003c/em> (its second reboot for the record) as well as a series reimagining \u003cem>Daria \u003c/em>character Jodie as a Gen Z college grad entering the workforce.\u003c/p>\n\u003cp>“We think the animation and its rebirth is just the beginning of a next great chapter of this legacy,” says McCarthy.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W8r-tXRLazs&list=PLy2PCKGkKRVZVyzPfNj_R-aYn4IztIyT-\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://ww2.kqed.org/arts/2021/07/29/hitting-the-road-and-building-a-northern-california-bucket-list/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=MTV+Is+Turning+40+%E2%80%94+Here%27s+How+Beavis%2C+Butt-Head+And+Daria+Disrupted+Cable&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cdiv class=\"storyMajorUpdateDate\">\u003cstrong>Updated July 30, 2021 at 8:42 AM ET\u003c/strong>\u003c/div>\n\u003cp>From the moment MTV launched on Aug. 1, 1981, it was bound to rattle the nerves of parents and moral crusaders. In its first decade on air, provocative videos and performances from pop stars including Madonna and George Michael invited attention and ignited controversy.\u003c/p>\n\u003cp>Though it’s fairly established by now that the cable channel-turned-entertainment brand stopped being the home of music videos some time ago, its contribution to the television landscape transcends music and reality TV. By the 1990s, the network’s biggest stars also included its resident pair of animated knuckleheads: Beavis and Butt-Head.\u003c/p>\n\u003ch3>Critic-proof, crudely drawn rebels go pop\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The show about brain dead teens and their pubescent whims debuted on MTV in 1993 and was quick to catch flack for everything from its rougher animation style to the impulsive actions of its stars. Critics called the duo \u003ca href=\"https://www.youtube.com/watch?v=7vhPukfBAwQ\" target=\"_blank\" rel=\"noopener noreferrer\">“crude,” “ugly” and “self-destructive.”\u003c/a>\u003c/p>\n\u003cp>Kris Brown became the head writer of \u003cem>Beavis and Butt-Head \u003c/em>in 1994. He says when he was assigned his first episode, he described the show to his own father as being “about these two 13-year-olds that are really stupid and they’re just self-destructive. They’re really into heavy metal, and I mean I don’t think it’s for you really, but I’m really excited about it.” His dad paused and, as Brown recalls, said, “Well, do you plan on writing for anything else?”\u003c/p>\n\u003cp>But the show was critic-proof. \u003cem>Beavis and Butt-Head \u003c/em>became MTV’s highest rated show at one time and expanded into a 1996 feature film—\u003cem>Beavis and Butt-Head Do America\u003c/em>. The movie got two thumbs up from critics Gene Siskel and Roger Ebert and featured multiple cameos, including one from super-fan David Letterman as a roadie who most certainly sired Butt-Head.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jRnVQ4NBXko'\n title='//www.youtube.com/embed/jRnVQ4NBXko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>A hub for experimentation and innovation\u003c/h3>\n\u003cp>\u003cem>Beavis and Butt-Head \u003c/em>may have been a cartoon, but it was also central to MTV’s identity. Animation, it turns out, was baked into the network’s foundation, says Fred Seibert, who helped develop MTV’s initial branding campaigns.\u003c/p>\n\u003cp>“We kind of realized that in many ways cartoons, like \u003cem>Looney Tunes\u003c/em>, were kind of like the kid equivalent of rock ‘n’ roll,” Seibert explains.\u003c/p>\n\u003cp>For animators who wanted to work outside of TV conventions at the time, MTV became a destination and a laboratory. According to Maureen Furniss, who is an animation historian at the California Institute of the Arts, “[MTV] showed people in the public things they had never seen before in animation and gave opportunities to a lot of independent animators and experimental animators.”\u003c/p>\n\u003cp>One of the most important of those experiments were shorts that served as the station’s promotional IDs: the “M” of the MTV logo morphing into various forms, for example.\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/PrUfMqRlYpk'\n title='//www.youtube.com/embed/PrUfMqRlYpk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The freedom given to the creators of these promos by MTV’s marketing teams helped serve as a prototype for how the network approached its longer animated shows, says Abby Terkuhle. He became head of the network’s on-air promotions—and eventually oversaw MTV animation.\u003c/p>\n\u003cp>“MTV animation was truly an outgrowth and extension of MTV on-air promotion and MTV on-air promotion was incredible. It was a creative laboratory, ” Terkuhle says. “We were not only allowed to take risks, but encouraged to take risks and the executives had our back.”\u003c/p>\n\u003cfigure id=\"attachment_13900491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13900491\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg\" alt=\"'Beavis and Butt-Head' creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, 'Beavis and Butt-Head Do America.' From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/07/gettyimages-51100452-c722f51d99ff37658e9eaeaf95e1c78e4ba2732a.jpg 1838w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beavis and Butt-Head’ creator Mike Judge (left) and animation director Yvette Kaplan (center) work on the production of the 1996 motion picture, ‘Beavis and Butt-Head Do America.’ From its debut in the early 1980s, MTV proved itself to be a pioneer in adult animation. \u003ccite>(Getty Images/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>That ethos of a creative laboratory that took risks drew show creators to pitch and push for ideas that wouldn’t end up elsewhere on television.\u003c/p>\n\u003cp>MTV’s first full animated program \u003cem>Liquid Television\u003c/em> premiered in 1991 and was a free-flowing showcase of all kinds of animation. It included the cable debut of \u003cem>Beavis and Butt-Head \u003c/em>in the short “\u003ca href=\"https://www.youtube.com/watch?v=m0HpG7Nx7fA\" target=\"_blank\" rel=\"noopener noreferrer\">Frog Baseball\u003c/a>“—an animation festival favorite at the time—as well as parodies of existing TV genres such as game shows and soap operas.\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/ir2qcPwZFdQ'\n title='//www.youtube.com/embed/ir2qcPwZFdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Liquid Television\u003c/em> also included bold experiments in narrative storytelling—and introduced the visually sumptuous world of \u003cem>Aeon Flux\u003c/em>—a spy who has since become a cult icon.\u003c/p>\n\u003cp>Peter Chung, who developed \u003cem>Aeon Flux \u003c/em>for MTV, says, “It had to be something you could not see anywhere else. And so that really encouraged me to make something that was as loaded with as much innuendo, making it a point to make it as transgressive and as eye-catching as I could make it.”\u003c/p>\n\u003ch3>Self-aware ’90s teen angst and claymation wars\u003c/h3>\n\u003cp>From the the mid-1990s to the early 2000s, MTV also ran its own animation studio which produced multiple series—including a \u003cem>Beavis and Butt-Head\u003c/em> spinoff that gave audiences another iconic character.\u003c/p>\n\u003cp>\u003cem>Daria\u003c/em> premiered in 1997 and was a show unafraid to bite the hand that feeds it. Its incisive main character regularly went after the superficialities and commodification of teen life—a tendency MTV itself has long been accused of. But the show could also offer poignant coming-of-age moments.\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/L0WBODNzyCg'\n title='//www.youtube.com/embed/L0WBODNzyCg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We kind of just went with the typical stories that every show about teenagers covers, but because it was from the eyes of Daria, it ended up with a completely different tone, which was funny and deadpan kind of humor,” says \u003cem>Daria\u003c/em> co-creator Susie Lewis.\u003c/p>\n\u003cp>MTV animation wasn’t only hand-drawn images. The network also produced a hit claymation series called \u003cem>Celebrity Deathmatch\u003c/em> in which mock-ups of celebrities took each other on in the wrestling ring and fought, well, to the death. The pilot episode aired at the same time as the Super Bowl halftime show in 1998.\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/3hDNXE0v8kU'\n title='//www.youtube.com/embed/3hDNXE0v8kU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, MTV hasn’t had the same track record in animation. Other networks and streaming services have become home to even bolder cartoons intended for older audiences.\u003c/p>\n\u003cp>But MTV Entertainment president Chris McCarthy says you shouldn’t count MTV out just yet. McCarthy says MTV is developing new animated ideas as well as rebooting a few old favorites.\u003c/p>\n\u003cp>“Animation has been critical to the MTV brand from its inception, ” says McCarthy.\u003c/p>\n\u003cp>Among the shows coming back are \u003cem>Beavis and Butt-Head\u003c/em> (its second reboot for the record) as well as a series reimagining \u003cem>Daria \u003c/em>character Jodie as a Gen Z college grad entering the workforce.\u003c/p>\n\u003cp>“We think the animation and its rebirth is just the beginning of a next great chapter of this legacy,” says McCarthy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/W8r-tXRLazs'\n title='//www.youtube.com/embed/W8r-tXRLazs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://ww2.kqed.org/arts/2021/07/29/hitting-the-road-and-building-a-northern-california-bucket-list/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=MTV+Is+Turning+40+%E2%80%94+Here%27s+How+Beavis%2C+Butt-Head+And+Daria+Disrupted+Cable&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3382469601\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>After winning an MTV reality TV show contest about a dozen years ago, \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> landed a gig at Rolling Stone. That was a crowning moment in her career as a journalist.\u003c/p>\n\u003cp>Since then, Rocky Rivera’s enjoyed a successful musical career and expanded her world as an educator in Oakland public schools. Most recently she published an autobiographical collection of essays, \u003ca href=\"https://www.patreon.com/rockyrivera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin, \u003c/em>\u003c/a>which takes a look back at her storied career and personal life.\u003c/p>\n\u003cp>Rocky Rivera, who was raised in San Francisco, uses the book to express the importance of restorative justice practices. Addressing conflict without using punitive models is something that works in the classroom and the community, as well as in art.\u003c/p>\n\u003cp>A major part of restorative justice is being accountable for past actions, and growing out of those behaviors in order to come anew. Rocky Rivera likens that process to a snake shedding its skin– it also parallels her process of going through a period of personal, artistic and spiritual growth. Thus, snakeskin is a multilayered term.\u003c/p>\n\u003cp>This week, I talk to Rocky Rivera about family, community, accountability and growth.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13897105\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/rocky-1-800x534.jpg\" alt=\"A close shot of Rocky Rivera's hands, holding a small snake.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A close shot of Rocky Rivera’s hands, holding a small snake. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Rocky Rivera.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Part of restorative justice is identifying when you’ve been wronged. A few of your essays point out unnamed people who have caused harm. They’re academics who used your labor for free, community members who made hollow promises and festival organizers who shortchanged you on performance time…. You were getting some heat off your chest. Bring me into your thinking behind those essays.\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: I feel like my story and my voice is all I really have, and when these people are in positions of power – which every single person that I called out was in a position of power – well then I have the right to speak on how that that power was either manipulated or abused or taken advantage of.\u003c/p>\n\u003cp>Rocky Rivera: In the academic system, there is this reliance on community artists to forever be available and expecting you to do things for free, for exposure and come to your class and talk about your work without any kind of pay. And that’s the exploitation in itself. Especially artists like me, women, Asian-American women who are forever expected to accommodate.\u003c/p>\n\u003cp>Rocky Rivera: It was restorative for me to speak on that because I wanna make sure that it doesn’t happen to any young folks or any people that are like me. It’s a cautionary tale.\u003c/p>\n\u003cp>\u003cem>Pen: I appreciate the fact that these shots at power holders are interspersed between essays where you’re acknowledging the powers that you had and where you failed to be responsible with your powers, almost apology pieces about some of your lyrics: Pop Killer, Brown Babies or even clarifying some of the lyrics that might have been misconstructed or misconstrued. So how does restorative justice apply to words?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: Oh, my gosh. Well, words are everything. Words are my business. There’s always a better word for something. But the reasons why we say things are really mired in how we were raised, our circumstances. So in these 10 years, I’ve turned from somebody who was a product of my environment, a product of my circumstances, to somebody who understands that I can influence my circumstances now because I’m in a position of power.\u003c/p>\n\u003cp>Rocky Rivera: And I’m trying to get to that point where I write really accurately and I do no harm. But in the past couple of years, I was careless and I had to address it because here’s the thing about restorative justice. You can’t expect somebody to be vulnerable, to be open, to make mistakes if you’re not willing to do that as well.\u003c/p>\n\u003cp>Rocky Rivera: I’m not going to be 100% woke. That’s not going to happen. I’m from the Bay. I listen to Too $hort. I listen to Keak Da Sneak. I’m just not gonna ever be 100% woke.\u003c/p>\n\u003cp>Rocky Rivera: The realness is that we are where we come from and until we can accept everything that we are, then we can never accept each other’s humanity. And I wanted to be the first to say I’ve made a mistake. I made a mistake and I learned from it. Thanks to my community, not despite my community.\u003c/p>\n\u003cp>Rocky Rivera: And consciousness and politicization is a journey….Really because the revolution starts at home. And I wanted to make myself an example.\u003c/p>\n\u003cp>\u003cem>Pen: The second essay in your book is about being an educator in Oakland, through working at the nonprofit Oakland Kids First– where we actually taught together. So, that line your book about remembering the smell of pizza in the classrooms really brought me back… In that essay, you also covered what restorative justice looks like in real time: getting and giving respect to students, creating safe spaces, changing campus culture through campaigns. Even the details of establishing the ground rules for RJ circles: “speak from the heart, listen from the heart, only talk when holding the talking piece,” … why did you choose to have that essay at the top of your book?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: A lot of my career has been based on controversial moments, moments where either I wrote something that I took back or I said something that made people feel uncomfortable. But if I had not learned about restorative justice, if I had not learned from those young people what it means to truly be in community, I probably would have quit the game a long time ago.\u003c/p>\n\u003cp>Rocky Rivera: They really humbled me when I organized kids in Oakland because they didn’t care if I interviewed Snoop. They didn’t care if I was on television. They weren’t even in 6th grade when that shit came out [laughs] ya know what i mean. They didn’t care.\u003c/p>\n\u003cp>Rocky: Ok, I think i’m a big M.C., this artist, this journalist who’s done all these things, but when it comes down to the classroom, none of that matters. It does not matter. All that matters is a connection I make with my students and whether or not I’m able to organize and politicize them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" frameborder=\"0\" height=\"200\" scrolling=\"no\" src=\"https://playlist.megaphone.fm?e=KQINC3382469601\" width=\"100%\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>After winning an MTV reality TV show contest about a dozen years ago, \u003ca href=\"https://www.instagram.com/rockyrivera/\" target=\"_blank\" rel=\"noopener noreferrer\">Rocky Rivera\u003c/a> landed a gig at Rolling Stone. That was a crowning moment in her career as a journalist.\u003c/p>\n\u003cp>Since then, Rocky Rivera’s enjoyed a successful musical career and expanded her world as an educator in Oakland public schools. Most recently she published an autobiographical collection of essays, \u003ca href=\"https://www.patreon.com/rockyrivera\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Snakeskin, \u003c/em>\u003c/a>which takes a look back at her storied career and personal life.\u003c/p>\n\u003cp>Rocky Rivera, who was raised in San Francisco, uses the book to express the importance of restorative justice practices. Addressing conflict without using punitive models is something that works in the classroom and the community, as well as in art.\u003c/p>\n\u003cp>A major part of restorative justice is being accountable for past actions, and growing out of those behaviors in order to come anew. Rocky Rivera likens that process to a snake shedding its skin– it also parallels her process of going through a period of personal, artistic and spiritual growth. Thus, snakeskin is a multilayered term.\u003c/p>\n\u003cp>This week, I talk to Rocky Rivera about family, community, accountability and growth.\u003c/p>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13897105\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13897105\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/05/rocky-1-800x534.jpg\" alt=\"A close shot of Rocky Rivera's hands, holding a small snake.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1536x1025.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1-1920x1282.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/05/rocky-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A close shot of Rocky Rivera’s hands, holding a small snake. \u003ccite>(Vivian Chen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Below are lightly edited excerpts of my conversation with Rocky Rivera.\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Pen: Part of restorative justice is identifying when you’ve been wronged. A few of your essays point out unnamed people who have caused harm. They’re academics who used your labor for free, community members who made hollow promises and festival organizers who shortchanged you on performance time…. You were getting some heat off your chest. Bring me into your thinking behind those essays.\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: I feel like my story and my voice is all I really have, and when these people are in positions of power – which every single person that I called out was in a position of power – well then I have the right to speak on how that that power was either manipulated or abused or taken advantage of.\u003c/p>\n\u003cp>Rocky Rivera: In the academic system, there is this reliance on community artists to forever be available and expecting you to do things for free, for exposure and come to your class and talk about your work without any kind of pay. And that’s the exploitation in itself. Especially artists like me, women, Asian-American women who are forever expected to accommodate.\u003c/p>\n\u003cp>Rocky Rivera: It was restorative for me to speak on that because I wanna make sure that it doesn’t happen to any young folks or any people that are like me. It’s a cautionary tale.\u003c/p>\n\u003cp>\u003cem>Pen: I appreciate the fact that these shots at power holders are interspersed between essays where you’re acknowledging the powers that you had and where you failed to be responsible with your powers, almost apology pieces about some of your lyrics: Pop Killer, Brown Babies or even clarifying some of the lyrics that might have been misconstructed or misconstrued. So how does restorative justice apply to words?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: Oh, my gosh. Well, words are everything. Words are my business. There’s always a better word for something. But the reasons why we say things are really mired in how we were raised, our circumstances. So in these 10 years, I’ve turned from somebody who was a product of my environment, a product of my circumstances, to somebody who understands that I can influence my circumstances now because I’m in a position of power.\u003c/p>\n\u003cp>Rocky Rivera: And I’m trying to get to that point where I write really accurately and I do no harm. But in the past couple of years, I was careless and I had to address it because here’s the thing about restorative justice. You can’t expect somebody to be vulnerable, to be open, to make mistakes if you’re not willing to do that as well.\u003c/p>\n\u003cp>Rocky Rivera: I’m not going to be 100% woke. That’s not going to happen. I’m from the Bay. I listen to Too $hort. I listen to Keak Da Sneak. I’m just not gonna ever be 100% woke.\u003c/p>\n\u003cp>Rocky Rivera: The realness is that we are where we come from and until we can accept everything that we are, then we can never accept each other’s humanity. And I wanted to be the first to say I’ve made a mistake. I made a mistake and I learned from it. Thanks to my community, not despite my community.\u003c/p>\n\u003cp>Rocky Rivera: And consciousness and politicization is a journey….Really because the revolution starts at home. And I wanted to make myself an example.\u003c/p>\n\u003cp>\u003cem>Pen: The second essay in your book is about being an educator in Oakland, through working at the nonprofit Oakland Kids First– where we actually taught together. So, that line your book about remembering the smell of pizza in the classrooms really brought me back… In that essay, you also covered what restorative justice looks like in real time: getting and giving respect to students, creating safe spaces, changing campus culture through campaigns. Even the details of establishing the ground rules for RJ circles: “speak from the heart, listen from the heart, only talk when holding the talking piece,” … why did you choose to have that essay at the top of your book?\u003c/em>\u003c/p>\n\u003cp>Rocky Rivera: A lot of my career has been based on controversial moments, moments where either I wrote something that I took back or I said something that made people feel uncomfortable. But if I had not learned about restorative justice, if I had not learned from those young people what it means to truly be in community, I probably would have quit the game a long time ago.\u003c/p>\n\u003cp>Rocky Rivera: They really humbled me when I organized kids in Oakland because they didn’t care if I interviewed Snoop. They didn’t care if I was on television. They weren’t even in 6th grade when that shit came out [laughs] ya know what i mean. They didn’t care.\u003c/p>\n\u003cp>Rocky: Ok, I think i’m a big M.C., this artist, this journalist who’s done all these things, but when it comes down to the classroom, none of that matters. It does not matter. All that matters is a connection I make with my students and whether or not I’m able to organize and politicize them.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Rightnowish is an arts and culture podcast produced at KQED. Listen to it wherever you get your podcasts or click the play button at the top of this page and subscribe to the show on \u003ca href=\"https://www.npr.org/podcasts/721590300/rightnowish\">NPR One\u003c/a>, \u003ca href=\"https://open.spotify.com/show/7kEJuafTzTVan7B78ttz1I\">Spotify\u003c/a>, \u003ca href=\"https://podcasts.apple.com/us/podcast/rightnowish/id1482187648\">Apple Podcasts\u003c/a>, \u003ca href=\"https://tunein.com/podcasts/Arts--Culture-Podcasts/Rightnowish-p1258245/\">TuneIn\u003c/a>, \u003ca href=\"https://www.stitcher.com/podcast/kqed/rightnowish\">Stitcher\u003c/a> or wherever you get your podcasts. \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Awards shows often take place amid distractions, from natural disasters to civil unrest to the aftermath of a high-profile death. Sunday night’s MTV Video Music Awards had to coexist with all three, not to mention a worldwide pandemic that made it impossible — and, in New York City, illegal — to assemble a live audience.\u003c/p>\n\u003cp>How did it go? Here are 10 takeaways.\u003c/p>\n\u003cp>1) \u003cstrong>The VMAs actually happened in 2020.\u003c/strong> You’d be forgiven if they’d slipped your mind, but MTV somehow made a performance-driven awards show without live crowds. The energy was weird and spontaneity was hard to come by — more on that in a moment — but they pulled it off, complete with lavishly staged performances by Lady Gaga, BTS, The Weeknd, Doja Cat, DaBaby, Miley Cyrus, Maluma, Black Eyed Peas and others.\u003c/p>\n\u003cp>2) \u003cstrong>It was a big night for Lady Gaga.\u003c/strong> The superstar took home the inaugural Tricon Award — “triple threat/icon”? — which is basically the equivalent of being inducted into the VMAs Hall of Fame. She put on a grand and game performance with a guest appearance from Ariana Grande, she won a bucket of other awards (Artist of the Year, Song of the Year, Best Collaboration, Best Cinematography), she gave a bunch of speeches and she rocked a series of truly magnificent masks. It was her night.\u003c/p>\n\u003cp>https://youtu.be/5D4vjndnB0w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3) \u003cstrong>It was also a big night for green screens. \u003c/strong>Without crowds, artists seized the opportunity to seriously blur the lines separating “live performances” from “music videos.” What they lost in spontaneity, they gained in production values, from BTS dancing in front of an assortment of wildly different backdrops to Maluma and CNCO each performing at what looked like a neon-lit drive-in theater. Bonus points to rapper DaBaby, who brought in the dance troupe Jabbawockeez to help serve up a bit of visual commentary about police violence.\u003c/p>\n\u003cp>https://youtu.be/WUQXgU-R_wM\u003c/p>\n\u003cp>4) \u003cstrong>The show appeared to be almost entirely pre-taped.\u003c/strong> At the very beginning of the show, host Keke Palmer appeared in a lo-res video — it looked as if it was shot on a webcam or cell phone — in which she dedicated the night to the memory of actor Chadwick Boseman, who died Friday. Everything else with Palmer looked a lot slicker, which suggests that the intro was tacked on after the rest of her work was completed. Given the green-screen effects in so many of the performances, there wasn’t much here that could really be considered “live.”\u003c/p>\n\u003cp>5) \u003cstrong>Pre-taped means pre-vetted.\u003c/strong> The VMAs are typically known for bonkers moments — beefs between performers, Kanye West interrupting Taylor Swift’s acceptance speech, that sort of thing. But nothing here could really be engineered to fly off the rails or otherwise surprise, which made for a relatively uneventful evening. The Weeknd gave the night a dose of humanity and gravity by accepting his awards — for Video of the Year and Best R&B — with a plea for “justice for Jacob Blake, justice for Breonna Taylor.” But if you were hoping for Kanye West to burst in via hologram and announce that he’s a wizard now, it didn’t happen.\u003c/p>\n\u003cp>6) \u003cstrong>The actual awards were easy to predict.\u003c/strong> If you wanted to break a tie between, say, Lady Gaga (who performed) and Billie Eilish (who didn’t), you didn’t have to think very hard. An unforgivably cruel and cynical viewer might be left to wonder whether they’d booked the performers with award winners in mind (or worse). Based on \u003ca href=\"https://www.bustle.com/articles/36113-the-mtv-vmas-are-determined-by-fans-and-mysterious-strangers\">the opaqueness of the VMAs’ process\u003c/a>, we may never know.\u003c/p>\n\u003cp>7) \u003cstrong>BTS was more than an afterthought.\u003c/strong> For the past few years, the VMAs have made more of a place for BTS than, say, the Grammys. But this was still the K-pop juggernaut’s first time actually \u003cem>performing\u003c/em> on the VMAs — and the group picked up well-earned trophies for Best Pop, Best Group, Best K-Pop and Best Choreography.\u003c/p>\n\u003cp>https://youtu.be/zJCdkOpU90g\u003c/p>\n\u003cp>8) \u003cstrong>About that “Tricon Award”…\u003c/strong> The VMAs’ equivalent of a Lifetime Achievement Award began as something called the “Video Vanguard Award” — and, later, the “Michael Jackson Video Vanguard Award.” Without fanfare or even explanation, it would appear that the prize has again been renamed, this time as the “Tricon Award,” perhaps as a quiet effort to distance the VMAs from \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">controversies surrounding Jackson\u003c/a>. If you hear about these VMAs at all in the coming days, this issue might be the reason why. [aside postid='arts_13885461']\u003c/p>\n\u003cp>9) \u003cstrong>Black Eyed Peas?\u003c/strong> Black Eyed Peas were inescapable a few years back, performing at a Super Bowl halftime show and frequently turning up in brightly lit showcases at the Grammys. But somehow, the group had never performed at the VMAs… until the closing set of this year’s telecast. Why? Who knows? But those weird glowing crotches will linger as the VMAs’ deeply unnerving final image. Thanks, 2020.\u003c/p>\n\u003cp>https://youtu.be/4OJEeR8Aj4o\u003c/p>\n\u003cp>10) \u003cstrong>Give Keke Palmer credit.\u003c/strong> The actress, singer and newly minted VMAs host had a basically impossible job: She had to maintain energy, perform skits, tell jokes and otherwise keep an awards show moving, and she had to do it in empty rooms. Sure, the production simulated crowd noise, in a bit of fakery that distracted as much as it helped. But Palmer held her own — and, seriously, that was a \u003cem>feat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See a \u003c/em>\u003ca href=\"http://www.mtv.com/vma/vote/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>complete list of winners\u003c/em>\u003c/a>\u003cem> from the 2020 Video Music Awards.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+MTV+VMAs+In+2020%3A+10+Takeaways&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Awards shows often take place amid distractions, from natural disasters to civil unrest to the aftermath of a high-profile death. Sunday night’s MTV Video Music Awards had to coexist with all three, not to mention a worldwide pandemic that made it impossible — and, in New York City, illegal — to assemble a live audience.\u003c/p>\n\u003cp>How did it go? Here are 10 takeaways.\u003c/p>\n\u003cp>1) \u003cstrong>The VMAs actually happened in 2020.\u003c/strong> You’d be forgiven if they’d slipped your mind, but MTV somehow made a performance-driven awards show without live crowds. The energy was weird and spontaneity was hard to come by — more on that in a moment — but they pulled it off, complete with lavishly staged performances by Lady Gaga, BTS, The Weeknd, Doja Cat, DaBaby, Miley Cyrus, Maluma, Black Eyed Peas and others.\u003c/p>\n\u003cp>2) \u003cstrong>It was a big night for Lady Gaga.\u003c/strong> The superstar took home the inaugural Tricon Award — “triple threat/icon”? — which is basically the equivalent of being inducted into the VMAs Hall of Fame. She put on a grand and game performance with a guest appearance from Ariana Grande, she won a bucket of other awards (Artist of the Year, Song of the Year, Best Collaboration, Best Cinematography), she gave a bunch of speeches and she rocked a series of truly magnificent masks. It was her night.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5D4vjndnB0w'\n title='//www.youtube.com/embed/5D4vjndnB0w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>3) \u003cstrong>It was also a big night for green screens. \u003c/strong>Without crowds, artists seized the opportunity to seriously blur the lines separating “live performances” from “music videos.” What they lost in spontaneity, they gained in production values, from BTS dancing in front of an assortment of wildly different backdrops to Maluma and CNCO each performing at what looked like a neon-lit drive-in theater. Bonus points to rapper DaBaby, who brought in the dance troupe Jabbawockeez to help serve up a bit of visual commentary about police violence.\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/WUQXgU-R_wM'\n title='//www.youtube.com/embed/WUQXgU-R_wM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>4) \u003cstrong>The show appeared to be almost entirely pre-taped.\u003c/strong> At the very beginning of the show, host Keke Palmer appeared in a lo-res video — it looked as if it was shot on a webcam or cell phone — in which she dedicated the night to the memory of actor Chadwick Boseman, who died Friday. Everything else with Palmer looked a lot slicker, which suggests that the intro was tacked on after the rest of her work was completed. Given the green-screen effects in so many of the performances, there wasn’t much here that could really be considered “live.”\u003c/p>\n\u003cp>5) \u003cstrong>Pre-taped means pre-vetted.\u003c/strong> The VMAs are typically known for bonkers moments — beefs between performers, Kanye West interrupting Taylor Swift’s acceptance speech, that sort of thing. But nothing here could really be engineered to fly off the rails or otherwise surprise, which made for a relatively uneventful evening. The Weeknd gave the night a dose of humanity and gravity by accepting his awards — for Video of the Year and Best R&B — with a plea for “justice for Jacob Blake, justice for Breonna Taylor.” But if you were hoping for Kanye West to burst in via hologram and announce that he’s a wizard now, it didn’t happen.\u003c/p>\n\u003cp>6) \u003cstrong>The actual awards were easy to predict.\u003c/strong> If you wanted to break a tie between, say, Lady Gaga (who performed) and Billie Eilish (who didn’t), you didn’t have to think very hard. An unforgivably cruel and cynical viewer might be left to wonder whether they’d booked the performers with award winners in mind (or worse). Based on \u003ca href=\"https://www.bustle.com/articles/36113-the-mtv-vmas-are-determined-by-fans-and-mysterious-strangers\">the opaqueness of the VMAs’ process\u003c/a>, we may never know.\u003c/p>\n\u003cp>7) \u003cstrong>BTS was more than an afterthought.\u003c/strong> For the past few years, the VMAs have made more of a place for BTS than, say, the Grammys. But this was still the K-pop juggernaut’s first time actually \u003cem>performing\u003c/em> on the VMAs — and the group picked up well-earned trophies for Best Pop, Best Group, Best K-Pop and Best Choreography.\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/zJCdkOpU90g'\n title='//www.youtube.com/embed/zJCdkOpU90g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8) \u003cstrong>About that “Tricon Award”…\u003c/strong> The VMAs’ equivalent of a Lifetime Achievement Award began as something called the “Video Vanguard Award” — and, later, the “Michael Jackson Video Vanguard Award.” Without fanfare or even explanation, it would appear that the prize has again been renamed, this time as the “Tricon Award,” perhaps as a quiet effort to distance the VMAs from \u003ca href=\"https://www.npr.org/2019/03/05/699995484/michael-jackson-a-quarter-century-of-sexual-abuse-allegations\">controversies surrounding Jackson\u003c/a>. If you hear about these VMAs at all in the coming days, this issue might be the reason why. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>9) \u003cstrong>Black Eyed Peas?\u003c/strong> Black Eyed Peas were inescapable a few years back, performing at a Super Bowl halftime show and frequently turning up in brightly lit showcases at the Grammys. But somehow, the group had never performed at the VMAs… until the closing set of this year’s telecast. Why? Who knows? But those weird glowing crotches will linger as the VMAs’ deeply unnerving final image. Thanks, 2020.\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/4OJEeR8Aj4o'\n title='//www.youtube.com/embed/4OJEeR8Aj4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10) \u003cstrong>Give Keke Palmer credit.\u003c/strong> The actress, singer and newly minted VMAs host had a basically impossible job: She had to maintain energy, perform skits, tell jokes and otherwise keep an awards show moving, and she had to do it in empty rooms. Sure, the production simulated crowd noise, in a bit of fakery that distracted as much as it helped. But Palmer held her own — and, seriously, that was a \u003cem>feat\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>See a \u003c/em>\u003ca href=\"http://www.mtv.com/vma/vote/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>complete list of winners\u003c/em>\u003c/a>\u003cem> from the 2020 Video Music Awards.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+MTV+VMAs+In+2020%3A+10+Takeaways&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Shout-out to the Latino gang out here,” said Colombian superstar J. Balvin as he and Spanish singer \u003cspan class=\"s1\">Rosalía\u003c/span> \u003ca href=\"https://twitter.com/MTV/status/1166168772094414848?s=20\" target=\"_blank\" rel=\"noopener\">accepted their VMA\u003c/a> for their summer hit, “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\" target=\"_blank\" rel=\"noopener\">Con Altura\u003c/a>.” “This is beautiful because this is my first time singing in Spanish right now for this audience.”\u003c/p>\n\u003cp>In 2019, Latinx artists continue to have a major impact on U.S. Billboard charts, and it’s evident that MTV is cashing in on the momentum, nominating Spanish-language songs in mainstream categories as well as Best Latin. Spanish-speaking heavy hitters stacked the nominations and performances at this year’s MTV Video Music Awards. First-time nominees included Boricua superstar Bad Bunny, pan-Latino boy band CNCO and power duo Karol G and Anuel AA. [aside postid='arts_13864915']\u003c/p>\n\u003cp>While last night’s award ceremony showed that MTV is making strides in amplifying Latinx voices, the media giant can do a better job of reflecting the diversity of the diaspora—particularly in amplifying \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener\">Afro-Latinx artists\u003c/a>, who are (and have historically been) crucial to the development of reggaeton and urbano.\u003c/p>\n\u003cp>In one of the most elaborate performances of the night, second only to \u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\" target=\"_blank\" rel=\"noopener\">Missy Elliott\u003c/a>‘s, Bad Bunny and J. Balvin repped Puerto Rico and Colombia on the televised stage. Their psychedelic performance of “Que Pretendes” felt like looking at the world through VR goggles. Amid technicolor cacti, emojis and whimsical animal characters, the duo coaxed us into their magical-realist world with a stretch of their comically inflated fingers. Shouting out their Latino Gang at the top of the performance to hordes of adoring fans, the duo’s live show proved to be a joyful highlight, and underscored the importance of the unprecedented Latinx representation at this year’s awards.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>\u003cspan class=\"s1\">Sensing the gravity of this opportunity, J. Balvin used his screen time wisely. In an unscripted moment midway through his acceptance speech for the Best Latin award, he drew attention to the raging blaze in the Amazon that has \u003ca href=\"https://www.kqed.org/science/1946729/harrowing-photos-from-the-amazon-rainforest-wildfires\" target=\"_blank\" rel=\"noopener\">devastated millions of acres\u003c/a> of forest and displaced indigenous tribes. \u003c/span>\u003c/p>\n\u003cp>Yet, despite significantly increasing Latinx representation, the VMAs sometimes lacked nuance, as \u003cspan class=\"s1\">Rosalía, who is from Spain and not Latin America, was the co-recipient of the Best Latin title\u003c/span>\u003cspan class=\"s1\">. A big part of Rosalía’s appeal relies on her singing over Afro-Caribbean beats and referencing the diaspora’s aesthetics, like elaborate acrylic nails and laid edges. Although she’s undeniably talented and belonged at the VMAs, her win in the Latin category reveals how quickly the mainstream moves to privilege white artists over Afro-Latinx ones. Indeed, fellow chart-topper \u003ca href=\"https://www.npr.org/artists/570164401/ozuna\" target=\"_blank\" rel=\"noopener\">Ozuna\u003c/a>, who is Puerto Rican and Dominican, only got a minute of screen time during Rosalía’s performance. \u003c/span>\u003c/p>\n\u003cp>MTV’s shortcomings when it comes to allyship aren’t surprising when one examines the bigger picture: VMA sponsor Taco Bell’s \u003ca href=\"https://www.opensecrets.org/pacs/lookup2.php?strID=C00330118&cycle=2018\">TACO PAC\u003c/a> supported President Trump’s virulently anti-immigrant 2016 campaign.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3EDbDtVcmYA\u003c/p>\n\u003cp>While no one expects the VMAs to solve the world’s problems, MTV has the power to define the cultural narrative. As mainstream U.S. audiences finally begin to appreciate urbano and Latin trap, it’s critical consumers pay attention to which artists get recognition for these traditionally Afro-Latinx art forms. Although a move in the right direction, MTV’s attempts at representation fell short.\u003c/p>\n\u003cp>Still, for now, the simple fact that multiple artists performed in Spanish at the VMAs was a hopeful indicator that MTV is embracing Latinx artists. The opportunity to be themselves without translating their music sent a powerful message that the Latinx community deserves a seat at the table, and has for a long time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Shout-out to the Latino gang out here,” said Colombian superstar J. Balvin as he and Spanish singer \u003cspan class=\"s1\">Rosalía\u003c/span> \u003ca href=\"https://twitter.com/MTV/status/1166168772094414848?s=20\" target=\"_blank\" rel=\"noopener\">accepted their VMA\u003c/a> for their summer hit, “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\" target=\"_blank\" rel=\"noopener\">Con Altura\u003c/a>.” “This is beautiful because this is my first time singing in Spanish right now for this audience.”\u003c/p>\n\u003cp>In 2019, Latinx artists continue to have a major impact on U.S. Billboard charts, and it’s evident that MTV is cashing in on the momentum, nominating Spanish-language songs in mainstream categories as well as Best Latin. Spanish-speaking heavy hitters stacked the nominations and performances at this year’s MTV Video Music Awards. First-time nominees included Boricua superstar Bad Bunny, pan-Latino boy band CNCO and power duo Karol G and Anuel AA. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While last night’s award ceremony showed that MTV is making strides in amplifying Latinx voices, the media giant can do a better job of reflecting the diversity of the diaspora—particularly in amplifying \u003ca href=\"https://www.kqed.org/arts/13861579/before-urbano-took-over-the-airwaves-oakland-had-los-rakas\" target=\"_blank\" rel=\"noopener\">Afro-Latinx artists\u003c/a>, who are (and have historically been) crucial to the development of reggaeton and urbano.\u003c/p>\n\u003cp>In one of the most elaborate performances of the night, second only to \u003ca href=\"https://www.kqed.org/arts/13864915/the-liberated-pop-future-missy-elliott-envisioned-is-now\" target=\"_blank\" rel=\"noopener\">Missy Elliott\u003c/a>‘s, Bad Bunny and J. Balvin repped Puerto Rico and Colombia on the televised stage. Their psychedelic performance of “Que Pretendes” felt like looking at the world through VR goggles. Amid technicolor cacti, emojis and whimsical animal characters, the duo coaxed us into their magical-realist world with a stretch of their comically inflated fingers. Shouting out their Latino Gang at the top of the performance to hordes of adoring fans, the duo’s live show proved to be a joyful highlight, and underscored the importance of the unprecedented Latinx representation at this year’s awards.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qOSSmwK-PR0'\n title='//www.youtube.com/embed/qOSSmwK-PR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan class=\"s1\">Sensing the gravity of this opportunity, J. Balvin used his screen time wisely. In an unscripted moment midway through his acceptance speech for the Best Latin award, he drew attention to the raging blaze in the Amazon that has \u003ca href=\"https://www.kqed.org/science/1946729/harrowing-photos-from-the-amazon-rainforest-wildfires\" target=\"_blank\" rel=\"noopener\">devastated millions of acres\u003c/a> of forest and displaced indigenous tribes. \u003c/span>\u003c/p>\n\u003cp>Yet, despite significantly increasing Latinx representation, the VMAs sometimes lacked nuance, as \u003cspan class=\"s1\">Rosalía, who is from Spain and not Latin America, was the co-recipient of the Best Latin title\u003c/span>\u003cspan class=\"s1\">. A big part of Rosalía’s appeal relies on her singing over Afro-Caribbean beats and referencing the diaspora’s aesthetics, like elaborate acrylic nails and laid edges. Although she’s undeniably talented and belonged at the VMAs, her win in the Latin category reveals how quickly the mainstream moves to privilege white artists over Afro-Latinx ones. Indeed, fellow chart-topper \u003ca href=\"https://www.npr.org/artists/570164401/ozuna\" target=\"_blank\" rel=\"noopener\">Ozuna\u003c/a>, who is Puerto Rican and Dominican, only got a minute of screen time during Rosalía’s performance. \u003c/span>\u003c/p>\n\u003cp>MTV’s shortcomings when it comes to allyship aren’t surprising when one examines the bigger picture: VMA sponsor Taco Bell’s \u003ca href=\"https://www.opensecrets.org/pacs/lookup2.php?strID=C00330118&cycle=2018\">TACO PAC\u003c/a> supported President Trump’s virulently anti-immigrant 2016 campaign.\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/3EDbDtVcmYA'\n title='//www.youtube.com/embed/3EDbDtVcmYA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While no one expects the VMAs to solve the world’s problems, MTV has the power to define the cultural narrative. As mainstream U.S. audiences finally begin to appreciate urbano and Latin trap, it’s critical consumers pay attention to which artists get recognition for these traditionally Afro-Latinx art forms. Although a move in the right direction, MTV’s attempts at representation fell short.\u003c/p>\n\u003cp>Still, for now, the simple fact that multiple artists performed in Spanish at the VMAs was a hopeful indicator that MTV is embracing Latinx artists. The opportunity to be themselves without translating their music sent a powerful message that the Latinx community deserves a seat at the table, and has for a long time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "10 Things You Might As Well Know About The 2019 VMAs",
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"content": "\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\u003c/p>\n\u003cp>https://youtu.be/i9I-ut1TXoA\u003c/p>\n\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/Uo0RK_olDb4\u003c/p>\n\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\u003c/p>\n\u003cp>https://youtu.be/eIRCskNRTDY\u003c/p>\n\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\u003c/p>\n\u003cp>https://youtu.be/qOSSmwK-PR0\u003c/p>\n\u003cp>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\u003c/p>\n\u003cp>https://youtu.be/RQJGqgq7MeE\u003c/p>\n\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\u003c/p>\n\u003cp>https://youtu.be/wC53WdkG44w\u003c/p>\n\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\u003c/p>\n\u003cp>https://youtu.be/BjMQC_bnaNE\u003c/p>\n\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\u003c/p>\n\u003cp>https://youtu.be/LBxTDp6Cpyg\u003c/p>\n\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE SUMMER\u003c/strong>\u003cbr>\nAriana Grande & Social House, “boyfriend”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+Things+You+Might+As+Well+Know+About+The+2019+VMAs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Monday night's MTV Video Music Awards brought lots of Taylor Swift and Missy Elliott, not to mention Lizzo, Normani, Lil Nas X, Rosalía and more.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On this early Tuesday morning, we sit facing a yawning precipice: the longest possible stretch of time in which no one is called upon to watch MTV’s Video Music Awards. Bask in the sweet, creamy silence of it all. We’ve earned it!\u003c/p>\n\u003cp>That said, it was a better-than-usual year for the stalwart awards show, which has been running since 1984 and tends to be best known for its moments of outrageousness. (Think Kanye West rushing the stage while Taylor Swift attempted to give a victory speech in 2009, or Miley Cyrus twerking alongside Robin Thicke four years later.) This year, the handing out of trophies barely registered, but a handful of performances and moments still shone through the din. Here’s a quick rundown.\u003c/p>\n\u003cp>1.\u003cstrong> Missy Elliott got her moment, and then some.\u003c/strong> The hip-hop legend won a wildly overdue Video Vanguard award — the VMAs equivalent of a Hall of Fame induction — and celebrated with a terrific medley that featured “The Rain,” “Hot Boyz,” “Get Ur Freak On,” “Work It,” “Pass That Dutch” and “Lose Control.” Elliott received a lovely bundle of testimonials from the likes of Lizzo, adulation from an ecstatic crowd and the opportunity to give a gracious speech in which she heaped praise on God, her dancers and other sources of strength.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/i9I-ut1TXoA'\n title='//www.youtube.com/embed/i9I-ut1TXoA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2. \u003cstrong>Lizzo’s star turn has only begun.\u003c/strong> Though the incalculably appealing breakout star went home empty-handed, trophy-wise, her medley of “Truth Hurts” and “Good As Hell” was a huge standout for the night — a win that’ll do a lot more for her staying power than some statuette. Flanked by her marvelous team of dancers, Lizzo sang her guts out while performing in the figurative shadow of a gigantic CGI rear end, a move that was funny and raucous without crowding out her moments of poignancy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Uo0RK_olDb4'\n title='//www.youtube.com/embed/Uo0RK_olDb4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>3. Even more than usual, the actual awards barely qualified as an afterthought.\u003c/strong> All you need to know about the VMAs — the awards themselves — is that the prize for Artist of the Year was announced in a voiceover in passing, the way you’d quickly acknowledge the winner of, like, Best Costuming in an R&B Video by a Duo or Group. (Ariana Grande won Artist of the Year, but since she wasn’t in the room, why bother?)\u003c/p>\n\u003cp>4. Speaking of which: \u003cstrong>They offloaded Video of the Year and Song of the Year smack in the middle of the telecast.\u003c/strong> About 10 years after Kanye West infamously interrupted her VMAs speech — you know, “I’ma let you finish,” that whole thing — Taylor Swift took Video of the Year for “You Need to Calm Down,” while Lil Nas X and Billy Ray Cyrus won Song of the Year for their eternal “Old Town Road” remix. Then the show just kept rolling along for another hour and a half.\u003c/p>\n\u003cp>5.\u003cstrong> It was a big night for Taylor Swift in general.\u003c/strong> The pop star, whose new album \u003cem>Lover\u003c/em> came out Friday, opened the night with a medley of “You Need to Calm Down” and “Lover,” filling the screen with drag queens, vibrant colors and all the CGI emoji fit to print. When she won Video for Good — the VMAs’ prize honoring socially conscious messaging — Swift shrewdly let collaborator Todrick Hall give the speech. She even wound up adjacent to one of the night’s big memeable moments: presenter John Travolta \u003ca href=\"https://twitter.com/PopCraveMusic/status/1166165376436191232\">handing the Video of the Year trophy to Jade Jolie\u003c/a>, presumably thinking the \u003cem>Drag Race\u003c/em> veteran was Swift.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/eIRCskNRTDY'\n title='//www.youtube.com/embed/eIRCskNRTDY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>6. \u003cstrong>Latin music got its due.\u003c/strong> Outside of, say, the Latin Grammys, Latin music tends to get short shrift in major music awards shows; it might get a medley here or there, but tends to get consigned to the margins. The 2019 VMAs understood what a creative and commercial force Latin music has become, and smartly let the music weave its way throughout the telecast as a result. Rosalía, J Balvin, Bad Bunny and Camila Cabello all performed, while Cardi B’s live-wire goofiness was a dominant presence over the course of the night.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/qOSSmwK-PR0'\n title='//www.youtube.com/embed/qOSSmwK-PR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7. \u003cstrong>Normani is next.\u003c/strong> The Fifth Harmony singer performed a grabby, impeccably choreographed re-creation of her “Motivation” video, turning heads late in a telecast that had begun to sag. It’s the year of Lil Nas X, and Billie Eilish, and Lizzo, and Megan Thee Stallion — and it’s the year of Normani, too.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/RQJGqgq7MeE'\n title='//www.youtube.com/embed/RQJGqgq7MeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8. \u003cstrong>Lil Nas X isn’t done yet.\u003c/strong> Okay, so “Old Town Road” has \u003cem>finally\u003c/em> been dethroned after a record-setting run atop the \u003cem>Billboard\u003c/em> Hot 100. But the genre-smashing, social-media-savvy star has more ideas to burn, if his sly and funny VMAs performance is any indication. The charming, lighthearted intro to his seemingly \u003cem>TRON\u003c/em>-inspired performance of “Panini” had some of the night’s biggest (only?) laughs.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/wC53WdkG44w'\n title='//www.youtube.com/embed/wC53WdkG44w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>9. \u003cstrong>Why don’t they let Joe Jonas perform onsite?\u003c/strong> In 2017, Joe Jonas’ band DNCE performed at the VMAs — sort of — by playing a set in Las Vegas that got stitched into the telecast from afar. This year, The Jonas Brothers returned to the VMAs after an 11-year absence, but were consigned to yet another stage, this time in Asbury Park, New Jersey. Is Joe Jonas not allowed within 1,000 yards of Shawn Mendes or something?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BjMQC_bnaNE'\n title='//www.youtube.com/embed/BjMQC_bnaNE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10. \u003cstrong>Wrong host, wrong time.\u003c/strong> Sebastian Maniscalco is a hugely successful comedian who sells out multi-night runs at Madison Square Garden. He’s a big name. But his opening monologue — in which he snidely mocked trigger warnings and safe spaces and participation trophies and whatnot — felt like the sort of tired, these-kids-nowadays diatribe you’d expect from your least favorite uncle. It’s not that the bit was too edgy, or somehow hurtful, but that it was thuddingly predictable and utterly \u003cem>played out\u003c/em>. The night quickly bloomed into a world-straddling three-hour pansexual fantasia of self-love and acceptance, which only made it clearer how out of his element Maniscalco was. He needed a safe space of his own.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/LBxTDp6Cpyg'\n title='//www.youtube.com/embed/LBxTDp6Cpyg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>2019 MTV MUSIC VIDEO AWARDS: THE WINNERS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>MICHAEL JACKSON VIDEO VANGUARD AWARD\u003c/strong>\u003cbr>\nMissy Elliott\u003c/p>\n\u003cp>\u003cstrong>VIDEO OF THE YEAR\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nAriana Grande\u003c/p>\n\u003cp>\u003cstrong>SONG OF THE YEAR\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix)”\u003c/p>\n\u003cp>\u003cstrong>BEST NEW ARTIST\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST COLLABORATION\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita”\u003c/p>\n\u003cp>\u003cstrong>PUSH ARTIST OF THE YEAR\u003c/strong>\u003cbr>\nBillie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST POP\u003c/strong>\u003cbr>\nJonas Brothers, “Sucker”\u003c/p>\n\u003cp>\u003cstrong>BEST HIP-HOP\u003c/strong>\u003cbr>\nCardi B, “Money”\u003c/p>\n\u003cp>\u003cstrong>BEST R&B\u003c/strong>\u003cbr>\nNormani ft. 6lack, “Waves”\u003c/p>\n\u003cp>\u003cstrong>BEST K-POP\u003c/strong>\u003cbr>\nBTS ft. Halsey, “Boy With Luv”\u003c/p>\n\u003cp>\u003cstrong>BEST LATIN\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura”\u003c/p>\n\u003cp>\u003cstrong>BEST DANCE\u003c/strong>\u003cbr>\nThe Chainsmokers, Bebe Rexha, “Call You Mine”\u003c/p>\n\u003cp>\u003cstrong>BEST ROCK\u003c/strong>\u003cbr>\nPanic! At The Disco, “High Hopes”\u003c/p>\n\u003cp>\u003cstrong>VIDEO FOR GOOD\u003c/strong>\u003cbr>\nTaylor Swift, “You Need to Calm Down”\u003c/p>\n\u003cp>\u003cstrong>BEST DIRECTION\u003c/strong>\u003cbr>\nLil Nas X ft. Billy Ray Cyrus, “Old Town Road (Remix),” directed by Calmatic\u003c/p>\n\u003cp>\u003cstrong>BEST VISUAL EFFECTS\u003c/strong>\u003cbr>\nTaylor Swift ft. Brendon Urie, “ME!,” visual effects by Loris Paillier & Lucas Salton for BUF VFX\u003c/p>\n\u003cp>\u003cstrong>BEST EDITING\u003c/strong>\u003cbr>\nBillie Eilish, “bad guy,” editing by Billie Eilish\u003c/p>\n\u003cp>\u003cstrong>BEST ART DIRECTION\u003c/strong>\u003cbr>\nAriana Grande, “7 Rings,” art direction by John Richoux\u003c/p>\n\u003cp>\u003cstrong>BEST CHOREOGRAPHY\u003c/strong>\u003cbr>\nRosalía & J Balvin ft. El Guincho, “Con Altura,” choreography by Charm La’Donna\u003c/p>\n\u003cp>\u003cstrong>BEST CINEMATOGRAPHY\u003c/strong>\u003cbr>\nShawn Mendes & Camila Cabello, “Señorita,” cinematography by Scott Cunningham\u003c/p>\n\u003cp>\u003cstrong>BEST GROUP\u003c/strong>\u003cbr>\nBTS\u003c/p>\n\u003cp>\u003cstrong>BEST POWER ANTHEM\u003c/strong>\u003cbr>\nMegan Thee Stallion ft. Nicki Minaj & Ty Dolla $ign, “Hot Girl Summer”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
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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": 13
},
"link": "/podcasts/mindshift",
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"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": 12
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"our-body-politic": {
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"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
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},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"order": 15
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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