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It goes on to call out the billionaire class for using the military as its security detail, the AI military tech sector for testing its products on people in Gaza, and Spotify for being an “already widely hated data-mining scam masquerading as a ‘music company.’”\u003c/p>\n\u003cp>Deerhoof’s current record label, Joyful Noise Recordings, \u003ca href=\"https://www.instagram.com/p/DLh5g5Qs90f/\">issued a statement in support of the band’s decision\u003c/a>, adding that “we too are sickened by the fact that our releases have inadvertently contributed to the global war machine.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since its inception, Deerhoof has released over 20 albums. No longer formally based in San Francisco, its members now live in various parts of the country. Last month, the band performed a \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-band-still-worlds-best-20353536.php\">homecoming show at the Rickshaw Stop\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[aside postID='arts_10145479,news_12042653']Read the band’s full statement below.\u003c/p>\n\u003cblockquote>\u003cp>We’re taking Deerhoof off Spotify.\u003c/p>\n\u003cp>“Daniel Ek uses $700 million of his Spotify fortune to become chairman of AI battle tech company” was not a headline we enjoyed reading this week. We don’t want our music killing people. We don’t want our success being tied to AI battle tech.\u003c/p>\n\u003cp>We are privileged that it was a pretty easy decision for us. Spotify only pays a pittance anyway, and we earn a lot more from touring. But we also understand that other artists and labels do rely on Spotify for a bigger chunk of their income, and don’t judge those who can’t make the same move in the short term.\u003c/p>\n\u003cp>AI battle tech is clearly emerging as the hot new big ticket item for the super-rich. It’s increasingly clear that the military and police exist primarily as the security detail for the billionaire class. The more of the killing you can get computers to do, the better your bottom line.\u003c/p>\n\u003cp>Computerized targeting, computerized extermination, computerized destabilization for profit, successfully tested on the people of Gaza, also finally solves the perennial inconvenience to war-makers — it takes human compassion and morality out of the equation.\u003c/p>\n\u003cp>Spotify is flushing itself down the toilet. Eventually artists will want to leave this already widely hated data-mining scam masquerading as a “music company.” It’s creepy for users and crappy for artists. Music-making lasts forever but this or that digital get-rich-quick scheme is sure to become obsolete.\u003c/p>\n\u003cp>One of the claims often made about Spotify is that it theoretically makes one’s music discoverable by anyone who signs up, no matter how remote they may be from the self-proclaimed centers of hipness. But just because someone is far from Western gatekeepers does not mean they lack culture, or need to hear our band. Deerhoof is a small mom and pop operation, and know when enough is enough. We aren’t capitalists, and don’t wish to take over the world. Especially if the price of “discoverability” is letting oligarchs fill the globe with computerized weaponry, we’re going to pass on the supposed benefits.\u003c/p>\n\u003cp>The big picture is this: Our politico-economic system increasingly presents humanity with a hideous fait accompli: Buy from me, vote for me, consume my media, use my service. Yes, it means mass deportation, mass detainment, and mass extermination of those deemed unprofitable by a handful of rich white people living in enclaves protected by AI weaponry. But if you don’t, you cannot have a job. We think this dilemma is coming to a head soon, and we predict that most people aren’t going to take the billionaires’ side.\u003c/p>\n\u003cp>We aren’t sure exactly how soon the takedowns can happen, but it will be as soon as possible. We want to thank our various labels for their support on this tricky decision. The grunt work of pulling content off of Spotify is something they’re now tasked with, and they are sharing the financial hit. We know we are asking them to make a sacrifice, and it means a lot to us.\u003c/p>\u003c/blockquote>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Indie band Deerhoof has severed ties with \u003ca href=\"https://www.kqed.org/arts/tag/spotify\">Spotify\u003c/a>, the group announced Monday, citing CEO Daniel Ek’s substantial investments in military AI technology. \u003c/p>\n\u003cp>The angular indie band, which formed in San Francisco in 1994, said in a post on social media that \u003ca href=\"https://www.instagram.com/p/DLhpeEzMMkn/?img_index=1\">it will remove its entire catalog from the streaming platform\u003c/a> upon learning that Ek had led a $700 million round of funding for the European defense company Helsing. The startup develops AI defense software for use in air, land and sea warfare, and manufactures \u003ca href=\"https://helsing.ai/hx-2\">military drones\u003c/a> used in air strikes.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Helsing announced the round of funding via Ek’s venture capital firm Prima Materia in a June 17 press release, which also named Ek as the new chairman of Helsing. \u003c/p>\n\u003cp>“We don’t want our music killing people,” the band’s statement reads. It goes on to call out the billionaire class for using the military as its security detail, the AI military tech sector for testing its products on people in Gaza, and Spotify for being an “already widely hated data-mining scam masquerading as a ‘music company.’”\u003c/p>\n\u003cp>Deerhoof’s current record label, Joyful Noise Recordings, \u003ca href=\"https://www.instagram.com/p/DLh5g5Qs90f/\">issued a statement in support of the band’s decision\u003c/a>, adding that “we too are sickened by the fact that our releases have inadvertently contributed to the global war machine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since its inception, Deerhoof has released over 20 albums. No longer formally based in San Francisco, its members now live in various parts of the country. Last month, the band performed a \u003ca href=\"https://www.sfgate.com/sf-culture/article/sf-band-still-worlds-best-20353536.php\">homecoming show at the Rickshaw Stop\u003c/a> in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Read the band’s full statement below.\u003c/p>\n\u003cblockquote>\u003cp>We’re taking Deerhoof off Spotify.\u003c/p>\n\u003cp>“Daniel Ek uses $700 million of his Spotify fortune to become chairman of AI battle tech company” was not a headline we enjoyed reading this week. We don’t want our music killing people. We don’t want our success being tied to AI battle tech.\u003c/p>\n\u003cp>We are privileged that it was a pretty easy decision for us. Spotify only pays a pittance anyway, and we earn a lot more from touring. But we also understand that other artists and labels do rely on Spotify for a bigger chunk of their income, and don’t judge those who can’t make the same move in the short term.\u003c/p>\n\u003cp>AI battle tech is clearly emerging as the hot new big ticket item for the super-rich. It’s increasingly clear that the military and police exist primarily as the security detail for the billionaire class. The more of the killing you can get computers to do, the better your bottom line.\u003c/p>\n\u003cp>Computerized targeting, computerized extermination, computerized destabilization for profit, successfully tested on the people of Gaza, also finally solves the perennial inconvenience to war-makers — it takes human compassion and morality out of the equation.\u003c/p>\n\u003cp>Spotify is flushing itself down the toilet. Eventually artists will want to leave this already widely hated data-mining scam masquerading as a “music company.” It’s creepy for users and crappy for artists. Music-making lasts forever but this or that digital get-rich-quick scheme is sure to become obsolete.\u003c/p>\n\u003cp>One of the claims often made about Spotify is that it theoretically makes one’s music discoverable by anyone who signs up, no matter how remote they may be from the self-proclaimed centers of hipness. But just because someone is far from Western gatekeepers does not mean they lack culture, or need to hear our band. Deerhoof is a small mom and pop operation, and know when enough is enough. We aren’t capitalists, and don’t wish to take over the world. Especially if the price of “discoverability” is letting oligarchs fill the globe with computerized weaponry, we’re going to pass on the supposed benefits.\u003c/p>\n\u003cp>The big picture is this: Our politico-economic system increasingly presents humanity with a hideous fait accompli: Buy from me, vote for me, consume my media, use my service. Yes, it means mass deportation, mass detainment, and mass extermination of those deemed unprofitable by a handful of rich white people living in enclaves protected by AI weaponry. But if you don’t, you cannot have a job. We think this dilemma is coming to a head soon, and we predict that most people aren’t going to take the billionaires’ side.\u003c/p>\n\u003cp>We aren’t sure exactly how soon the takedowns can happen, but it will be as soon as possible. We want to thank our various labels for their support on this tricky decision. The grunt work of pulling content off of Spotify is something they’re now tasked with, and they are sharing the financial hit. We know we are asking them to make a sacrifice, and it means a lot to us.\u003c/p>\u003c/blockquote>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>*Record scratch*\u003c/em>… a lot of working musicians could actually make more money from the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> than from Spotify.\u003c/p>\n\u003cp>The library’s \u003ca href=\"https://baybeats.sfpl.org/\">Bay Beats\u003c/a> streaming service, which \u003ca href=\"https://www.kqed.org/arts/13936864/bay-beats-san-francisco-public-library-streaming-local-music\">launched in 2023\u003c/a>, is currently accepting music submissions through May 31, and if selected by a panel of staff and musical experts, artists get paid a $250 honorarium to have their album featured on the platform. That’s roughly the equivalent of what one would make from 65,789 Spotify streams.\u003c/p>\n\u003cp>While Spotify boasts of injecting billions of dollars into the music industry, critics argue that only elite, top-tier artists make enough money to eat off of streams. The platform isn’t necessarily about music discovery anymore, either. As journalist Liz Pelly explains in her recent book, \u003ca href=\"https://www.kqed.org/forum/2010101908652/liz-pelly-on-spotify\">\u003ci>Mood Machine\u003c/i>\u003c/a>, Spotify’s goal is to keep users constantly on the app by providing background music for cooking, studying and other daily routines.\u003c/p>\n\u003cp>[aside postid='arts_13972152']For those who care about their local scene, and want more than background noise, Bay Beats could be an antidote. Since its debut, the library’s streaming service has amassed an eclectic collection of over 300 albums by local artists that anyone can stream or download for free. The music on Bay Beats suits a wide variety of tastes: There’s the punchy synth-punk of \u003ca href=\"https://baybeats.sfpl.org/albums/cold-beat-war-garden\">Cold Beat\u003c/a>; raps about mindfulness from \u003ca href=\"https://baybeats.sfpl.org/albums/jahi-forward-future\">Jahi\u003c/a>; salsa by \u003ca href=\"https://baybeats.sfpl.org/albums/bululu-camuri\">Bululú\u003c/a>; and Arabic-infused psych rock by \u003ca href=\"https://baybeats.sfpl.org/albums/camellia-boutros-refuge\">Camellia Boutros\u003c/a>.\u003c/p>\n\u003cp>Bay Beats is also curating live shows at libraries, like an upcoming \u003ca href=\"https://baybeats.sfpl.org/special-message\">daytime concert with R&B and jazz singer Rita Lackey\u003c/a> on March 22 at the Ingleside branch.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Artists who want to be featured on the Bay Beats streaming service submit two to three tracks for jurors to review. \u003ca href=\"https://baybeats.sfpl.org/faq\">To qualify\u003c/a>, artists must live in one of the Bay Area’s nine counties, and have an album’s worth of music (which the library defines as at least five tracks or 15 minutes).\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://baybeats.sfpl.org/curators\">judges panel\u003c/a> includes some heavy hitters. There’s Peter Kadin, head of marketing at EMPIRE, a record label that started in San Francisco and has since gone global; Yunfei Nan, a multi-instrumentalist and leader of the Mandarin-language indie pop band Howan; Jesse ‘Chuy’ Varela, the music and program director at KCSM JAZZ 91.1; and several others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information on \u003ca href=\"https://baybeats.sfpl.org/submit/album-data\">how to apply can be found here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>*Record scratch*\u003c/em>… a lot of working musicians could actually make more money from the \u003ca href=\"https://www.kqed.org/arts/tag/san-francisco-public-library\">San Francisco Public Library\u003c/a> than from Spotify.\u003c/p>\n\u003cp>The library’s \u003ca href=\"https://baybeats.sfpl.org/\">Bay Beats\u003c/a> streaming service, which \u003ca href=\"https://www.kqed.org/arts/13936864/bay-beats-san-francisco-public-library-streaming-local-music\">launched in 2023\u003c/a>, is currently accepting music submissions through May 31, and if selected by a panel of staff and musical experts, artists get paid a $250 honorarium to have their album featured on the platform. That’s roughly the equivalent of what one would make from 65,789 Spotify streams.\u003c/p>\n\u003cp>While Spotify boasts of injecting billions of dollars into the music industry, critics argue that only elite, top-tier artists make enough money to eat off of streams. The platform isn’t necessarily about music discovery anymore, either. As journalist Liz Pelly explains in her recent book, \u003ca href=\"https://www.kqed.org/forum/2010101908652/liz-pelly-on-spotify\">\u003ci>Mood Machine\u003c/i>\u003c/a>, Spotify’s goal is to keep users constantly on the app by providing background music for cooking, studying and other daily routines.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For those who care about their local scene, and want more than background noise, Bay Beats could be an antidote. Since its debut, the library’s streaming service has amassed an eclectic collection of over 300 albums by local artists that anyone can stream or download for free. The music on Bay Beats suits a wide variety of tastes: There’s the punchy synth-punk of \u003ca href=\"https://baybeats.sfpl.org/albums/cold-beat-war-garden\">Cold Beat\u003c/a>; raps about mindfulness from \u003ca href=\"https://baybeats.sfpl.org/albums/jahi-forward-future\">Jahi\u003c/a>; salsa by \u003ca href=\"https://baybeats.sfpl.org/albums/bululu-camuri\">Bululú\u003c/a>; and Arabic-infused psych rock by \u003ca href=\"https://baybeats.sfpl.org/albums/camellia-boutros-refuge\">Camellia Boutros\u003c/a>.\u003c/p>\n\u003cp>Bay Beats is also curating live shows at libraries, like an upcoming \u003ca href=\"https://baybeats.sfpl.org/special-message\">daytime concert with R&B and jazz singer Rita Lackey\u003c/a> on March 22 at the Ingleside branch.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Artists who want to be featured on the Bay Beats streaming service submit two to three tracks for jurors to review. \u003ca href=\"https://baybeats.sfpl.org/faq\">To qualify\u003c/a>, artists must live in one of the Bay Area’s nine counties, and have an album’s worth of music (which the library defines as at least five tracks or 15 minutes).\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://baybeats.sfpl.org/curators\">judges panel\u003c/a> includes some heavy hitters. There’s Peter Kadin, head of marketing at EMPIRE, a record label that started in San Francisco and has since gone global; Yunfei Nan, a multi-instrumentalist and leader of the Mandarin-language indie pop band Howan; Jesse ‘Chuy’ Varela, the music and program director at KCSM JAZZ 91.1; and several others.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More information on \u003ca href=\"https://baybeats.sfpl.org/submit/album-data\">how to apply can be found here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>True crime docs, scammer docs, serious docs … one of the most notable developments of the streaming era of television is that there are new documentary films and series coming out \u003cem>constantly\u003c/em>. The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=M-ppnYEAqSE\u003c/p>\n\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=p1pONvsrBEo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=Y8Z8xMmly1M\u003c/p>\n\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>[aside postid='arts_13954796']We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>True crime docs, scammer docs, serious docs … one of the most notable developments of the streaming era of television is that there are new documentary films and series coming out \u003cem>constantly\u003c/em>. The difficulty for someone who might want to check some of them out is that they go by in a blur, and a lot of them have similar-looking titles and promotion. There are still big-ticket entries — on April 21, HBO will premiere a follow-up series to its huge true-crime hit \u003cem>The Jinx\u003c/em> — but there are also a lot of lower-profile projects flying by, so let’s take a moment to check in with a few current ones.\u003c/p>\n\u003ch3>‘\u003ca href=\"https://www.netflix.com/watch/81586385\">What Jennifer Did\u003c/a>’\u003c/h3>\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/M-ppnYEAqSE'\n title='//www.youtube.com/embed/M-ppnYEAqSE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A feature-length film about a 2010 home invasion that killed a woman and left her husband in a coma, \u003cem>What Jennifer Did \u003c/em>is mostly told from the point of view of the police who gradually zeroed in on the couple’s daughter, who was home at the time.\u003c/p>\n\u003cp>Police-side crime documentaries tend to be the least interesting to me, and in this case, it feels like there’s a tremendous amount of context missing about the family in favor of a fairly simple “she wanted to be with her boyfriend” narrative. But I say that in part because I have read \u003ca href=\"https://torontolife.com/city/jennifer-pan-revenge/\">the 2015 piece by Karen Ho\u003c/a> in \u003cem>Toronto Life\u003c/em> that considers more broadly what led to this bizarre act.\u003c/p>\n\u003cp>\u003cem>Netflix, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/video/watch/f0ec4d4e-1b22-431e-8f3d-229103287d3a/511cde7d-1801-4af3-b2dc-d372eaf84791\">Brandy Hellville & the Cult of Fast Fashion\u003c/a>’\u003c/h3>\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/p1pONvsrBEo'\n title='//www.youtube.com/embed/p1pONvsrBEo'\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>I can honestly tell you I was not very familiar with the Brandy Melville brand before I watched this film, which tells the story of how social media helped make a juggernaut out of a whole lot of nondescript tiny shirts. (It’s more complicated than that, and … also not.)\u003c/p>\n\u003cp>The story of the gross in-store culture (which reminded me a \u003cem>lot\u003c/em> of parts of \u003ca href=\"https://www.netflix.com/title/81323741\">the Netflix film \u003cem>White Hot\u003c/em>, about Abercrombie & Fitch\u003c/a>) is interesting and pretty lively, but I would have preferred a little more time spent on the fast-fashion element, which I do think is ripe for more documentary work.\u003c/p>\n\u003cp>\u003cem>Max, available now.\u003c/em>\u003c/p>\n\u003ch3>‘\u003ca href=\"https://play.max.com/show/a27b5e0a-68eb-48e2-baa6-2b0f01d5b8be\">The Synanon Fix\u003c/a>’\u003c/h3>\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/Y8Z8xMmly1M'\n title='//www.youtube.com/embed/Y8Z8xMmly1M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sometimes, it feels like documentaries are their own expanded universe. I was just watching \u003ca href=\"https://www.netflix.com/title/81579761\">an entirely different show\u003c/a> about the “troubled teen” industry and its dark history, and it mentioned how Synanon, which began in California as a program to treat addiction, influenced much of what became the “we will grab your badly behaved teenager from their bed, take them to some secluded location, allow them no contact with anybody, and turn them around” model.\u003c/p>\n\u003cp>And now, Synanon has its own docuseries, which considers whether and when Synanon turned into what you would call a cult. (Was it the head-shaving? The mass weddings? The dictates about reproduction?) But what stands out the most is the consideration of how a program and a community can change shape, and it takes a while for people inside and outside it to register those changes.\u003c/p>\n\u003cp>\u003cem>Max, airing now.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>We’re only scratching the surface of what’s out there — Netflix’s #1 show as I write this is their \u003ca href=\"https://www.netflix.com/browse?jbv=81476420\">\u003cem>\u003cstrong>Unlocked: A Jail Experiment\u003c/strong>\u003c/em>\u003c/a>, about a “program” that gives incarcerated men more freedom. And I am 100% committed to finding time before it expires on April 20 to watch \u003ca href=\"https://www.pbs.org/video/menus-plaisirs-les-troisgros-rbfnou/\">\u003cem>\u003cstrong>Menus-Plaisirs — Les Troisgros\u003c/strong>\u003c/em>\u003c/a>, the latest from the great documentarian Frederick Wiseman, which is available on PBS.\u003c/p>\n\u003cp>\u003cem>This piece also appeared in NPR’s Pop Culture Happy Hour newsletter. \u003c/em>\u003ca href=\"https://www.npr.org/newsletter/pop-culture\">\u003cem>Sign up for the newsletter\u003c/em>\u003c/a>\u003cem> so you don’t miss the next one, plus get weekly recommendations about what’s making us happy.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Listen to Pop Culture Happy Hour on \u003c/em>\u003ca href=\"http://n.pr/3xNgYt9\">\u003cem>Apple Podcasts\u003c/em>\u003c/a>\u003cem> and \u003c/em>\u003ca href=\"http://n.pr/3ELR3n6\">\u003cem>Spotify\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Three+eye-opening+documentaries+you+can+stream+right+now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Calling all musicians! Submissions are back open for \u003ca href=\"https://baybeats.sfpl.org/\">Bay Beats\u003c/a>, the San Francisco Public Library’s free music streaming platform.\u003c/p>\n\u003cp>Dedicated exclusively to spotlighting Bay Area talent, \u003ca href=\"https://www.kqed.org/arts/13936864/bay-beats-san-francisco-public-library-streaming-local-music\">Bay Beats first launched in October 2023\u003c/a>, six months after a call for work by bands, musicians and composers from the region’s nine counties. In that time, 600 submissions were whittled down to 144, with selected artists each receiving a $250 honorarium for their contributions.\u003c/p>\n\u003cp>Last year’s artists were chosen by an all-star panel of local jurors including \u003ca href=\"https://www.kqed.org/arts/13931155/dregs-one-history-of-the-bay-intluniz-mac-mall-keak-da-sneak-midway\">Dregs One\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13910566/la-dona-penas-con-pan-music-video\">La Doña\u003c/a> and Avengers frontwoman \u003ca href=\"https://www.kqed.org/arts/13930570/hit-girls-bay-area-punk-avengers-frightwig-penelope-houston-jen-larson-sfpl\">Penelope Houston\u003c/a>. Houston — who was a longtime employee at San Francisco’s main library before retiring in 2020 — is returning again this year to decide which artists will make the cut. She tells KQED Arts she’s really looking forward to listening to the submissions.\u003c/p>\n\u003cp>“It’s a great way to discover other sounds, for the jurors and, ultimately, for the many SFPL library card holders who explore the chosen music,” Houston says. (The Bay Beats catalog is currently free to stream for anyone with an internet connection, and downloadable for library card holders.)\u003c/p>\n\u003cp>“Really it’s a win-win situation for everyone,” Houston continues. “Hopefully lots of entries will come in and Bay Beats will grow every year.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Houston’s fellow judges this year include Berkeley pianist Sarah Cahill, Club Foot Orchestra’s Beth Custer, composer and musician James Fei, DJ and writer \u003ca href=\"https://www.kqed.org/author/tamarapalmer\">Tamara Palmer\u003c/a>, Latin jazz aficionado Jesse Varela, journalist and radio producer Emmanuel Nado and musician and composer David James. Rounding out this year’s panel is MC and producer\u003ca href=\"https://www.kqed.org/arts/13930122/hip-hop-for-change-studio-oakland-san-francisco-leadership-change\"> Unlearn the World\u003c/a>, aka Marlon Richardson.\u003c/p>\n\u003cp>“I’m looking for inspiration and [something] groundbreaking,” Richardson tells KQED Arts. “There’s so much cookie-cutter microwave music coming out every single day. I want to hear something that sticks to ya ribs, that stays in your brain and your heart.”\u003c/p>\n\u003cp>While each juror will approach how they select finalists differently, Richardson plans to follow his gut.\u003c/p>\n\u003cp>“Regardless of genre, I wanna hear music that can translate from the speakers to the soul,” he says. “Something that strikes a chord with you emotionally and makes you want to hear it over and over again.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Artists who’d like to have their music considered are invited to upload two or three songs, all for a total of no more than 30 minutes of music, to \u003ca href=\"https://baybeats.sfpl.org/submit/album-data\">Bay Beats’ submissions page\u003c/a>. The closing date is May 31, 2024, and a maximum of 150 artists will eventually be added to the streaming platform. Good luck!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Calling all musicians! Submissions are back open for \u003ca href=\"https://baybeats.sfpl.org/\">Bay Beats\u003c/a>, the San Francisco Public Library’s free music streaming platform.\u003c/p>\n\u003cp>Dedicated exclusively to spotlighting Bay Area talent, \u003ca href=\"https://www.kqed.org/arts/13936864/bay-beats-san-francisco-public-library-streaming-local-music\">Bay Beats first launched in October 2023\u003c/a>, six months after a call for work by bands, musicians and composers from the region’s nine counties. In that time, 600 submissions were whittled down to 144, with selected artists each receiving a $250 honorarium for their contributions.\u003c/p>\n\u003cp>Last year’s artists were chosen by an all-star panel of local jurors including \u003ca href=\"https://www.kqed.org/arts/13931155/dregs-one-history-of-the-bay-intluniz-mac-mall-keak-da-sneak-midway\">Dregs One\u003c/a>, \u003ca href=\"https://www.kqed.org/arts/13910566/la-dona-penas-con-pan-music-video\">La Doña\u003c/a> and Avengers frontwoman \u003ca href=\"https://www.kqed.org/arts/13930570/hit-girls-bay-area-punk-avengers-frightwig-penelope-houston-jen-larson-sfpl\">Penelope Houston\u003c/a>. Houston — who was a longtime employee at San Francisco’s main library before retiring in 2020 — is returning again this year to decide which artists will make the cut. She tells KQED Arts she’s really looking forward to listening to the submissions.\u003c/p>\n\u003cp>“It’s a great way to discover other sounds, for the jurors and, ultimately, for the many SFPL library card holders who explore the chosen music,” Houston says. (The Bay Beats catalog is currently free to stream for anyone with an internet connection, and downloadable for library card holders.)\u003c/p>\n\u003cp>“Really it’s a win-win situation for everyone,” Houston continues. “Hopefully lots of entries will come in and Bay Beats will grow every year.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Houston’s fellow judges this year include Berkeley pianist Sarah Cahill, Club Foot Orchestra’s Beth Custer, composer and musician James Fei, DJ and writer \u003ca href=\"https://www.kqed.org/author/tamarapalmer\">Tamara Palmer\u003c/a>, Latin jazz aficionado Jesse Varela, journalist and radio producer Emmanuel Nado and musician and composer David James. Rounding out this year’s panel is MC and producer\u003ca href=\"https://www.kqed.org/arts/13930122/hip-hop-for-change-studio-oakland-san-francisco-leadership-change\"> Unlearn the World\u003c/a>, aka Marlon Richardson.\u003c/p>\n\u003cp>“I’m looking for inspiration and [something] groundbreaking,” Richardson tells KQED Arts. “There’s so much cookie-cutter microwave music coming out every single day. I want to hear something that sticks to ya ribs, that stays in your brain and your heart.”\u003c/p>\n\u003cp>While each juror will approach how they select finalists differently, Richardson plans to follow his gut.\u003c/p>\n\u003cp>“Regardless of genre, I wanna hear music that can translate from the speakers to the soul,” he says. “Something that strikes a chord with you emotionally and makes you want to hear it over and over again.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Artists who’d like to have their music considered are invited to upload two or three songs, all for a total of no more than 30 minutes of music, to \u003ca href=\"https://baybeats.sfpl.org/submit/album-data\">Bay Beats’ submissions page\u003c/a>. The closing date is May 31, 2024, and a maximum of 150 artists will eventually be added to the streaming platform. Good luck!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How to Watch This Year’s Oscar-Nominated Movies Before the Academy Awards",
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"content": "\u003cp>The winner in the Oscar nominations race Tuesday after a bruising year for the film industry was \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> with 13 nods, followed by the otherworldly \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a> with 11 and the period epic \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em> \u003c/a>with 10.\u003c/p>\n\u003cp>2023 was marred by strikes and work stoppages for the cinema world, throwing production and release schedules into chaos.\u003c/p>\n\u003cp>Looking to catch up ahead of the Academy Awards on March 10? Here’s how to watch:\u003c/p>\n\u003ch2>‘Oppenheimer’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=bK6ldnjE3Y0\u003c/p>\n\u003cp>13 nominations. Digital purchase or rental. Streams on Peacock starting Feb. 16.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christopher Nolan’s atomic opus \u003cem>Oppenheimer\u003c/em> received widespread critical acclaim and broke box office records. It’s half the Barbenheimer phenom with \u003cem>Barbie\u003c/em> from last July. The three-hour film, which is semi-trippy and flashback heavy, chronicles the trials and tribulations of the secret Manhattan Project’s J. Robert Oppenheimer (Cillian Murphy).\u003c/p>\n\u003cp>Available for pay at YouTube, Apple TV, Prime Video, Vudu, iTunes and Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Poor Things’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=RlbR5N6veqw\u003c/p>\n\u003cp>11 nominations. \u003ca href=\"https://www.fandango.com/poor-things-2023-231939/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Think Frankenstein story, and his bride. Director Yorgos Lanthimos owes a debt to Emma Stone, his childlike and highly randy Bella, in \u003cem>Poor Things\u003c/em>. The comedy is dark and the vibe Victorian fantasy. And did we mention the sex? How Bella handles that activity has been the talk of film circles. No spoilers here but rest assured her consciousness is raised. Also stars Willem Dafoe and Mark Ruffalo.\u003c/p>\n\u003ch2>‘Killers of the Flower Moon’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=EP34Yoxs3FQ&t=13s\u003c/p>\n\u003cp>10 nominations. Digital purchase. Streams on Apple TV+. Re-released in theaters on Jan. 26, 2024.\u003c/p>\n\u003cp>Martin Scorsese delves into the systematic killing of Osage Nation members for their oil-rich land in the 1920s in his drama \u003cem>Killers of the Flower Moon\u003c/em>. With a star-bright cast, including Lily Gladstone, Leonardo DiCaprio and Robert De Niro. Warning: Its running time is 3 hours and 26 minutes. There’s craft in every shot.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Barbie’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pBk4NYhWNMM\u003c/p>\n\u003cp>8 nominations. Digital purchase or rental. Streams on Max.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950821/greta-gerwig-oscars-snub\">Greta Gerwig\u003c/a>’s \u003cem>Barbie\u003c/em>, in the billion-dollar club at the box office, is a live-action musical comedy focused on the 64-year-old plastic doll in a range of iterations. It also took the globe by storm, culturally speaking. The film stars Margot Robbie and Ryan Gosling (as Just Ken). Robbie plays Stereotypical Barbie, who experiences an existential crisis but lands on the road to self-discovery.\u003c/p>\n\u003cp>Available for pay at iTunes, Apple TV, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Maestro’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=gJP2QblqLA0\u003c/p>\n\u003cp>7 nominations. Digital purchase or rental. Streams on Netflix.\u003c/p>\n\u003cp>With the help of a prosthetic nose, Bradley Cooper brings Leonard Bernstein alive in \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, which he also directed. The famed conductor’s personal life and persona on stage benefit from Cooper’s energy, and chain smoking. Cooper got an assist from Carey Mulligan, who plays the actor Felicia Montealegre, Bernstein’s stylish wife.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘American Fiction’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=i0MbLCpYJPA&t=75s\u003c/p>\n\u003cp>5 nominations. \u003ca href=\"https://www.fandango.com/american-fiction-2023-232613/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s directorial debut \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> is what satire should be: funny while succinctly pointing at truths. Jeffrey Wright plays a frustrated academic up against the wall of what Black books must be to sell. He takes action. The film is also about families and the weight of their struggles. Wright is joined by a great supporting cast in Leslie Uggams, Erika Alexander, Issa Rae, Sterling K. Brown and Tracee Ellis Ross.\u003c/p>\n\u003ch2>‘Anatomy of a Fall’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=FUXawkH-ONM\u003c/p>\n\u003cp>5 nominations. Digital purchase or rental.\u003c/p>\n\u003cp>Justine Triet’s \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a> took the Palme d’Or at the 76th Cannes Film Festival. It stars Sandra Hüller as a writer, Sandra, trying to prove her innocence in court in her husband’s death at their chalet in the French Alps. The verdict? We won’t tell. Did she or didn’t she? Triet wrote the film with her husband, Arthur Harari. “It’s OK, he’s alive,” she told The Associated Press’ Jake Coyle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=AhKLpJmHhIg\u003c/p>\n\u003cp>5 nominations. Digital purchase. Streams on Peacock.\u003c/p>\n\u003cp>The Alexander Payne offering \u003cem>The Holdovers\u003c/em> is set at Christmastime, but its themes of loneliness and belonging resonate well beyond the holiday, wrapped in a comedic package. Set in 1970 over the holiday break at a boarding school, there’s plenty of nostalgia in the details. It stars Paul Giamatti in curmudgeonly glory as the teacher stuck minding Angus (Dominic Sessa) and other students with no place to go.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘The Zone of Interest’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=GFNtVaAuVYY\u003c/p>\n\u003cp>5 nominations. In theaters.\u003c/p>\n\u003cp>There’s another meaty role for Hüller in the Holocaust story\u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem> The Zone of Interest\u003c/em>\u003c/a>, directed by Jonathan Glazer. She plays Hedwig, the wife of Rudolf Höss (Christian Friedel), the real-life, bloodthirsty commandant of Auschwitz. The action largely has Rudolf and Hedwig living their everyday family lives just a few steps from the ovens and trains that were instruments in the slaughter of millions of Jews. A story worth telling, considering their status as monsters? You decide.\u003c/p>\n\u003ch2>‘Past Lives’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=kA244xewjcI&t=63s\u003c/p>\n\u003cp>2 nominations. Digital purchase or rental. Streams on Paramount+ starting Feb. 2.\u003c/p>\n\u003cp>Celine Song’s feature debut \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a> is a triumph for her as director and writer, and for Greta Lee, one of her stars. Largely autobiographical, it tells the story of childhood companions in Seoul who reunite and rekindle in New York years later, landing in a love triangle. The other thirds of the equation are played by Teo Yoo and John Magaro. It’s understated glory, inducing the best kind of tears: those come by honestly without massive manipulation.\u003c/p>\n\u003cp>Available for pay at iTunes, Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Nyad’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=3anCgVSQb3Q&t=79s\u003c/p>\n\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>Annette Bening plays the never-say-die marathon open-water swimmer Diana Nyad and Jodie Foster portrays Nyad’s best friend and trainer, Bonnie Stoll. Enough said. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">Nyad\u003c/a>\u003c/em> isn’t your average sports biopic. At age 60, Nyad decides to attempt as she did in her youth to swim the shark-infested ocean from Cuba to Miami. Nothing will stop her and lots of things try. A lesson in single-focus excellence.\u003c/p>\n\u003ch2>‘Society of the Snow’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=pDak4qLyF4Q\u003c/p>\n\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>The story of an amateur Uruguay rugby team’s 1972 plane crash in the Andes as they traveled with relatives and friends to Chile for a match has been told on film many times. There were 45 on board. Sixteen survived after 72 days in the mountains. They faced biting cold, massive snowstorms, avalanches and starvation, the latter motivating them to eat the dead. In \u003cem>Society of the Snow\u003c/em>, J.A. Bayona wanted to honor the tragedy’s victims and survivors, including him. It’s bleak indeed, with a spirit of love and camaraderie.\u003c/p>\n\u003ch2>‘The Color Purple’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=wPwzBUui1GA\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. In theaters.\u003c/p>\n\u003cp>It was a book (Alice Walker). It was a dramatic film (Whoopi Goldberg as Celie). It was a Broadway musical (Fantasia Barrino as Celie). This \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> has Barrino back. It’s a musical, too, adapted from the stage version, and it’s directed by Blitz Bazawule. He squeezes the strength of Black women out of his harrowing, maximalist film. Colman Domingo is Mister, Halle Bailey is Nettie, with Taraji P. Henson and Danielle Brooks helping the story along amid all the singing and dazzle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Apple TV+ and elsewhere.\u003c/p>\n\u003ch2>‘Spider-Man: Across the Spider-Verse’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=cqGjhVJWtEg\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. Streams on Netflix. In theaters.\u003c/p>\n\u003cp>Welcome to an animated high-octane comic-book sequel that manages to work. In \u003cem>Spider Man: Across the Spider-Verse\u003c/em>, Miles Morales (voiced by Shameik Moore) is a 15-year-old better able to deal with his crime-fighting powers. Spider-Gwen is voiced by Hailee Steinfeld. By sequel, we mean the first half of the first sequel to \u003cem>Spider Man: Into the Spider-Verse\u003c/em>. There’s your cliffhanger alert.\u003c/p>\n\u003cp>Available for pay at Apple TV, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘May December’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=4VdAParM4h8\u003c/p>\n\u003cp>1 nomination. In theaters. Streams on Netflix.\u003c/p>\n\u003cp>The breakout star of Todd Haynes’ tense \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> is Charles Melton of Reggie fame on TV’s \u003cem>Riverdale\u003c/em>. He’s the May to Julianne Moore’s December, with a whole lot of Natalie Portman thrown in. Inspired by the Mary Kay Letourneau case, Moore plays a ripped-from-the-headlines woman who went to prison over an affair with a seventh-grader she later marries. Portman’s character comes for a visit as she studies how to play Moore in a movie. Things, as they say, fall apart. Although the film’s performances weren’t honored with nominations, the screenplay for \u003cem>May December\u003c/em> was.\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=EuZ-UONInl4\u003c/p>\n\u003cp>1 nomination. Streams on Netflix.\u003c/p>\n\u003cp>Who engineered the 1963 March on Washington? Bayard Rustin, somebody lots of people knew nothing about before \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> came along in George C. Wolfe’s \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>. With verve, Domingo digs into the experience of a Black gay man in the racist and homophobic 1960s. Cameos abound: Jeffrey Wright, Adrienne Warren, Kevin Mambo, Audra McDonald, Chris Rock, Glynn Turman. Produced by former President Barack Obama and first lady Michelle Obama’s Higher Ground. Obama awarded Rustin a posthumous Presidential Medal of Freedom.\u003c/p>\n\u003ch2>‘20 Days in Mariupol’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=9H_Fg_5x4ME\u003c/p>\n\u003cp>1 nomination. Digital purchase or rental. \u003ca href=\"https://video.kqed.org/video/20-days-in-mariupol-x62itb/\">Streaming on KQED\u003c/a>. Also available in the PBS app and at \u003cem>Frontline\u003c/em> on YouTube.\u003c/p>\n\u003cp>A joint production by The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, the documentary \u003ca href=\"https://www.kqed.org/arts/13931543/in-20-days-in-mariupol-documentary-the-horrors-of-war-are-illuminated\">\u003cem>20 Days in Mariupol\u003c/em>\u003c/a> has been met with critical acclaim and an audience award at the Sundance Film Festival. AP journalist Mstyslav Chernov directed the movie from 30 hours of footage shot in Mariupol in the opening days of the Ukraine war. Chernov and AP colleagues Evgeniy Maloletka, a photographer, and producer Vasilisa Stepanenko were the last international journalists in the city before escaping.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu and elsewhere. After screenings in dozens of cities, \u003cem>20 Days in Mariupol\u003c/em> airs on PBS stations in the U.S. beginning Tuesday.\u003c/p>\n\u003ch2>‘The Boy and the Heron’\u003c/h2>\n\u003cp>https://www.youtube.com/watch?v=t5khm-VjEu4\u003c/p>\n\u003cp>1 nomination. \u003ca href=\"https://www.fandango.com/the-boy-and-the-heron-2023-232532/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Dreamy and enthralling, director Hayao Miyazaki and Studio Ghibli do it again. Well. The beautifully animated Japanese fantasy \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">\u003cem>The Boy and the Heron\u003c/em>\u003c/a> has young Mahito late in World War II mourning the death of his mother and encountering a talking and ornery gray heron he can’t get rid of. And there’s a very important tower.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The winner in the Oscar nominations race Tuesday after a bruising year for the film industry was \u003ca href=\"https://www.kqed.org/arts/13931577/in-oppenheimer-christopher-nolan-builds-a-thrilling-serious-blockbuster-for-adults\">\u003cem>Oppenheimer\u003c/em>\u003c/a> with 13 nods, followed by the otherworldly \u003ca href=\"https://www.kqed.org/arts/13938158/poor-things-movie-review-emma-stone-bella-baxter-mark-ruffalo-willem-dafoe\">\u003cem>Poor Things\u003c/em>\u003c/a> with 11 and the period epic \u003ca href=\"https://www.kqed.org/arts/13936628/killers-of-the-flower-moon-review-martin-scorsese-robert-deniro-lily-gladstone-epic\">\u003cem>Killers of the Flower Moon\u003c/em> \u003c/a>with 10.\u003c/p>\n\u003cp>2023 was marred by strikes and work stoppages for the cinema world, throwing production and release schedules into chaos.\u003c/p>\n\u003cp>Looking to catch up ahead of the Academy Awards on March 10? Here’s how to watch:\u003c/p>\n\u003ch2>‘Oppenheimer’\u003c/h2>\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/bK6ldnjE3Y0'\n title='//www.youtube.com/embed/bK6ldnjE3Y0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>13 nominations. Digital purchase or rental. Streams on Peacock starting Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Christopher Nolan’s atomic opus \u003cem>Oppenheimer\u003c/em> received widespread critical acclaim and broke box office records. It’s half the Barbenheimer phenom with \u003cem>Barbie\u003c/em> from last July. The three-hour film, which is semi-trippy and flashback heavy, chronicles the trials and tribulations of the secret Manhattan Project’s J. Robert Oppenheimer (Cillian Murphy).\u003c/p>\n\u003cp>Available for pay at YouTube, Apple TV, Prime Video, Vudu, iTunes and Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Poor Things’\u003c/h2>\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/RlbR5N6veqw'\n title='//www.youtube.com/embed/RlbR5N6veqw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>11 nominations. \u003ca href=\"https://www.fandango.com/poor-things-2023-231939/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Think Frankenstein story, and his bride. Director Yorgos Lanthimos owes a debt to Emma Stone, his childlike and highly randy Bella, in \u003cem>Poor Things\u003c/em>. The comedy is dark and the vibe Victorian fantasy. And did we mention the sex? How Bella handles that activity has been the talk of film circles. No spoilers here but rest assured her consciousness is raised. Also stars Willem Dafoe and Mark Ruffalo.\u003c/p>\n\u003ch2>‘Killers of the Flower Moon’\u003c/h2>\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/EP34Yoxs3FQ'\n title='//www.youtube.com/embed/EP34Yoxs3FQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>10 nominations. Digital purchase. Streams on Apple TV+. Re-released in theaters on Jan. 26, 2024.\u003c/p>\n\u003cp>Martin Scorsese delves into the systematic killing of Osage Nation members for their oil-rich land in the 1920s in his drama \u003cem>Killers of the Flower Moon\u003c/em>. With a star-bright cast, including Lily Gladstone, Leonardo DiCaprio and Robert De Niro. Warning: Its running time is 3 hours and 26 minutes. There’s craft in every shot.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Barbie’\u003c/h2>\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/pBk4NYhWNMM'\n title='//www.youtube.com/embed/pBk4NYhWNMM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>8 nominations. Digital purchase or rental. Streams on Max.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13950821/greta-gerwig-oscars-snub\">Greta Gerwig\u003c/a>’s \u003cem>Barbie\u003c/em>, in the billion-dollar club at the box office, is a live-action musical comedy focused on the 64-year-old plastic doll in a range of iterations. It also took the globe by storm, culturally speaking. The film stars Margot Robbie and Ryan Gosling (as Just Ken). Robbie plays Stereotypical Barbie, who experiences an existential crisis but lands on the road to self-discovery.\u003c/p>\n\u003cp>Available for pay at iTunes, Apple TV, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘Maestro’\u003c/h2>\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/gJP2QblqLA0'\n title='//www.youtube.com/embed/gJP2QblqLA0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>7 nominations. Digital purchase or rental. Streams on Netflix.\u003c/p>\n\u003cp>With the help of a prosthetic nose, Bradley Cooper brings Leonard Bernstein alive in \u003ca href=\"https://www.kqed.org/arts/13938332/maestro-bradley-cooper-review\">\u003cem>Maestro\u003c/em>\u003c/a>, which he also directed. The famed conductor’s personal life and persona on stage benefit from Cooper’s energy, and chain smoking. Cooper got an assist from Carey Mulligan, who plays the actor Felicia Montealegre, Bernstein’s stylish wife.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘American Fiction’\u003c/h2>\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/i0MbLCpYJPA'\n title='//www.youtube.com/embed/i0MbLCpYJPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. \u003ca href=\"https://www.fandango.com/american-fiction-2023-232613/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>Cord Jefferson’s directorial debut \u003ca href=\"https://www.kqed.org/arts/13938160/american-fiction-based-on-erasure-jeffrey-wright-cord-jefferson-ross\">\u003cem>American Fiction\u003c/em>\u003c/a> is what satire should be: funny while succinctly pointing at truths. Jeffrey Wright plays a frustrated academic up against the wall of what Black books must be to sell. He takes action. The film is also about families and the weight of their struggles. Wright is joined by a great supporting cast in Leslie Uggams, Erika Alexander, Issa Rae, Sterling K. Brown and Tracee Ellis Ross.\u003c/p>\n\u003ch2>‘Anatomy of a Fall’\u003c/h2>\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/FUXawkH-ONM'\n title='//www.youtube.com/embed/FUXawkH-ONM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. Digital purchase or rental.\u003c/p>\n\u003cp>Justine Triet’s \u003ca href=\"https://www.kqed.org/arts/13936363/anatomy-of-a-fall-movie-review-sandra-huller-palme-dor-france\">\u003cem>Anatomy of a Fall\u003c/em>\u003c/a> took the Palme d’Or at the 76th Cannes Film Festival. It stars Sandra Hüller as a writer, Sandra, trying to prove her innocence in court in her husband’s death at their chalet in the French Alps. The verdict? We won’t tell. Did she or didn’t she? Triet wrote the film with her husband, Arthur Harari. “It’s OK, he’s alive,” she told The Associated Press’ Jake Coyle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu, YouTube and elsewhere.\u003c/p>\n\u003ch2>‘The Holdovers’\u003c/h2>\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/AhKLpJmHhIg'\n title='//www.youtube.com/embed/AhKLpJmHhIg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. Digital purchase. Streams on Peacock.\u003c/p>\n\u003cp>The Alexander Payne offering \u003cem>The Holdovers\u003c/em> is set at Christmastime, but its themes of loneliness and belonging resonate well beyond the holiday, wrapped in a comedic package. Set in 1970 over the holiday break at a boarding school, there’s plenty of nostalgia in the details. It stars Paul Giamatti in curmudgeonly glory as the teacher stuck minding Angus (Dominic Sessa) and other students with no place to go.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Google Play, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘The Zone of Interest’\u003c/h2>\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/GFNtVaAuVYY'\n title='//www.youtube.com/embed/GFNtVaAuVYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>5 nominations. In theaters.\u003c/p>\n\u003cp>There’s another meaty role for Hüller in the Holocaust story\u003ca href=\"https://www.kqed.org/arts/13940387/the-zone-of-interest-movie-review\">\u003cem> The Zone of Interest\u003c/em>\u003c/a>, directed by Jonathan Glazer. She plays Hedwig, the wife of Rudolf Höss (Christian Friedel), the real-life, bloodthirsty commandant of Auschwitz. The action largely has Rudolf and Hedwig living their everyday family lives just a few steps from the ovens and trains that were instruments in the slaughter of millions of Jews. A story worth telling, considering their status as monsters? You decide.\u003c/p>\n\u003ch2>‘Past Lives’\u003c/h2>\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/kA244xewjcI'\n title='//www.youtube.com/embed/kA244xewjcI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Digital purchase or rental. Streams on Paramount+ starting Feb. 2.\u003c/p>\n\u003cp>Celine Song’s feature debut \u003ca href=\"https://www.kqed.org/arts/13930006/past-lives-is-a-gorgeous-meditation-on-love-chance-and-the-choices-we-make\">\u003cem>Past Lives\u003c/em>\u003c/a> is a triumph for her as director and writer, and for Greta Lee, one of her stars. Largely autobiographical, it tells the story of childhood companions in Seoul who reunite and rekindle in New York years later, landing in a love triangle. The other thirds of the equation are played by Teo Yoo and John Magaro. It’s understated glory, inducing the best kind of tears: those come by honestly without massive manipulation.\u003c/p>\n\u003cp>Available for pay at iTunes, Google Play and elsewhere.\u003c/p>\n\u003ch2>‘Nyad’\u003c/h2>\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/3anCgVSQb3Q'\n title='//www.youtube.com/embed/3anCgVSQb3Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>Annette Bening plays the never-say-die marathon open-water swimmer Diana Nyad and Jodie Foster portrays Nyad’s best friend and trainer, Bonnie Stoll. Enough said. \u003cem>\u003ca href=\"https://www.kqed.org/arts/13936754/nyad-movie-review-true-story-jodie-foster-swimming-annette-bening\">Nyad\u003c/a>\u003c/em> isn’t your average sports biopic. At age 60, Nyad decides to attempt as she did in her youth to swim the shark-infested ocean from Cuba to Miami. Nothing will stop her and lots of things try. A lesson in single-focus excellence.\u003c/p>\n\u003ch2>‘Society of the Snow’\u003c/h2>\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/pDak4qLyF4Q'\n title='//www.youtube.com/embed/pDak4qLyF4Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>2 nominations. Streams on Netflix.\u003c/p>\n\u003cp>The story of an amateur Uruguay rugby team’s 1972 plane crash in the Andes as they traveled with relatives and friends to Chile for a match has been told on film many times. There were 45 on board. Sixteen survived after 72 days in the mountains. They faced biting cold, massive snowstorms, avalanches and starvation, the latter motivating them to eat the dead. In \u003cem>Society of the Snow\u003c/em>, J.A. Bayona wanted to honor the tragedy’s victims and survivors, including him. It’s bleak indeed, with a spirit of love and camaraderie.\u003c/p>\n\u003ch2>‘The Color Purple’\u003c/h2>\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/wPwzBUui1GA'\n title='//www.youtube.com/embed/wPwzBUui1GA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. In theaters.\u003c/p>\n\u003cp>It was a book (Alice Walker). It was a dramatic film (Whoopi Goldberg as Celie). It was a Broadway musical (Fantasia Barrino as Celie). This \u003ca href=\"https://www.kqed.org/arts/13939793/the-color-purple-successfully-squeezes-popular-entertainment-out-of-art\">\u003cem>The Color Purple\u003c/em>\u003c/a> has Barrino back. It’s a musical, too, adapted from the stage version, and it’s directed by Blitz Bazawule. He squeezes the strength of Black women out of his harrowing, maximalist film. Colman Domingo is Mister, Halle Bailey is Nettie, with Taraji P. Henson and Danielle Brooks helping the story along amid all the singing and dazzle.\u003c/p>\n\u003cp>Available for pay at iTunes, Prime Video, Apple TV+ and elsewhere.\u003c/p>\n\u003ch2>‘Spider-Man: Across the Spider-Verse’\u003c/h2>\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/cqGjhVJWtEg'\n title='//www.youtube.com/embed/cqGjhVJWtEg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. Streams on Netflix. In theaters.\u003c/p>\n\u003cp>Welcome to an animated high-octane comic-book sequel that manages to work. In \u003cem>Spider Man: Across the Spider-Verse\u003c/em>, Miles Morales (voiced by Shameik Moore) is a 15-year-old better able to deal with his crime-fighting powers. Spider-Gwen is voiced by Hailee Steinfeld. By sequel, we mean the first half of the first sequel to \u003cem>Spider Man: Into the Spider-Verse\u003c/em>. There’s your cliffhanger alert.\u003c/p>\n\u003cp>Available for pay at Apple TV, Prime Video, Google Play, YouTube, Vudu and elsewhere.\u003c/p>\n\u003ch2>‘May December’\u003c/h2>\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/4VdAParM4h8'\n title='//www.youtube.com/embed/4VdAParM4h8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. In theaters. Streams on Netflix.\u003c/p>\n\u003cp>The breakout star of Todd Haynes’ tense \u003ca href=\"https://www.kqed.org/arts/13938143/may-december-movie-review-netflix-mary-kay-letourneau-julianne-moore\">\u003cem>May December\u003c/em>\u003c/a> is Charles Melton of Reggie fame on TV’s \u003cem>Riverdale\u003c/em>. He’s the May to Julianne Moore’s December, with a whole lot of Natalie Portman thrown in. Inspired by the Mary Kay Letourneau case, Moore plays a ripped-from-the-headlines woman who went to prison over an affair with a seventh-grader she later marries. Portman’s character comes for a visit as she studies how to play Moore in a movie. Things, as they say, fall apart. Although the film’s performances weren’t honored with nominations, the screenplay for \u003cem>May December\u003c/em> was.\u003c/p>\n\u003ch2>‘Rustin’\u003c/h2>\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/EuZ-UONInl4'\n title='//www.youtube.com/embed/EuZ-UONInl4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Streams on Netflix.\u003c/p>\n\u003cp>Who engineered the 1963 March on Washington? Bayard Rustin, somebody lots of people knew nothing about before \u003ca href=\"https://www.kqed.org/arts/13909135/colman-domingo-strand-theater-valentines-euphoria-walking-dead-zola\">Colman Domingo\u003c/a> came along in George C. Wolfe’s \u003ca href=\"https://www.kqed.org/arts/13937499/bayard-rustin-biopic-review-colman-domingo-civil-rights\">\u003cem>Rustin\u003c/em>\u003c/a>. With verve, Domingo digs into the experience of a Black gay man in the racist and homophobic 1960s. Cameos abound: Jeffrey Wright, Adrienne Warren, Kevin Mambo, Audra McDonald, Chris Rock, Glynn Turman. Produced by former President Barack Obama and first lady Michelle Obama’s Higher Ground. Obama awarded Rustin a posthumous Presidential Medal of Freedom.\u003c/p>\n\u003ch2>‘20 Days in Mariupol’\u003c/h2>\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/9H_Fg_5x4ME'\n title='//www.youtube.com/embed/9H_Fg_5x4ME'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. Digital purchase or rental. \u003ca href=\"https://video.kqed.org/video/20-days-in-mariupol-x62itb/\">Streaming on KQED\u003c/a>. Also available in the PBS app and at \u003cem>Frontline\u003c/em> on YouTube.\u003c/p>\n\u003cp>A joint production by The Associated Press and PBS’ \u003cem>Frontline\u003c/em>, the documentary \u003ca href=\"https://www.kqed.org/arts/13931543/in-20-days-in-mariupol-documentary-the-horrors-of-war-are-illuminated\">\u003cem>20 Days in Mariupol\u003c/em>\u003c/a> has been met with critical acclaim and an audience award at the Sundance Film Festival. AP journalist Mstyslav Chernov directed the movie from 30 hours of footage shot in Mariupol in the opening days of the Ukraine war. Chernov and AP colleagues Evgeniy Maloletka, a photographer, and producer Vasilisa Stepanenko were the last international journalists in the city before escaping.\u003c/p>\n\u003cp>Available for pay at Prime Video, Google Play, Vudu and elsewhere. After screenings in dozens of cities, \u003cem>20 Days in Mariupol\u003c/em> airs on PBS stations in the U.S. beginning Tuesday.\u003c/p>\n\u003ch2>‘The Boy and the Heron’\u003c/h2>\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/t5khm-VjEu4'\n title='//www.youtube.com/embed/t5khm-VjEu4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1 nomination. \u003ca href=\"https://www.fandango.com/the-boy-and-the-heron-2023-232532/movie-overview\">In theaters\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dreamy and enthralling, director Hayao Miyazaki and Studio Ghibli do it again. Well. The beautifully animated Japanese fantasy \u003ca href=\"https://www.kqed.org/arts/13934544/the-boy-and-the-heron-hayao-miyazaki-animation-anime-dream\">\u003cem>The Boy and the Heron\u003c/em>\u003c/a> has young Mahito late in World War II mourning the death of his mother and encountering a talking and ornery gray heron he can’t get rid of. And there’s a very important tower.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "De La Soul on Streaming: Your Guide to a Legendary Hip-Hop Catalog",
"headTitle": "De La Soul on Streaming: Your Guide to a Legendary Hip-Hop Catalog | KQED",
"content": "\u003cp>Streaming platforms were initially sold as an all-encompassing music library — every song at one’s fingertips! — yet there are inevitable gaps within their discographies. For hip-hop fans, few omissions have been more grievous than the missing catalog of De La Soul. One of the giants of hip-hop’s “golden era” of the late ’80s through mid ’90s, De La’s penchant for playful creativity would go on to influence everyone from the Pharcyde to OutKast, Kanye West to Childish Gambino. Despite this, almost all of their most important albums have been missing from (legal) streaming services. When founding member Trugoy the Dove \u003ca href=\"https://www.npr.org/2023/02/13/1156489848/dave-jolicoeur-de-la-soul-trugoy-the-dove-obituary\">unexpectedly passed away\u003c/a> last month, anyone seeking to revisit most of De La Soul’s best known works would have been left empty-handed and confused. We now take for granted that our favorite artists have their catalogs readily available to us yet when in a time of grief over Trugoy’s death, new and old fans were met with a deafening silence of options to revisit his musical legacy. \u003c/p>\n\u003cp>What kept De La’s tunes out of rotation was a frustrating morass of outdated contracts and record label parsimony. It got so bad that in 2014, the group put their entire catalog on their website to download for free for a day. As they told \u003cem>Rolling Stone \u003c/em>at the time, “We’ve been blessed to be in the Library of Congress, but we can’t even have our music on iTunes.” Likewise, there was an attempt in 2019 by Tommy Boy Records, which owns the rights to De La’s music, to put them on streaming but the terms of that deal were so unfavorable to the group that\u003ca href=\"https://www.complex.com/music/2019/02/de-la-soul-calls-out-former-record-label-over-unfair-streaming-deal\"> public outrage\u003c/a> forced Tommy Boy to abandon their plans.\u003c/p>\n\u003cp>None of these are just business concerns. Our social awareness of music has always been tied to how songs and albums are distributed. Much like the proverbial tree falling in the woods without a witness, if an artist has recorded the greatest album of all time, does it really matter if no one has the means to hear it? De La may have sold millions of physical cassettes, CDs and vinyl records in the past but how many households have the means to play any of those formats? De La’s absence from streaming sites has effectively erased their presence from the contemporary musical landscape \u003cem>and \u003c/em>threatens to minimize their historical import. It’s not just the artist who loses out; we, as listeners, are left poorer too.\u003c/p>\n\u003cp>All this has finally been rectified. The group’s most important recordings are now legally available on the internet. Given how long it’s taken for this music to arrive, we thought it necessary to revisit this storied catalog and its restored legacy, to help new fans familiarize themselves with the memorable (and singular) arc of their career and give veteran listeners a reintroduction to their most influential work.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Souls Who Flaunt Styles: \u003c/strong>\u003cem>\u003cstrong>3 Feet High and Rising \u003c/strong>\u003c/em>\u003cstrong>(1989)\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>De La Soul’s debut reshaped the public imagination of what hip-hop could be. The core trio — Posdnuos, Trugoy and DJ Pasemaster Mase — assisted by mentor/producer Prince Paul all came straight outta the wilds of suburban Long Island, rapping about advice-spouting crocodiles, Martian transmissions, and an artistic meta-concept they dubbed The D.A.I.S.Y. (Da Inner Soul, Y’all) Age.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7GOdFpyX7aUbHOaYt7mwyP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La were part of the Native Tongues, a collective of like-minded artists that included the Jungle Brothers, A Tribe Called Quest and Queen Latifah, among others. Promoting Afrocentric positivity, they purposefully set themselves to contrast against the boisterous brio exemplified by such icons of the era as LL Cool J, NWA or Big Daddy Kane. De La Soul, especially, became smart, sardonic avatars for Black misfits and nerds, mining the sublime from the absurd. On the album, this is partly showcased in their songcraft, especially the humorous skits peppered throughout that turned the format into a rap album staple. There was also the consistently irreverent ways in which Pos and Trugoy adroitly rapped on everything from the garishness of consumer culture (“Take It Off”) to sexy flirtations (“Buddy”) to personal hygiene (\u003cstrong>“A Little Bit of Soap”\u003c/strong>). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6zgClTCI7zRqQLf148Sozu?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>The group would prove too clever by half, however, at least for the mainstream music media who were quick to dub them “hip-hop hippies.” That encouraged their label, Tommy Boy, to lean further into the aesthetic by creating artwork doused in day-glo colors and cartoon daisies. De La had to refute this characterization in real time; on the album’s big radio hit, \u003cstrong>“Me, Myself and I,”\u003c/strong> Pos (aka Plug One) insists, “You say Plug One and Two are hippies / No we’re not / That’s pure plug bull.”\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/792UwI6utk5DMQUT1KXa5E?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Despite these grumblings, \u003cem>3 Feet High \u003c/em>still brimmed in mirth, including on the musical side, overseen by Prince Paul and including contributions by the entire group. Sample-hungry rap producers had spent the previous few years mining the James Brown and P-Funk catalogs and though De La sampled from both on their debut, they were more likely to create memorable musical moments from children’s television songs (“The Magic Number”), obscure doo-wop singles (“Plug Tunin'”) and classic ’80s pop hits (“Say No Go”). Similar to how their DJ, PA Mase, could expertly splice up a dizzying number of snippets on a song like \u003cstrong>“Cool Breeze on the Rocks,”\u003c/strong> the group collectively embraced unfettered sampling as a calling card, a way to demonstrate how drawing upon “found sounds” could create new sounds. Ironically though, their love for sampling is one reason why it took so long for their music to make it to streaming; no one wanted to foot the bill to properly clear all those samples. In fact, the version of the track that appears on streaming is completely reimagined.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5iYjvQbLvISapScuxb4XTo?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Even 30+ years later, \u003cem>3 Feet High\u003c/em> still sounds wondrous and weird, even compared to their later albums, let alone the rest of the hip-hop landscape. Scores of other artists have tried to be clever but few, if any, have embodied a creative impulse as irrepressible and risk-taking. De La’s debut was a proof of concept that the right combination of ingenuity and frivolity could create something indelibly, impossibly hip. (Just don’t call them hippies.)\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Time For Heads To Get Flown: \u003c/strong>\u003cem>\u003cstrong>De La Soul Is Dead\u003c/strong>\u003c/em>\u003cstrong> (1991)\u003c/strong>\u003c/p>\n\u003cp>Imagine debuting with a gold record, lauded as darlings of “alternative” rap, and then using your follow-up LP to unceremoniously kill off that gilded goose. If the title, \u003cem>De La Soul Is Dead,\u003c/em> wasn’t enough of an announcement of intent, the album’s cover removed any lingering ambiguity: a broken pot of daisies, knocked upon its side.\u003c/p>\n\u003cp>\u003cem>3 Feet High \u003c/em>felt like a kaleidoscope of colorful ideas splashed against a wall and the group’s sophomore effort was equally intentional but with a darker palette. Consider this LP’s recurring skits: all meta-level self-deprecation where we overhear a pack of misanthropes listening to the album in real time, trashing the group and its pretensions at every opportunity.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4YxeQH9KdAp0JRyD5YQAFP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La also dabbled in heavier social commentary, whether mocking the violent posturing of gangsta rappers (“Afro Connections at the Hi 5”), addressing the trauma of drug addiction (“My Brother’s a Basehead”) or most surprisingly, turning a story about familial sexual abuse (\u003cstrong>“Millie Pulled a Pistol on Santa”\u003c/strong>) into a commercial single (and one of the most depressing holiday songs ever). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7HuylwCfdFfEH5Qc9MZ7dT?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Yet, De La’s symbolic death and reinvention wasn’t nearly as dramatic as fans might have feared. Though the trio puffed their chests out a bit further and their humor leaned a touch darker, the album still brimmed with a similar exuberance to \u003cem>3 Feet High\u003c/em>. The LP’s lead single, \u003cstrong>“Ring Ring Ring (Ha Ha Hey),”\u003c/strong> braided together various threads of the group’s evolving attitude: on the one hand, it was a lamentation on the exhausting nature of stardom, where De La complains about the parade of aspiring acts hounding them with demos in hand. On the other, the song’s playful post-disco groove injected a sonic ebullience that balanced the weary cynicism lining the group’s lyrics.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/43intIKOsACYuCBGtAix43?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It seemed as if the success of \u003cem>3 Feet High \u003c/em>gave the group license to go deeper into their artistic bag: more eclectic samples, more risk-taking (and less commercial) song concepts, and just plain more of everything; the CD version had 26 tracks and all but completely filled the standard 74 minute limit. Combine the album’s density with its wild, creative swings and \u003cem>Dead \u003c/em>can be a rather disjointed \u003cem>linear \u003c/em>listen if you’re simply going end to end. However, a random shuffle will likely land you onto one of the album’s many excellent songs.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1Chs3yVLdqewaHtmYjdN19?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>That includes their summer-in-the-park party anthem \u003cstrong>“A Roller Skating Jam Named ‘Saturdays’,”\u003c/strong> as well as a Stevie Wonder-inspired reflection on relationship rancor, “Talkin’ Bout Hey Love.” Meanwhile, on the humorous tip, \u003cstrong>“Bitties in the BK Lounge”\u003c/strong> might be the group’s funniest track. Leave it to De La to elevate a routine fast food encounter into an epic clash of the dozens between a bored cashier and snarky customer.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0cD0uNbIzZPCX6HX22mAi5?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s hard to overstate how creatively sprawling this album was, even within an era where hip-hop artists were experimenting with all kinds of new styles and modes. Especially in a time when hip-hop still felt deep in a fertile, “anything goes” state of imaginative possibility, De La continued to lead the vanguard of artists searching for the cutting edge.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>F__ Being Hard, De La Soul Is Complicated: \u003c/strong>\u003cem>\u003cstrong>Buhloone Mindstate\u003c/strong>\u003c/em>\u003cstrong> (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Buhloone Mindstate\u003c/em> is arguably the most “concept album-y” title of all of De La’s releases but the joke is that whatever the album’s concept was, the group seemed content to keep it to themselves. It’s as if De La, with its well-established ire towards the recording industry, decided to just forgo any pretense of commercial accessibility in favor of being “just weird, lost in the woods,” according to Pitchfork’s Andrew Nosnitsky, who also lauded \u003cem>Buhloone \u003c/em>as “notoriously and proudly inaccessible.”\u003c/p>\n\u003cp>This may not sound like a selling point but despite feeling crafted like a puzzle box, it’s a pleasantly compact one — just 10 full-length songs — coming after its two behemoth predecessors. With practically no filler on \u003cem>Buhloone \u003c/em>besides its assorted, anticipated skits, the album’s hit/miss ratio is as good as the group has ever delivered and it’s no surprise that hardcore De La fans have long insisted it is the most complete work.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1bJqruJ4gXeIqpFsyPqHF1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>There’s a distinctively urgent energy to much of the album, with the group mining their deep trove of jazz, blues, rock and funk samples to power the propulsion on songs like “Eye Patch” and \u003cstrong>“En Focus,”\u003c/strong> or the back-half standout, \u003cstrong>“In The Woods,”\u003c/strong> featuring Shortie No Mas whose piercing ad-libs dot the LP. Three albums — and \u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\">one lawsuit\u003c/a> — into their career and the group seemed undeterred in repurposing samples that spanned from Michael Jackson hits to forgotten electro singles to classic soul-jazz sides.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6fnCrJKX2kw5Roh8LjCm4D?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>As tense as much of the album can be elsewhere, one of the few times where the group winds things down to a more contemplative groove is on the LP standout, \u003cstrong>“I Am, I Be.”\u003c/strong> The song features a particularly poignant set of verses by Pos who both opens and closes the track. By this point in the ’90s, he had already established himself as one of hip-hop’s most thoughtful lyricists, and here he pens a brilliant set of philosophical musings on everything from the challenges of parenthood to dissolving friendships to record label servitude: \u003c/p>\n\u003cblockquote>\u003cp>\nI am Posdnuos\u003cbr>I be the new generation of slaves\u003cbr>Here to make papes to buy a record exec rakes\u003cbr>The pile of revenue I create\u003cbr>But I guess I don’t get a cut ’cause my rent’s a month late\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5v125GhjtJgappJWdNDTV2?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s all done over a haunting, melancholy track featuring no less than seven different samples, most notably an anchoring Lou Rawls loop. The group took such a shine to the song that they recorded an instrumental version for the album as well and invited funk pioneer Maceo Parker to play his saxophone over it.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4WKEvBiDnakwRImM41yZXC?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>However frustrated De La may have been with the rap industry, it’s also clear they have tremendous love for the rap community. Comedic hip-hop legend Biz Markie, who De La later hired as a tour DJ, features on the closing track, “Stone Age,” while the single, \u003cstrong>“Ego Trippin’ [Part Two]”\u003c/strong> doesn’t just nod to the Ultramagnetics’ 1986 song of the same name, but is filled with easter eggs for their heroes and peers by quoting and re-using famous lines from Pete Rock and CL Smooth (“When I Reminisce Over You”), Big Daddy Kane (“Ain’t No Half Steppin'”) and Run DMC (“Sucker MCs”).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3I7Mq9ieKF1Eeq9mlZTUad?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Fans wouldn’t have known it at the time but \u003cem>Buhloone Mindstate \u003c/em>also marked an end to a particular era for the group. The maniacal mind of producer Prince Paul had guided each of De La’s first three albums but at some point post-\u003cem>Buhloone\u003c/em>, the group decided to amicably break ties with their mentor and take greater creative control over their subsequent releases. By De La’s next album, they were prepared to reintroduce themselves, no longer as youthful rebels but now as hip-hop doyen, intent on defending the culture’s moral center.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>No Offense To A Player But They Don’t Play: \u003c/strong>\u003cem>\u003cstrong>Stakes Is High \u003c/strong>\u003c/em>\u003cstrong>(1996)\u003c/strong>\u003c/p>\n\u003cp>The three years since \u003cem>Buhloone Mindstate \u003c/em>had yielded a sea-change within hip-hop. The rise and dominance of artists like Dr. Dre, Snoop Dogg, Mobb Deep and the Notorious B.I.G. — among many others — eschewed the Afrocentric positivity that De La’s Native Tongues Family had ushered in less than a decade prior, supplanting it with lurid, violent tales of the rich and infamous.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6j4aQL66B36i6OcU8fOEHJ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Hip-hop’s culture war had already been brewing across the ’90s, with artists like Masta Ace, Common and De La themselves mocking what they saw as a cynical embrace of gang-banging and drug-slanging posturing. But few albums drew a line in the sand as conspicuous as \u003cem>Stakes Is High. \u003c/em>The album’s very title was part of that manifesto, an insistence that nihilism shouldn’t be a form of entertainment. As Trugoy rhymes on the title track, he was “sick of swoll head rappers with their sickening raps / Clappers of gats, making the whole sick world collapse.” Elsewhere, he and Pos poke fun at wannabe gangsters idolizing the mafia — “Why you acting all spicy and sheisty / The only Italians you knew was icees” (“Itsoweezee”) — and empty slogans — “You cry ‘keeping it real’ but you should try keeping it right” (“The Bizness”). Not all their finger-wagging was so direct; after previously decrying R&B as “rhythm and b*******,” De La cook up a crossover parody with the hilariously titled\u003cstrong> “Baby Baby Baby Baby Ooh Baby”\u003c/strong> which nails the generic sound of mid-90s hip-hop/R&B songs so well that with slightly less sarcasm salted in, Tommy Boy could have legitimately released this as a radio single.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0wgRcYqvlkLondVqD5Pgmn?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Along those lines: The overall sonic feel of \u003cem>Stakes Is High \u003c/em>is playful and easy-going. Whatever fears fans may have had about the absence of Prince Paul, De La proved more than capable of maintaining without him (with a few assists by the likes of Spearhead X and then-newcomer Jay Dee/J-Dilla). Befitting an album released in early July of 1996, there’s a downright summery vibe to much of \u003cem>Stakes \u003c/em>thanks to a prevalence of mid-tempo beats and filtered sampling techniques; alongside OutKast’s \u003cem>ATLiens, \u003c/em>De La may have assembled one of the best backyard BBQ soundtracks of that year.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0zikBNHRf92YezkmmfEiSE?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>After the relative minimalism of \u003cem>Buhloone Mindstate\u003c/em>, \u003cem>Stakes Is High \u003c/em>moved back towards super-size, with 17 song-length tracks (though, notably, no more skits). For all their targeted barbs at the rest of the rap world, much of the album is just Trugoy and Posdnuos at their best, mixing clever braggadocio and heartfelt sentiment in their songwriting. It’s a more grounded effort compared to the zany eccentricity of some of their early releases, reflecting the maturity of the group itself. They weren’t a trio of Long Island naifs anymore; they had reached the upper tier of hip-hop’s hierarchy and \u003cem>Stakes Is High \u003c/em>demonstrated the seriousness of that stature — but not without its occasional winks and chuckles.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/135z3i5CjKr3H4BCT4lGPg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Certified Rhyme Meadows: \u003c/strong>\u003cem>\u003cstrong>Art Official Intelligence: Mosaic Thump \u003c/strong>\u003c/em>\u003cstrong>(2000) \u003c/strong>\u003cem>\u003cstrong>& Bionix \u003c/strong>\u003c/em>\u003cstrong>(2001)\u003c/strong>\u003c/p>\n\u003cp>In 1999, De La Soul and their label, Tommy Boy, had announced plans for \u003cem>Art Official Intelligence \u003c/em>as three albums, to be released several months apart. In reality, only the first two installments — \u003cem>Mosaic Thump\u003c/em> and \u003cem>Bionix\u003c/em> — came out, six months apart, marking the first new major set of De La material in four years. Unlike their previous albums, the \u003cem>AOI \u003c/em>volumes didn’t have a unifying concept driving them. According to Maseo, the goal behind them was to release, “just some … real good songs, working with a lot of people that we respect in the music industry.” He wasn’t kidding; the two discs featured over 20 guests, equivalent to all the guests on their first four albums combined.\u003c/p>\n\u003cp>Of all the albums now made available on streaming, the \u003cem>AOI \u003c/em>pair were the most conventional-sounding relative to music of the time. While De La would never have embraced the excesses of the shiny suit era in the late ’90s, their \u003cem>AOI \u003c/em>output was decidedly more radio-friendly: slower grooves, melodic hooks, love/sex themes, plus a slew of R&B features including Chaka Khan (“All Good?”), Glenn Lewis (“Am I Worth You?”) and Emily “yummy” Bingham (\u003cstrong>“Special”\u003c/strong>). The level of craftsmanship was still high but some of their younger, oppositional spirit now seemed replaced by a lighter, feel-good demeanor. De La at middle age (in rap years) seemed like some chill dudes.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7IanAuGaHmsRBDqdwrq1x4?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Then again, with 35 songs split between the two discs, there was still plenty of material for long-time fans. Songs like “Declaration,” “View” (both on \u003cem>Mosaic Thump) \u003c/em>and “Held Down” (\u003cem>Bionix\u003c/em>) continued Posdnuos’ 10+ year reign as one of the hip-hop’s most underrated lyricists while singles like \u003cstrong>“Oooh”\u003c/strong> and “Thru Ya City” (both on \u003cem>Mosaic Thump\u003c/em>) have bouncy club appeal, only on the group’s terms (unlike their first hit from 1989, “Me, Myself and I,” which De La have publicly disavowed at their own shows).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0m1EDSjYlgZ3OQteqhP0XR?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There’s a long-standing rumor that De La Soul wanted to wheel out so much music, all at once, in part to complete all obligations to Tommy Boy after years of frustration with the label. This may be apocryphal but if accurate, the cruel irony is that Tommy Boy beat the group to the punch: Before the third installment of \u003cem>AOI \u003c/em>could come out in 2001, the label underwent a corporate restructuring that orphaned a range of intended projects, \u003cem>AOI\u003c/em> included. Either way, the members of De La were finally, after 13 years, able to find a new path for their careers. The product of those new efforts was 2004’s \u003cem>The Grind Date\u003c/em>, a semi-independent release that became the group’s most celebrated album since \u003cem>Stakes Is High\u003c/em>; it has \u003cem>already \u003c/em>been on streaming services for years. Finally, that album’s older siblings get to join the party, and we’re all left richer for it. The D.A.I.S.Y. Age may be long over, but long live the De La Age. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+La+Soul+Is+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Streaming platforms were initially sold as an all-encompassing music library — every song at one’s fingertips! — yet there are inevitable gaps within their discographies. For hip-hop fans, few omissions have been more grievous than the missing catalog of De La Soul. One of the giants of hip-hop’s “golden era” of the late ’80s through mid ’90s, De La’s penchant for playful creativity would go on to influence everyone from the Pharcyde to OutKast, Kanye West to Childish Gambino. Despite this, almost all of their most important albums have been missing from (legal) streaming services. When founding member Trugoy the Dove \u003ca href=\"https://www.npr.org/2023/02/13/1156489848/dave-jolicoeur-de-la-soul-trugoy-the-dove-obituary\">unexpectedly passed away\u003c/a> last month, anyone seeking to revisit most of De La Soul’s best known works would have been left empty-handed and confused. We now take for granted that our favorite artists have their catalogs readily available to us yet when in a time of grief over Trugoy’s death, new and old fans were met with a deafening silence of options to revisit his musical legacy. \u003c/p>\n\u003cp>What kept De La’s tunes out of rotation was a frustrating morass of outdated contracts and record label parsimony. It got so bad that in 2014, the group put their entire catalog on their website to download for free for a day. As they told \u003cem>Rolling Stone \u003c/em>at the time, “We’ve been blessed to be in the Library of Congress, but we can’t even have our music on iTunes.” Likewise, there was an attempt in 2019 by Tommy Boy Records, which owns the rights to De La’s music, to put them on streaming but the terms of that deal were so unfavorable to the group that\u003ca href=\"https://www.complex.com/music/2019/02/de-la-soul-calls-out-former-record-label-over-unfair-streaming-deal\"> public outrage\u003c/a> forced Tommy Boy to abandon their plans.\u003c/p>\n\u003cp>None of these are just business concerns. Our social awareness of music has always been tied to how songs and albums are distributed. Much like the proverbial tree falling in the woods without a witness, if an artist has recorded the greatest album of all time, does it really matter if no one has the means to hear it? De La may have sold millions of physical cassettes, CDs and vinyl records in the past but how many households have the means to play any of those formats? De La’s absence from streaming sites has effectively erased their presence from the contemporary musical landscape \u003cem>and \u003c/em>threatens to minimize their historical import. It’s not just the artist who loses out; we, as listeners, are left poorer too.\u003c/p>\n\u003cp>All this has finally been rectified. The group’s most important recordings are now legally available on the internet. Given how long it’s taken for this music to arrive, we thought it necessary to revisit this storied catalog and its restored legacy, to help new fans familiarize themselves with the memorable (and singular) arc of their career and give veteran listeners a reintroduction to their most influential work.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Souls Who Flaunt Styles: \u003c/strong>\u003cem>\u003cstrong>3 Feet High and Rising \u003c/strong>\u003c/em>\u003cstrong>(1989)\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>De La Soul’s debut reshaped the public imagination of what hip-hop could be. The core trio — Posdnuos, Trugoy and DJ Pasemaster Mase — assisted by mentor/producer Prince Paul all came straight outta the wilds of suburban Long Island, rapping about advice-spouting crocodiles, Martian transmissions, and an artistic meta-concept they dubbed The D.A.I.S.Y. (Da Inner Soul, Y’all) Age.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7GOdFpyX7aUbHOaYt7mwyP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La were part of the Native Tongues, a collective of like-minded artists that included the Jungle Brothers, A Tribe Called Quest and Queen Latifah, among others. Promoting Afrocentric positivity, they purposefully set themselves to contrast against the boisterous brio exemplified by such icons of the era as LL Cool J, NWA or Big Daddy Kane. De La Soul, especially, became smart, sardonic avatars for Black misfits and nerds, mining the sublime from the absurd. On the album, this is partly showcased in their songcraft, especially the humorous skits peppered throughout that turned the format into a rap album staple. There was also the consistently irreverent ways in which Pos and Trugoy adroitly rapped on everything from the garishness of consumer culture (“Take It Off”) to sexy flirtations (“Buddy”) to personal hygiene (\u003cstrong>“A Little Bit of Soap”\u003c/strong>). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6zgClTCI7zRqQLf148Sozu?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>The group would prove too clever by half, however, at least for the mainstream music media who were quick to dub them “hip-hop hippies.” That encouraged their label, Tommy Boy, to lean further into the aesthetic by creating artwork doused in day-glo colors and cartoon daisies. De La had to refute this characterization in real time; on the album’s big radio hit, \u003cstrong>“Me, Myself and I,”\u003c/strong> Pos (aka Plug One) insists, “You say Plug One and Two are hippies / No we’re not / That’s pure plug bull.”\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/792UwI6utk5DMQUT1KXa5E?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Despite these grumblings, \u003cem>3 Feet High \u003c/em>still brimmed in mirth, including on the musical side, overseen by Prince Paul and including contributions by the entire group. Sample-hungry rap producers had spent the previous few years mining the James Brown and P-Funk catalogs and though De La sampled from both on their debut, they were more likely to create memorable musical moments from children’s television songs (“The Magic Number”), obscure doo-wop singles (“Plug Tunin'”) and classic ’80s pop hits (“Say No Go”). Similar to how their DJ, PA Mase, could expertly splice up a dizzying number of snippets on a song like \u003cstrong>“Cool Breeze on the Rocks,”\u003c/strong> the group collectively embraced unfettered sampling as a calling card, a way to demonstrate how drawing upon “found sounds” could create new sounds. Ironically though, their love for sampling is one reason why it took so long for their music to make it to streaming; no one wanted to foot the bill to properly clear all those samples. In fact, the version of the track that appears on streaming is completely reimagined.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5iYjvQbLvISapScuxb4XTo?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Even 30+ years later, \u003cem>3 Feet High\u003c/em> still sounds wondrous and weird, even compared to their later albums, let alone the rest of the hip-hop landscape. Scores of other artists have tried to be clever but few, if any, have embodied a creative impulse as irrepressible and risk-taking. De La’s debut was a proof of concept that the right combination of ingenuity and frivolity could create something indelibly, impossibly hip. (Just don’t call them hippies.)\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Time For Heads To Get Flown: \u003c/strong>\u003cem>\u003cstrong>De La Soul Is Dead\u003c/strong>\u003c/em>\u003cstrong> (1991)\u003c/strong>\u003c/p>\n\u003cp>Imagine debuting with a gold record, lauded as darlings of “alternative” rap, and then using your follow-up LP to unceremoniously kill off that gilded goose. If the title, \u003cem>De La Soul Is Dead,\u003c/em> wasn’t enough of an announcement of intent, the album’s cover removed any lingering ambiguity: a broken pot of daisies, knocked upon its side.\u003c/p>\n\u003cp>\u003cem>3 Feet High \u003c/em>felt like a kaleidoscope of colorful ideas splashed against a wall and the group’s sophomore effort was equally intentional but with a darker palette. Consider this LP’s recurring skits: all meta-level self-deprecation where we overhear a pack of misanthropes listening to the album in real time, trashing the group and its pretensions at every opportunity.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4YxeQH9KdAp0JRyD5YQAFP?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>De La also dabbled in heavier social commentary, whether mocking the violent posturing of gangsta rappers (“Afro Connections at the Hi 5”), addressing the trauma of drug addiction (“My Brother’s a Basehead”) or most surprisingly, turning a story about familial sexual abuse (\u003cstrong>“Millie Pulled a Pistol on Santa”\u003c/strong>) into a commercial single (and one of the most depressing holiday songs ever). \u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7HuylwCfdFfEH5Qc9MZ7dT?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Yet, De La’s symbolic death and reinvention wasn’t nearly as dramatic as fans might have feared. Though the trio puffed their chests out a bit further and their humor leaned a touch darker, the album still brimmed with a similar exuberance to \u003cem>3 Feet High\u003c/em>. The LP’s lead single, \u003cstrong>“Ring Ring Ring (Ha Ha Hey),”\u003c/strong> braided together various threads of the group’s evolving attitude: on the one hand, it was a lamentation on the exhausting nature of stardom, where De La complains about the parade of aspiring acts hounding them with demos in hand. On the other, the song’s playful post-disco groove injected a sonic ebullience that balanced the weary cynicism lining the group’s lyrics.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/43intIKOsACYuCBGtAix43?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It seemed as if the success of \u003cem>3 Feet High \u003c/em>gave the group license to go deeper into their artistic bag: more eclectic samples, more risk-taking (and less commercial) song concepts, and just plain more of everything; the CD version had 26 tracks and all but completely filled the standard 74 minute limit. Combine the album’s density with its wild, creative swings and \u003cem>Dead \u003c/em>can be a rather disjointed \u003cem>linear \u003c/em>listen if you’re simply going end to end. However, a random shuffle will likely land you onto one of the album’s many excellent songs.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1Chs3yVLdqewaHtmYjdN19?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>That includes their summer-in-the-park party anthem \u003cstrong>“A Roller Skating Jam Named ‘Saturdays’,”\u003c/strong> as well as a Stevie Wonder-inspired reflection on relationship rancor, “Talkin’ Bout Hey Love.” Meanwhile, on the humorous tip, \u003cstrong>“Bitties in the BK Lounge”\u003c/strong> might be the group’s funniest track. Leave it to De La to elevate a routine fast food encounter into an epic clash of the dozens between a bored cashier and snarky customer.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0cD0uNbIzZPCX6HX22mAi5?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s hard to overstate how creatively sprawling this album was, even within an era where hip-hop artists were experimenting with all kinds of new styles and modes. Especially in a time when hip-hop still felt deep in a fertile, “anything goes” state of imaginative possibility, De La continued to lead the vanguard of artists searching for the cutting edge.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>F__ Being Hard, De La Soul Is Complicated: \u003c/strong>\u003cem>\u003cstrong>Buhloone Mindstate\u003c/strong>\u003c/em>\u003cstrong> (1993)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Buhloone Mindstate\u003c/em> is arguably the most “concept album-y” title of all of De La’s releases but the joke is that whatever the album’s concept was, the group seemed content to keep it to themselves. It’s as if De La, with its well-established ire towards the recording industry, decided to just forgo any pretense of commercial accessibility in favor of being “just weird, lost in the woods,” according to Pitchfork’s Andrew Nosnitsky, who also lauded \u003cem>Buhloone \u003c/em>as “notoriously and proudly inaccessible.”\u003c/p>\n\u003cp>This may not sound like a selling point but despite feeling crafted like a puzzle box, it’s a pleasantly compact one — just 10 full-length songs — coming after its two behemoth predecessors. With practically no filler on \u003cem>Buhloone \u003c/em>besides its assorted, anticipated skits, the album’s hit/miss ratio is as good as the group has ever delivered and it’s no surprise that hardcore De La fans have long insisted it is the most complete work.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/1bJqruJ4gXeIqpFsyPqHF1?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>There’s a distinctively urgent energy to much of the album, with the group mining their deep trove of jazz, blues, rock and funk samples to power the propulsion on songs like “Eye Patch” and \u003cstrong>“En Focus,”\u003c/strong> or the back-half standout, \u003cstrong>“In The Woods,”\u003c/strong> featuring Shortie No Mas whose piercing ad-libs dot the LP. Three albums — and \u003ca href=\"https://www.latimes.com/archives/la-xpm-1989-07-23-ca-392-story.html\">one lawsuit\u003c/a> — into their career and the group seemed undeterred in repurposing samples that spanned from Michael Jackson hits to forgotten electro singles to classic soul-jazz sides.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6fnCrJKX2kw5Roh8LjCm4D?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>As tense as much of the album can be elsewhere, one of the few times where the group winds things down to a more contemplative groove is on the LP standout, \u003cstrong>“I Am, I Be.”\u003c/strong> The song features a particularly poignant set of verses by Pos who both opens and closes the track. By this point in the ’90s, he had already established himself as one of hip-hop’s most thoughtful lyricists, and here he pens a brilliant set of philosophical musings on everything from the challenges of parenthood to dissolving friendships to record label servitude: \u003c/p>\n\u003cblockquote>\u003cp>\nI am Posdnuos\u003cbr>I be the new generation of slaves\u003cbr>Here to make papes to buy a record exec rakes\u003cbr>The pile of revenue I create\u003cbr>But I guess I don’t get a cut ’cause my rent’s a month late\n\u003c/p>\u003c/blockquote>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/5v125GhjtJgappJWdNDTV2?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>It’s all done over a haunting, melancholy track featuring no less than seven different samples, most notably an anchoring Lou Rawls loop. The group took such a shine to the song that they recorded an instrumental version for the album as well and invited funk pioneer Maceo Parker to play his saxophone over it.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/4WKEvBiDnakwRImM41yZXC?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>However frustrated De La may have been with the rap industry, it’s also clear they have tremendous love for the rap community. Comedic hip-hop legend Biz Markie, who De La later hired as a tour DJ, features on the closing track, “Stone Age,” while the single, \u003cstrong>“Ego Trippin’ [Part Two]”\u003c/strong> doesn’t just nod to the Ultramagnetics’ 1986 song of the same name, but is filled with easter eggs for their heroes and peers by quoting and re-using famous lines from Pete Rock and CL Smooth (“When I Reminisce Over You”), Big Daddy Kane (“Ain’t No Half Steppin'”) and Run DMC (“Sucker MCs”).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/3I7Mq9ieKF1Eeq9mlZTUad?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Fans wouldn’t have known it at the time but \u003cem>Buhloone Mindstate \u003c/em>also marked an end to a particular era for the group. The maniacal mind of producer Prince Paul had guided each of De La’s first three albums but at some point post-\u003cem>Buhloone\u003c/em>, the group decided to amicably break ties with their mentor and take greater creative control over their subsequent releases. By De La’s next album, they were prepared to reintroduce themselves, no longer as youthful rebels but now as hip-hop doyen, intent on defending the culture’s moral center.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>No Offense To A Player But They Don’t Play: \u003c/strong>\u003cem>\u003cstrong>Stakes Is High \u003c/strong>\u003c/em>\u003cstrong>(1996)\u003c/strong>\u003c/p>\n\u003cp>The three years since \u003cem>Buhloone Mindstate \u003c/em>had yielded a sea-change within hip-hop. The rise and dominance of artists like Dr. Dre, Snoop Dogg, Mobb Deep and the Notorious B.I.G. — among many others — eschewed the Afrocentric positivity that De La’s Native Tongues Family had ushered in less than a decade prior, supplanting it with lurid, violent tales of the rich and infamous.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/6j4aQL66B36i6OcU8fOEHJ?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Hip-hop’s culture war had already been brewing across the ’90s, with artists like Masta Ace, Common and De La themselves mocking what they saw as a cynical embrace of gang-banging and drug-slanging posturing. But few albums drew a line in the sand as conspicuous as \u003cem>Stakes Is High. \u003c/em>The album’s very title was part of that manifesto, an insistence that nihilism shouldn’t be a form of entertainment. As Trugoy rhymes on the title track, he was “sick of swoll head rappers with their sickening raps / Clappers of gats, making the whole sick world collapse.” Elsewhere, he and Pos poke fun at wannabe gangsters idolizing the mafia — “Why you acting all spicy and sheisty / The only Italians you knew was icees” (“Itsoweezee”) — and empty slogans — “You cry ‘keeping it real’ but you should try keeping it right” (“The Bizness”). Not all their finger-wagging was so direct; after previously decrying R&B as “rhythm and b*******,” De La cook up a crossover parody with the hilariously titled\u003cstrong> “Baby Baby Baby Baby Ooh Baby”\u003c/strong> which nails the generic sound of mid-90s hip-hop/R&B songs so well that with slightly less sarcasm salted in, Tommy Boy could have legitimately released this as a radio single.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0wgRcYqvlkLondVqD5Pgmn?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Along those lines: The overall sonic feel of \u003cem>Stakes Is High \u003c/em>is playful and easy-going. Whatever fears fans may have had about the absence of Prince Paul, De La proved more than capable of maintaining without him (with a few assists by the likes of Spearhead X and then-newcomer Jay Dee/J-Dilla). Befitting an album released in early July of 1996, there’s a downright summery vibe to much of \u003cem>Stakes \u003c/em>thanks to a prevalence of mid-tempo beats and filtered sampling techniques; alongside OutKast’s \u003cem>ATLiens, \u003c/em>De La may have assembled one of the best backyard BBQ soundtracks of that year.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0zikBNHRf92YezkmmfEiSE?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>After the relative minimalism of \u003cem>Buhloone Mindstate\u003c/em>, \u003cem>Stakes Is High \u003c/em>moved back towards super-size, with 17 song-length tracks (though, notably, no more skits). For all their targeted barbs at the rest of the rap world, much of the album is just Trugoy and Posdnuos at their best, mixing clever braggadocio and heartfelt sentiment in their songwriting. It’s a more grounded effort compared to the zany eccentricity of some of their early releases, reflecting the maturity of the group itself. They weren’t a trio of Long Island naifs anymore; they had reached the upper tier of hip-hop’s hierarchy and \u003cem>Stakes Is High \u003c/em>demonstrated the seriousness of that stature — but not without its occasional winks and chuckles.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/135z3i5CjKr3H4BCT4lGPg?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Certified Rhyme Meadows: \u003c/strong>\u003cem>\u003cstrong>Art Official Intelligence: Mosaic Thump \u003c/strong>\u003c/em>\u003cstrong>(2000) \u003c/strong>\u003cem>\u003cstrong>& Bionix \u003c/strong>\u003c/em>\u003cstrong>(2001)\u003c/strong>\u003c/p>\n\u003cp>In 1999, De La Soul and their label, Tommy Boy, had announced plans for \u003cem>Art Official Intelligence \u003c/em>as three albums, to be released several months apart. In reality, only the first two installments — \u003cem>Mosaic Thump\u003c/em> and \u003cem>Bionix\u003c/em> — came out, six months apart, marking the first new major set of De La material in four years. Unlike their previous albums, the \u003cem>AOI \u003c/em>volumes didn’t have a unifying concept driving them. According to Maseo, the goal behind them was to release, “just some … real good songs, working with a lot of people that we respect in the music industry.” He wasn’t kidding; the two discs featured over 20 guests, equivalent to all the guests on their first four albums combined.\u003c/p>\n\u003cp>Of all the albums now made available on streaming, the \u003cem>AOI \u003c/em>pair were the most conventional-sounding relative to music of the time. While De La would never have embraced the excesses of the shiny suit era in the late ’90s, their \u003cem>AOI \u003c/em>output was decidedly more radio-friendly: slower grooves, melodic hooks, love/sex themes, plus a slew of R&B features including Chaka Khan (“All Good?”), Glenn Lewis (“Am I Worth You?”) and Emily “yummy” Bingham (\u003cstrong>“Special”\u003c/strong>). The level of craftsmanship was still high but some of their younger, oppositional spirit now seemed replaced by a lighter, feel-good demeanor. De La at middle age (in rap years) seemed like some chill dudes.\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/7IanAuGaHmsRBDqdwrq1x4?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003cp>Then again, with 35 songs split between the two discs, there was still plenty of material for long-time fans. Songs like “Declaration,” “View” (both on \u003cem>Mosaic Thump) \u003c/em>and “Held Down” (\u003cem>Bionix\u003c/em>) continued Posdnuos’ 10+ year reign as one of the hip-hop’s most underrated lyricists while singles like \u003cstrong>“Oooh”\u003c/strong> and “Thru Ya City” (both on \u003cem>Mosaic Thump\u003c/em>) have bouncy club appeal, only on the group’s terms (unlike their first hit from 1989, “Me, Myself and I,” which De La have publicly disavowed at their own shows).\u003c/p>\n\u003cp>\u003ciframe style=\"border-radius:12px\" src=\"https://open.spotify.com/embed/track/0m1EDSjYlgZ3OQteqhP0XR?utm_source=generator\" width=\"100%\" height=\"152\" frameborder=\"0\" allowfullscreen=\"\" allow=\"autoplay; clipboard-write; encrypted-media; fullscreen; picture-in-picture\" loading=\"lazy\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a long-standing rumor that De La Soul wanted to wheel out so much music, all at once, in part to complete all obligations to Tommy Boy after years of frustration with the label. This may be apocryphal but if accurate, the cruel irony is that Tommy Boy beat the group to the punch: Before the third installment of \u003cem>AOI \u003c/em>could come out in 2001, the label underwent a corporate restructuring that orphaned a range of intended projects, \u003cem>AOI\u003c/em> included. Either way, the members of De La were finally, after 13 years, able to find a new path for their careers. The product of those new efforts was 2004’s \u003cem>The Grind Date\u003c/em>, a semi-independent release that became the group’s most celebrated album since \u003cem>Stakes Is High\u003c/em>; it has \u003cem>already \u003c/em>been on streaming services for years. Finally, that album’s older siblings get to join the party, and we’re all left richer for it. The D.A.I.S.Y. Age may be long over, but long live the De La Age. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2023 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=De+La+Soul+Is+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How Niche Rap Stars Quietly Conquered 2022",
"headTitle": "How Niche Rap Stars Quietly Conquered 2022 | KQED",
"content": "\u003cp>If you can’t find the emergent rap stars in 2022, you might be looking in the wrong place. A \u003ca href=\"https://www.billboard.com/pro/hip-hop-music-most-popular-genre-dominance-slipping/\">recent \u003cem>Billboard\u003c/em> feature\u003c/a> about hip-hop’s status as a market leader suggested that a generation of rap stars is aging out and few new ones are filling the void. But scan lists of the most streamed artists of the year and, between the boldface names of artists like Drake, Future, Eminem and Kendrick Lamar, you will find a few whose presence feels less inevitable. The metrics for stardom have always required specific machinery, but that machinery has been altered in the 2020s, thanks in large part to changes in streaming infrastructure. The digital paths we came to recognize in the last decade tended to aim at an eventual level-up: leveraging a base on SoundCloud into radio play, or turning a viral video into a TV spot. For some in this latest generation, that kind of signal boost is beside the point.\u003c/p>\n\u003cp>[aside postID='arts_13922511']To be fair, it is true that hip-hop is facing some critical challenges that have curbed its star power in recent years. Its lyrics have become a favorite tool of the carceral system, both stateside and abroad. An obscene number of young rap stars have been killed by gun violence and opioid abuse — though, importantly, that rise has been commensurate with record deaths in both categories nationwide over the same period, according to \u003ca href=\"https://www.nbcnews.com/news/us-news/third-straight-year-america-hits-grim-milestone-600-multiple-victim-sh-rcna58230\">The Gun Violence Archive\u003c/a> and the \u003ca href=\"https://www.cnn.com/2022/12/14/health/drug-overdose-deaths-slowing/index.html\">CDC\u003c/a>, respectively. (As usual, rap is merely reflecting the values of American culture.) Meanwhile, a few of rap’s biggest names have tanked their own careers in public lately. DaBaby talked his way into oblivion. Questions remain about Travis Scott’s culpability in the deaths of concertgoers during the Astroworld festival in 2021. His mentor Kanye West, or Ye, spent months effectively self-identifying as antisemitic, before capping the year with a note of \u003ca href=\"https://www.npr.org/2022/12/02/1140218872/ye-antisemitism-alex-jones-podcast\">praise for Hitler\u003c/a> that seemed to stun even the notorious far-right conspiracy theorist Alex Jones.\u003c/p>\n\u003cp>But beyond these complications, the idea that rap stardom at large is dwindling must come down to the model used to measure it. For most of pop history, the household name has been fashioned by a combination of radio plays and TV appearances, awards show nominations and “it” moments — signifiers that add up to an artist as a cultural force, prominent in ways that can’t be ignored. And by those standards, there are still those whose ascendancy has been presented in familiar terms. Lil Baby, Gunna and Jack Harlow, each riding a comfortable upswing, all scored hit albums and singles this year. Megan Thee Stallion remains an A-lister, her name and music at the center of discourse despite the chaos of her situation. Polo G and Playboi Carti made such dominant showings in the early COVID era, they were able to take 2022 off and still feel unavoidable. 21 Savage, coming off a long break, reaffirmed his status with Drake at his side.\u003c/p>\n\u003cp>But at the fringes of that more recognizable sphere of celebrity, a new kind of star has been hard at work: the platform-conscious niche star, whose massive fanbase only looks small when compared with total ubiquity. Hip-hop has some precedent for such figures, embodied in those regional successes who operate without much concern for crossing over. And the diminished visibility of many of these niche stars has at least a little to do with their aversion to press, or the press’s aversion to them. But if you believe there’s a meaningful distinction between what is outwardly omnipresent in culture and what is \u003cem>reaching\u003c/em> people — between what is promoted and what is actually beloved — the fringe rap star is a living test of this principle, the kind of artist whose success manifests in being actively listened to by 100 people, rather than casually heard by 1,000. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k-PaOWxvnz0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2022, YoungBoy Never Broke Again (or \u003ca href=\"https://www.npr.org/artists/898640762/nba-youngboy\">NBA YoungBoy\u003c/a>), \u003ca href=\"https://www.npr.org/artists/783292357/rod-wave\">Rod Wave\u003c/a>, Lil Durk, Yeat and a resurgent Kodak Black stood out among a cohort of artists who are finding ways to connect with legions of listeners while the wider pop cultural apparatus mostly ignores them. Their central appeal is their music, all varying strains of melodic rap. Their success is tangible, at least by the streaming era’s murky math: Of the 13 albums \u003ca href=\"https://www.riaa.com/riaas-2022-year-end-gold-platinum-awards/\">certified by the RIAA\u003c/a> this year, Durk’s \u003cem>7220\u003c/em> was one of only five to go platinum. YoungBoy scored two of the eight gold plaques, and Rod and Kodak each nabbed one more. The stars behind these numbers have each produced their own distilled sound, and though their paths differ, their stories overlap. Through the gaps in social platforming and the increased sprawl of the streaming model (with direct-to-consumer meeting word-of-mouth), these performers took the leap, some despite significant controversy, to help define the year in rap for those who took notice.\u003c/p>\n\u003cp>NBA YoungBoy is the archetype for this phenomenon. The Baton Rouge rapper’s total streaming numbers are second to only Drake’s among all artists, and yet he is hidden. He has no radio presence. He isn’t even in the Top 20 on \u003cem>Billboard\u003c/em>‘s\u003ca href=\"https://www.billboard.com/charts/year-end/top-artists/\"> year-end artists\u003c/a> list. Nor is he one of Spotify’s Top 5 most-streamed artists in America. Where sheer numbers are concerned, his competitive edge against music’s one-percenters lies in a machinelike productivity. YoungBoy seems to have the upload button held down: He’s prolific but consistent, always active and always online, rolling out content at the algorithm’s desired pace. Musically, there is a subtle ranginess within his squawked, autotuned performances that has kept him clear of stagnancy, a contrast you can hear in his last two solo projects — the Cash Money-inspired 3\u003cem>800 Degrees\u003c/em> is belligerent and burly, whereas \u003cem>Ma’ I Got A Family\u003c/em> is more subdued and tender. It’s that duality that has helped sustain his nonstop creative march.\u003c/p>\n\u003cp>Rod Wave has picked up a reputation as rap’s resident melancholiac, so much so that he announced that his August LP, \u003cem>Beautiful Mind\u003c/em>, would be his last “\u003ca href=\"https://www.xxlmag.com/rod-wave-last-sad-album/\">sad-ass album\u003c/a>.” It might be more accurate to call his music yearning: He is certainly a bluesman, but often his songs are about pushing forward through tragedy and bearing the brunt of loss. It’s easy to understand how that approach has resonated in these pandemic years; Rod has had an album debut in the Top 2 on the \u003cem>Billboard\u003c/em> 200 every year since 2020. Unlike many other rappers in this conversation, he seems to create in isolation — his records barely have any features, and he\u003ca href=\"https://www.complex.com/music/drake-responds-rod-wave-explanation-turning-down-collaboration\"> nixed\u003c/a> a Drake collab on the grounds that he wasn’t satisfied with his own contribution to the track. His music is sympathetic and accessible, vulnerable in an almost ordinary way. It feels characteristic of the artist who makes it, cautious and homespun. \u003c/p>\n\u003cp>[pullquote]All of these fringe rappers have a sound that is supported by the ways our consumer models are currently designed. They feed into the autoplay function, absorb into the cracks around everyday life.[/pullquote]Lil Durk’s rise started out a bit more traditional. The Chicago rapper was initially swept up in the drill gold rush of the early 2010s, but his career stalled; A&Rs didn’t seem to know what to do with him, and he was released from his Def Jam deal in 2018. He has been steadily resurfacing ever since: five \u003cem>Billboard\u003c/em> Top 5 albums in four years, three of those certified platinum, including a collaboration with Lil Baby. This year, he sold out the United Center for the hometown show of his \u003cem>7220\u003c/em> tour. Similarly to Rod, Durk’s success is built on openness, but his music sets a far colder mood, hardened against the harsh realities of the violence its words brush against. As drill continues its global expansion, Durk has developed in meditative directions. He does have a bruiser mode where he cuts the autotune and reflects on the cruelty he has experienced, but his most reflective mode, the default one that earned him the nickname “The Voice,” is poignant, droning singsong. Both qualities have made him a reliable foil for rappers like Drake, Cardi B, Gucci Mane and Meek Mill.\u003c/p>\n\u003cp>Somewhere beyond the currently quantifiable lies Yeat. A former Slayworld affiliate, his music pries open rage beats (cascading electronic production often resembling 8-bit video game music) and tunnels through their vortexes, his wheezing flows opening portals to realms as vivid as \u003cem>Castlevania\u003c/em>‘s gothic horror or \u003cem>Doom\u003c/em>‘s hell-raising pandemonium. Yeat songs are soundscapes for a digital world, so it’s unsurprising that the native ecosystem for his music is TikTok, where songs can exist almost purely as trend fuel or edit glue. He has carved out a distinct niche as a meme rapper — his song “Rich Minions” prompted zealous, suit-wearing teenagers to mob screenings of a \u003cem>Despicable Me\u003c/em> prequel — and on YouTube he is a king of the fan-made AMV, or anime music video. As surreal and stupefying as his rise has been, there is something genuinely mesmerizing in the music, whose Simlish cadences really do feel equipped with the power to make memes real.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FdzaIa9pYmg\u003c/p>\n\u003cp>If there is an exception that proves the rule, it is Kodak Black, whose ignominy often overshadows the music he makes. The Florida rapper reemerged at the top of the year from an incarceration-induced down period, and with “Super Gremlin” notched the year’s biggest YouTube hit to not have come from the \u003cem>Encanto\u003c/em> soundtrack. He is a melodic rapper’s melodic rapper: Roddy Ricch\u003ca href=\"https://www.complex.com/music/roddy-ricch-names-big-3-rappers-of-his-generation-nle-choppa-snubbed\"> dubbed\u003c/a> him one of their generation’s big three (along with YoungBoy), and Drake separately delivered his own endorsement: “You really all that for this generation and the next one if we being honest,” he\u003ca href=\"https://www.xxlmag.com/drake-kodak-black-cosign/\"> wrote\u003c/a>. Kendrick Lamar must feel similarly, since he used Kodak as a proxy on his crucible of an album, \u003cem>Mr. Morale & the Big Steppers\u003c/em>, a decision that received considerable \u003ca href=\"https://www.mic.com/culture/kendrick-lamar-kodak-black-mr-morale-big-steppers\">backlash\u003c/a>, but one that, in its own way, seems to wrestle with star power and celebrity responsibility and cult followings, with Kendrick himself longing to retreat to the periphery.\u003c/p>\n\u003cp>The notoriety that Kodak does have, or the infamy he has earned, is rooted in a buffoonery that has stretched into lawlessness. He has a long rap sheet, including a charge of first-degree criminal sexual conduct (which he \u003ca href=\"https://www.rollingstone.com/music/music-news/kodak-black-pleads-guilty-to-first-degree-assault-and-battery-in-sexual-misconduct-case-1162747/\">pled down\u003c/a> to first-degree assault and battery last year) and a firearm charge (which was \u003ca href=\"https://www.nytimes.com/2021/01/20/arts/music/trump-pardons-lil-wayne-kodak-black.html\">commuted\u003c/a> by then-President Donald Trump in 2020). And, frankly, he is incendiary and exasperating: The rapper has an extensive history of ignorant, colorist, sexist comments. All that baggage is saddling one of the most talented prospects in recent years, a rapper beloved by critics until he made himself unlovable. The same impishness that has made him a super gremlin in public seems to govern his songs; his croaked raps are charged with a mischievous energy. Kodak likely benefits most among his peers from operating on the fringes, where his nonstop antics don’t have to face the more searing scrutiny of the megawatt spotlight.\u003c/p>\n\u003cp>In that way and others, staying out of the public eye can be a PR strategy for circumventing the demands made of headliners. Talk of the ethics of streaming tends to center on the platforms, but on the user end there seems to be a disparity between the way people talk about music and the way they listen, or perhaps between those doing the talking and those doing the listening. Kodak is a streaming mainstay despite his history. YoungBoy and Rod Wave have been\u003ca href=\"https://pitchfork.com/news/nba-youngboy-pleads-guilty-to-misdemeanor-battery/\"> similarly\u003c/a>\u003ca href=\"https://www.rollingstone.com/music/music-news/rod-wave-choked-ex-domestic-battery-charge-1352058/\"> detained\u003c/a>. Even Durk isn’t \u003ca href=\"https://www.xxlmag.com/lil-durk-defends-morgan-wallen-encourages-kendrick-lamar-work-with-him/\">free\u003c/a> of \u003ca href=\"https://www.rollingstone.com/music/music-news/lil-durk-attempted-murder-charge-dropped-1234616773/\">controversy\u003c/a>. Rap has long been a business that courts provocation to build momentum, like a wrestling heel on a promo run. But the opposite can be true, too: Sometimes the best way to maintain momentum is to create as little friction as possible, to avoid controversy at all costs. Yeat often can’t even be bothered to show his face. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, beyond the bad behavior, there is something subtler and more fascinating at play: All of these fringe rappers have a sound that is supported by the ways our consumer models are currently designed. They feed into the autoplay function, absorb into the cracks around everyday life. Put YoungBoy or Rod Wave on shuffle and the songs can begin to bleed together. The artists are making distinctive, captivating music within their concealed little nooks, but they are using defined formulas to do so. It is the perfect balance for remaining hidden in plain sight. Their work never feels out of place on any modern rap playlist, but click away from the infinite wade of the stream and into their individual discographies, and a secret little sphere is unveiled. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+niche+rap+stars+quietly+conquered+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "NBA YoungBoy, Rod Wave and a resurgent Kodak Black pulled in massive streaming numbers this year (and, at times, outran controversy) while barely registering on mainstream pop's radar.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you can’t find the emergent rap stars in 2022, you might be looking in the wrong place. A \u003ca href=\"https://www.billboard.com/pro/hip-hop-music-most-popular-genre-dominance-slipping/\">recent \u003cem>Billboard\u003c/em> feature\u003c/a> about hip-hop’s status as a market leader suggested that a generation of rap stars is aging out and few new ones are filling the void. But scan lists of the most streamed artists of the year and, between the boldface names of artists like Drake, Future, Eminem and Kendrick Lamar, you will find a few whose presence feels less inevitable. The metrics for stardom have always required specific machinery, but that machinery has been altered in the 2020s, thanks in large part to changes in streaming infrastructure. The digital paths we came to recognize in the last decade tended to aim at an eventual level-up: leveraging a base on SoundCloud into radio play, or turning a viral video into a TV spot. For some in this latest generation, that kind of signal boost is beside the point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To be fair, it is true that hip-hop is facing some critical challenges that have curbed its star power in recent years. Its lyrics have become a favorite tool of the carceral system, both stateside and abroad. An obscene number of young rap stars have been killed by gun violence and opioid abuse — though, importantly, that rise has been commensurate with record deaths in both categories nationwide over the same period, according to \u003ca href=\"https://www.nbcnews.com/news/us-news/third-straight-year-america-hits-grim-milestone-600-multiple-victim-sh-rcna58230\">The Gun Violence Archive\u003c/a> and the \u003ca href=\"https://www.cnn.com/2022/12/14/health/drug-overdose-deaths-slowing/index.html\">CDC\u003c/a>, respectively. (As usual, rap is merely reflecting the values of American culture.) Meanwhile, a few of rap’s biggest names have tanked their own careers in public lately. DaBaby talked his way into oblivion. Questions remain about Travis Scott’s culpability in the deaths of concertgoers during the Astroworld festival in 2021. His mentor Kanye West, or Ye, spent months effectively self-identifying as antisemitic, before capping the year with a note of \u003ca href=\"https://www.npr.org/2022/12/02/1140218872/ye-antisemitism-alex-jones-podcast\">praise for Hitler\u003c/a> that seemed to stun even the notorious far-right conspiracy theorist Alex Jones.\u003c/p>\n\u003cp>But beyond these complications, the idea that rap stardom at large is dwindling must come down to the model used to measure it. For most of pop history, the household name has been fashioned by a combination of radio plays and TV appearances, awards show nominations and “it” moments — signifiers that add up to an artist as a cultural force, prominent in ways that can’t be ignored. And by those standards, there are still those whose ascendancy has been presented in familiar terms. Lil Baby, Gunna and Jack Harlow, each riding a comfortable upswing, all scored hit albums and singles this year. Megan Thee Stallion remains an A-lister, her name and music at the center of discourse despite the chaos of her situation. Polo G and Playboi Carti made such dominant showings in the early COVID era, they were able to take 2022 off and still feel unavoidable. 21 Savage, coming off a long break, reaffirmed his status with Drake at his side.\u003c/p>\n\u003cp>But at the fringes of that more recognizable sphere of celebrity, a new kind of star has been hard at work: the platform-conscious niche star, whose massive fanbase only looks small when compared with total ubiquity. Hip-hop has some precedent for such figures, embodied in those regional successes who operate without much concern for crossing over. And the diminished visibility of many of these niche stars has at least a little to do with their aversion to press, or the press’s aversion to them. But if you believe there’s a meaningful distinction between what is outwardly omnipresent in culture and what is \u003cem>reaching\u003c/em> people — between what is promoted and what is actually beloved — the fringe rap star is a living test of this principle, the kind of artist whose success manifests in being actively listened to by 100 people, rather than casually heard by 1,000. \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/k-PaOWxvnz0'\n title='//www.youtube.com/embed/k-PaOWxvnz0'\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>In 2022, YoungBoy Never Broke Again (or \u003ca href=\"https://www.npr.org/artists/898640762/nba-youngboy\">NBA YoungBoy\u003c/a>), \u003ca href=\"https://www.npr.org/artists/783292357/rod-wave\">Rod Wave\u003c/a>, Lil Durk, Yeat and a resurgent Kodak Black stood out among a cohort of artists who are finding ways to connect with legions of listeners while the wider pop cultural apparatus mostly ignores them. Their central appeal is their music, all varying strains of melodic rap. Their success is tangible, at least by the streaming era’s murky math: Of the 13 albums \u003ca href=\"https://www.riaa.com/riaas-2022-year-end-gold-platinum-awards/\">certified by the RIAA\u003c/a> this year, Durk’s \u003cem>7220\u003c/em> was one of only five to go platinum. YoungBoy scored two of the eight gold plaques, and Rod and Kodak each nabbed one more. The stars behind these numbers have each produced their own distilled sound, and though their paths differ, their stories overlap. Through the gaps in social platforming and the increased sprawl of the streaming model (with direct-to-consumer meeting word-of-mouth), these performers took the leap, some despite significant controversy, to help define the year in rap for those who took notice.\u003c/p>\n\u003cp>NBA YoungBoy is the archetype for this phenomenon. The Baton Rouge rapper’s total streaming numbers are second to only Drake’s among all artists, and yet he is hidden. He has no radio presence. He isn’t even in the Top 20 on \u003cem>Billboard\u003c/em>‘s\u003ca href=\"https://www.billboard.com/charts/year-end/top-artists/\"> year-end artists\u003c/a> list. Nor is he one of Spotify’s Top 5 most-streamed artists in America. Where sheer numbers are concerned, his competitive edge against music’s one-percenters lies in a machinelike productivity. YoungBoy seems to have the upload button held down: He’s prolific but consistent, always active and always online, rolling out content at the algorithm’s desired pace. Musically, there is a subtle ranginess within his squawked, autotuned performances that has kept him clear of stagnancy, a contrast you can hear in his last two solo projects — the Cash Money-inspired 3\u003cem>800 Degrees\u003c/em> is belligerent and burly, whereas \u003cem>Ma’ I Got A Family\u003c/em> is more subdued and tender. It’s that duality that has helped sustain his nonstop creative march.\u003c/p>\n\u003cp>Rod Wave has picked up a reputation as rap’s resident melancholiac, so much so that he announced that his August LP, \u003cem>Beautiful Mind\u003c/em>, would be his last “\u003ca href=\"https://www.xxlmag.com/rod-wave-last-sad-album/\">sad-ass album\u003c/a>.” It might be more accurate to call his music yearning: He is certainly a bluesman, but often his songs are about pushing forward through tragedy and bearing the brunt of loss. It’s easy to understand how that approach has resonated in these pandemic years; Rod has had an album debut in the Top 2 on the \u003cem>Billboard\u003c/em> 200 every year since 2020. Unlike many other rappers in this conversation, he seems to create in isolation — his records barely have any features, and he\u003ca href=\"https://www.complex.com/music/drake-responds-rod-wave-explanation-turning-down-collaboration\"> nixed\u003c/a> a Drake collab on the grounds that he wasn’t satisfied with his own contribution to the track. His music is sympathetic and accessible, vulnerable in an almost ordinary way. It feels characteristic of the artist who makes it, cautious and homespun. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lil Durk’s rise started out a bit more traditional. The Chicago rapper was initially swept up in the drill gold rush of the early 2010s, but his career stalled; A&Rs didn’t seem to know what to do with him, and he was released from his Def Jam deal in 2018. He has been steadily resurfacing ever since: five \u003cem>Billboard\u003c/em> Top 5 albums in four years, three of those certified platinum, including a collaboration with Lil Baby. This year, he sold out the United Center for the hometown show of his \u003cem>7220\u003c/em> tour. Similarly to Rod, Durk’s success is built on openness, but his music sets a far colder mood, hardened against the harsh realities of the violence its words brush against. As drill continues its global expansion, Durk has developed in meditative directions. He does have a bruiser mode where he cuts the autotune and reflects on the cruelty he has experienced, but his most reflective mode, the default one that earned him the nickname “The Voice,” is poignant, droning singsong. Both qualities have made him a reliable foil for rappers like Drake, Cardi B, Gucci Mane and Meek Mill.\u003c/p>\n\u003cp>Somewhere beyond the currently quantifiable lies Yeat. A former Slayworld affiliate, his music pries open rage beats (cascading electronic production often resembling 8-bit video game music) and tunnels through their vortexes, his wheezing flows opening portals to realms as vivid as \u003cem>Castlevania\u003c/em>‘s gothic horror or \u003cem>Doom\u003c/em>‘s hell-raising pandemonium. Yeat songs are soundscapes for a digital world, so it’s unsurprising that the native ecosystem for his music is TikTok, where songs can exist almost purely as trend fuel or edit glue. He has carved out a distinct niche as a meme rapper — his song “Rich Minions” prompted zealous, suit-wearing teenagers to mob screenings of a \u003cem>Despicable Me\u003c/em> prequel — and on YouTube he is a king of the fan-made AMV, or anime music video. As surreal and stupefying as his rise has been, there is something genuinely mesmerizing in the music, whose Simlish cadences really do feel equipped with the power to make memes real.\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/FdzaIa9pYmg'\n title='//www.youtube.com/embed/FdzaIa9pYmg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If there is an exception that proves the rule, it is Kodak Black, whose ignominy often overshadows the music he makes. The Florida rapper reemerged at the top of the year from an incarceration-induced down period, and with “Super Gremlin” notched the year’s biggest YouTube hit to not have come from the \u003cem>Encanto\u003c/em> soundtrack. He is a melodic rapper’s melodic rapper: Roddy Ricch\u003ca href=\"https://www.complex.com/music/roddy-ricch-names-big-3-rappers-of-his-generation-nle-choppa-snubbed\"> dubbed\u003c/a> him one of their generation’s big three (along with YoungBoy), and Drake separately delivered his own endorsement: “You really all that for this generation and the next one if we being honest,” he\u003ca href=\"https://www.xxlmag.com/drake-kodak-black-cosign/\"> wrote\u003c/a>. Kendrick Lamar must feel similarly, since he used Kodak as a proxy on his crucible of an album, \u003cem>Mr. Morale & the Big Steppers\u003c/em>, a decision that received considerable \u003ca href=\"https://www.mic.com/culture/kendrick-lamar-kodak-black-mr-morale-big-steppers\">backlash\u003c/a>, but one that, in its own way, seems to wrestle with star power and celebrity responsibility and cult followings, with Kendrick himself longing to retreat to the periphery.\u003c/p>\n\u003cp>The notoriety that Kodak does have, or the infamy he has earned, is rooted in a buffoonery that has stretched into lawlessness. He has a long rap sheet, including a charge of first-degree criminal sexual conduct (which he \u003ca href=\"https://www.rollingstone.com/music/music-news/kodak-black-pleads-guilty-to-first-degree-assault-and-battery-in-sexual-misconduct-case-1162747/\">pled down\u003c/a> to first-degree assault and battery last year) and a firearm charge (which was \u003ca href=\"https://www.nytimes.com/2021/01/20/arts/music/trump-pardons-lil-wayne-kodak-black.html\">commuted\u003c/a> by then-President Donald Trump in 2020). And, frankly, he is incendiary and exasperating: The rapper has an extensive history of ignorant, colorist, sexist comments. All that baggage is saddling one of the most talented prospects in recent years, a rapper beloved by critics until he made himself unlovable. The same impishness that has made him a super gremlin in public seems to govern his songs; his croaked raps are charged with a mischievous energy. Kodak likely benefits most among his peers from operating on the fringes, where his nonstop antics don’t have to face the more searing scrutiny of the megawatt spotlight.\u003c/p>\n\u003cp>In that way and others, staying out of the public eye can be a PR strategy for circumventing the demands made of headliners. Talk of the ethics of streaming tends to center on the platforms, but on the user end there seems to be a disparity between the way people talk about music and the way they listen, or perhaps between those doing the talking and those doing the listening. Kodak is a streaming mainstay despite his history. YoungBoy and Rod Wave have been\u003ca href=\"https://pitchfork.com/news/nba-youngboy-pleads-guilty-to-misdemeanor-battery/\"> similarly\u003c/a>\u003ca href=\"https://www.rollingstone.com/music/music-news/rod-wave-choked-ex-domestic-battery-charge-1352058/\"> detained\u003c/a>. Even Durk isn’t \u003ca href=\"https://www.xxlmag.com/lil-durk-defends-morgan-wallen-encourages-kendrick-lamar-work-with-him/\">free\u003c/a> of \u003ca href=\"https://www.rollingstone.com/music/music-news/lil-durk-attempted-murder-charge-dropped-1234616773/\">controversy\u003c/a>. Rap has long been a business that courts provocation to build momentum, like a wrestling heel on a promo run. But the opposite can be true, too: Sometimes the best way to maintain momentum is to create as little friction as possible, to avoid controversy at all costs. Yeat often can’t even be bothered to show his face. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, beyond the bad behavior, there is something subtler and more fascinating at play: All of these fringe rappers have a sound that is supported by the ways our consumer models are currently designed. They feed into the autoplay function, absorb into the cracks around everyday life. Put YoungBoy or Rod Wave on shuffle and the songs can begin to bleed together. The artists are making distinctive, captivating music within their concealed little nooks, but they are using defined formulas to do so. It is the perfect balance for remaining hidden in plain sight. Their work never feels out of place on any modern rap playlist, but click away from the infinite wade of the stream and into their individual discographies, and a secret little sphere is unveiled. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+niche+rap+stars+quietly+conquered+2022&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lindsay Lohan’s ‘Falling for Christmas’: A Minute-By-Minute Analysis",
"headTitle": "Lindsay Lohan’s ‘Falling for Christmas’: A Minute-By-Minute Analysis | KQED",
"content": "\u003cp>You know \u003ca href=\"https://giphy.com/clips/justin-tyra-banks-rooting-for-you-EghhnKjTtyVWCTVM64\" rel=\"noopener noreferrer\">that gif of Tyra Banks\u003c/a> yelling “I was rooting for you! We were all rooting for you!”? I have a theory that the reason it’s still in such heavy rotation is that we need it every time Lindsay Lohan does A Thing.\u003c/p>\n\u003cp>That reality show based on \u003ca href=\"https://www.kqed.org/pop/104384/cancel-your-summer-plans-lindsay-lohan-has-a-beach-resort-in-greece-now\">Lohan’s Greek beach resort\u003c/a>, which was a lot like watching an ungodly mash-up of \u003cem>The Apprentice\u003c/em> and \u003cem>Love Island?\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/91507/why-lindsay-lohans-i-know-who-killed-me-should-be-a-cult-favorite\">\u003cem>I Know Who Killed Me\u003c/em>\u003c/a>, a movie in which body parts literally start falling off Lohan’s main character because she has a secret twin who’s losing limbs elsewhere?\u003c/p>\n\u003cp>That super low-budget 2018 werewolf (yes, \u003cem>werewolf\u003c/em>) movie Lohan made, called \u003ca href=\"https://www.youtube.com/watch?v=wvALu6kj6lo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Among the Shadows\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>All deserve a Tyra.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921481 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy.gif\" alt=\"\" width=\"500\" height=\"303\">\u003c/p>\n\u003cp>And yet, like so many other optimistic humans, I just keep returning to the Land o’ Lohan in the hope that one day — \u003cem>someday\u003c/em> — she gets her life and career back on track. (Damn you, \u003cem>Mean Girls\u003c/em>, for keeping us here!)\u003c/p>\n\u003cp>Lohan’s latest attempt at doing something worth watching is a new Netflix movie titled \u003cem>Falling for Christmas\u003c/em>. It is one of the approximately 8,500 seasonal movies that will come out this year and, having landed Nov. 10, it’s one of the earliest.\u003c/p>\n\u003cp>I’m here to watch it, so you don’t have to. (Oh, and I am going to tell you literally everything, so consider this your spoiler alert.)\u003c/p>\n\u003cp>0:50: Lindsay Lohan is Sierra Belmont. We know she’s terrible because she wears a padded eye mask in bed which, in movieland, as we all know, is the universal signifier for Mean Rich Lady.\u003c/p>\n\u003cfigure id=\"attachment_13921496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Eye-Mask-800x497.png\" alt=\"A woman lying on silky white pillows, under a duvet, wearing a red nightgown and a white eye mask.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1536x954.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1920x1193.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask.png 1932w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rom-Com Rule #1: If you wear an eye mask anywhere other than a plane, you are a terrible person. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:05: Opening credit montage of annoying fancy people at a Rich People Ski Resort. We know they’re annoying rich people because they’re all wearing fluorescent colors and an air of self-entitlement.\u003c/p>\n\u003cp>2:21: Sierra is conducting a tightly packed exposition scene over the phone with a Sexually Ambiguous British Man. This is Tad, her boyfriend (surprise!), and a person that refers to himself as “one of Hype magazine’s top social influencers.” Sierra is a hotel heiress who doesn’t want to work for her dad. This movie is going to be rough.\u003c/p>\n\u003cp>3:00 Mid-phone convo, a four-person “glam squad” and a personal assistant named Terry — who is a 1990s stereotype of a Professional Gay Man — arrive at Sierra’s hotel room and start feeding her champagne and caviar while she complains about the fact that people think she’s spoiled. This movie is not subtle on any level.\u003c/p>\n\u003cfigure id=\"attachment_13921502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png\" alt=\"A man with neat fair hair, wearing a suit jacket, looks stunned.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype.png 1714w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terry: Woulda been perfect on ‘Will and Grace.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>4:30: A skiing man does a series of little jumps on the slopes. We know he’s a Good (Probably Poor) Person because his clothes are muted colors and he is being soundtracked by jaunty music.\u003c/p>\n\u003cp>[aside postid='arts_13922004']4:50: Good Poor Person Man is named Jake. He is trying to talk to Sierra’s father because he needs an investor for his Regular People Ski Lodge, which is not doing so well. Then the two race each other downhill because that is absolutely how people do business at ski resorts.\u003c/p>\n\u003cp>5:19: Jake will not stop doing little unnecessary ski jumps. Please fall over, please fall over, please fall over.\u003c/p>\n\u003cp>8:50: Jake lives inside a snow globe from your Aunt Jackie’s Christmas decorations with a horse named Balthazar, an adorable grandmother and a daughter who grins constantly like she’s in a seasonal Macy’s commercial.\u003c/p>\n\u003cfigure id=\"attachment_13921501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Snow-globe-800x445.png\" alt=\"A mountain lodge, surrounded by snowy mountains.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-768x428.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1536x855.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-2048x1140.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1920x1069.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The snow globe that Jake lives in. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>13:45: Tad says the phrase “Gondolas are for losers” and dear god in heaven, how will I ever get through this movie?\u003c/p>\n\u003cp>14:15: Sierra starts singing along to “\u003ca href=\"https://www.rollingstone.com/music/music-news/lindsay-lohan-jingle-bell-rock-netflix-film-1234624531/\">Jingle Bell Rock\u003c/a>” in Tad’s car, because she just released that single, so let’s get that shoehorned in.\u003c/p>\n\u003cp>15:11: Back in Aunt Jackie’s snow globe, Jake is taking a couple from an Old Navy commercial on a sleigh ride.\u003c/p>\n\u003cp>17:33: Tad takes Sierra to the top of a mountain to propose. Sierra is dressed in a pink version of the Bride’s yellow and black jumpsuit from \u003cem>Kill Bill\u003c/em> so, frankly, who can blame him?\u003c/p>\n\u003cfigure id=\"attachment_13921503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921503\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png\" alt=\"A woman in a fluorescent pink ski suit with black details stands on skis on a mountaintop. A man in a black and white checkered jacket knees before her.\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1020x698.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-768x526.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1536x1052.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal.png 1618w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a ‘Kill Bill’ ski suit, for crying out loud! He’d be crazy not to put a ring on it! \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18:33: Jake’s perpetually-grinning child writes down a wish and hangs it on a tree at the local Christmas market. A creepazoid Santa look-a-like sees this, grins eerily and the wish flies up into the air and directly into a snowstorm. Said snowstorm hits Sierra and she falls off the side of the mountain. I am exhausted already.\u003c/p>\n\u003cp>19:35: I have a sneaking suspicion that this movie is about to turn into the Goldie Hawn-starring \u003ca href=\"https://www.youtube.com/watch?v=HH6OuDYKWNE\" target=\"_blank\" rel=\"noopener noreferrer\">1987 romantic comedy, \u003c/a>\u003cem>Overboard, \u003c/em>in which a Mean Rich Lady (she too wears an eye mask to bed) has an accident, loses her memory, then learns to be a good person by doing chores for A Working Man.\u003c/p>\n\u003cp>21:31: This movie just turned into \u003cem>Overboard\u003c/em>. This is the part where Goldie Hawn wakes up at the hospital and can’t remember who she is or what happened to her, but she’s enough of herself that she’s still awful to everyone who’s trying to help her and they can’t wait to get rid of her. Insert: Lindsay Lohan and a slightly more diverse cast.\u003c/p>\n\u003cfigure id=\"attachment_13921506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png\" alt=\"A woman sits up in bed with a bandage on her head. She is talking to a female doctor and a sheriff. There is a wreath hanging behind the hospital bed.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM.png 1780w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">May your hair look this flawless should you ever fall off a mountain and collide with a tree. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23:23: Jake — who discovered Sierra while out on his Old Navy sleigh ride — volunteers to take her back to the snow globe until they can figure out who she is. (Dude. Giving away free hotel rooms to strangers might be why your business is failing.)\u003c/p>\n\u003cp>25:03: Sierra has arrived at Jake’s lodge wearing festive hospital scrubs and no head bandage, because those evaporate the second you leave the hospital. The Grinning Child spots Sierra and does some grinning. Danny from \u003cem>The Shining\u003c/em> just popped into my head and I can’t be sure why…\u003c/p>\n\u003cfigure id=\"attachment_13921507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png\" alt=\"An adorable child with dark curly hair smiles broadly.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child.png 1624w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Redrum, kid. Redrum. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>25:15: Sierra has a huge, fully decorated Christmas tree in her gigantic room. (Jake, man, we really need to talk about how much your struggling lodge is wasting on excessive Christmas decorations…)\u003c/p>\n\u003cp>[aside postid='arts_13890718']28:52: Sierra wakes up with a sock over her eyes and accidentally turns on the TV, so we can all catch a glimpse of another Netflix Christmas movie that the channel apparently needs to promote in the middle of \u003cem>this\u003c/em> Christmas movie. For shame, Netflix. For shame.\u003c/p>\n\u003cp>29:32: Sierra just used a crappy portable hairdryer to dry her long flowing hair and, holy crap, that must’ve taken two and a half hours.\u003c/p>\n\u003cp>31:03: Old Navy couple runs into Sierra and the Grinning Child. I am unclear what their role is in this movie but they keep showing up and doing nothing.\u003c/p>\n\u003cfigure id=\"attachment_13921509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png\" alt=\"A man driving a sleigh looks into the distance, shocked, while a white blond woman and a handsome Black man gaze at each other adoringly in the back of the sleigh.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1536x1006.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-2048x1341.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1920x1257.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Can we please talk about how Old Navy these hotel guests are? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34:56: Tad, who got lost in the mountains, has found a small cabin with a bearded Ice Fisherman in it. Their weird sexual tension is finally giving me a reason to finish this movie.\u003c/p>\n\u003cp>35:01: Jake’s crappy customers keep calling and canceling because they’re staying at Airbnbs instead. “We can’t even afford a housekeeper!” Jake despairs. Cue Sierra taking up the task, because this movie is \u003cem>Overboard, \u003c/em>albeit without the humor and the electric sexual chemistry.\u003c/p>\n\u003cfigure id=\"attachment_13921510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Bed-Making-800x508.png\" alt=\"A woman lies on a bed, stretched out on top of a fitted sheet that's clinging to her.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1536x975.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making.png 1802w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sierra: A grown-ass human who doesn’t know how to put a sheet on a bed. This is supposed to be funny, I think? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>37:54: It’s not my imagination. Tad and the Ice Fisherman have a full blown \u003cem>vibe\u003c/em>. They’re wrestling in the snow. ”You’re so strong,” Tad says, followed by a series of sex noises. I’m really rooting for these two.\u003c/p>\n\u003cp>40:05: Sierra goes outside and tells all of her feelings to Balthazar the horse like he’s Mr. Ed.\u003c/p>\n\u003cp>43:48: Sierra, Jake and the Grinning Child are at the local Christmas market where Creepy Santa is showing them all a sleigh Jake can’t afford.\u003c/p>\n\u003cfigure id=\"attachment_13921511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Trio-at-Market-800x508.png\" alt=\"A woman, man and child all wearing winter clothes and hats, stand together smiling. \" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1536x976.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market.png 1558w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The only direction given to this child for the entirety of this movie was ‘smile broadly.’ It is unnerving. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>47:16: Despite wearing that beanie all damn night, when the trio get home from the market, Jake’s hair looks like this.\u003c/p>\n\u003cfigure id=\"attachment_13921512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jake-hair-800x493.png\" alt=\"A white man with perfectly coiffed hair smiles.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair.png 1904w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stop it. Just stop it. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>48:32: Sierra figures out how to make a bed and flip a pancake, so she is A Good Person now. This Grinning Child situation is gonna finish me.\u003c/p>\n\u003cp>49:23: Sierra, Jake and the Grinning Child are singing songs and decorating gingerbread houses and skiing and dear god man, haven’t you got a business to save?\u003c/p>\n\u003cfigure id=\"attachment_13921519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/popcorn-fight-800x461.png\" alt=\"A young girl and a woman flinch and laugh as they throw popcorn.\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-768x442.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1536x885.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-2048x1180.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1920x1106.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What do you do when you’re about to lose your business and home? Have a popcorn fight with these two, apparently. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>50:28: Old Navy Couple just checked out of the lodge and who will sit in the background now?\u003c/p>\n\u003cp>[aside postid='arts_13889581']55:47: Sierra and Jake almost kiss, then don’t and all I can think about is Tad and the Ice Fisherman, who are probably at third base by now.\u003c/p>\n\u003cp>56:56: Sierra tells Jake’s grandmother and the Grinning Child that she’s figured out how to save Jake’s lodge: a party/fundraiser. Grandma, who gave the lodge to Jake and her (now deceased) daughter as a wedding gift, helpfully provides Sierra with “every contact for every guest from the last three decades,” like all those old-timey landlines are still going to work just fine. Thanks Grandma.\u003c/p>\n\u003cp>1:00:00: This small lodge has more Christmas decorations than the Union Square Macy’s windows on Dec. 24 and I have so many questions about Jake’s budgeting abilities.\u003c/p>\n\u003cfigure id=\"attachment_13921513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/excessive-decorations-800x500.png\" alt=\"A hallway with rooms visible down the hall, all very thoroughly decorated with lights and green festive decorations.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1536x960.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1920x1200.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations.png 2006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jake’s lodge: The answer to the question, ‘How many Christmas decorations is too many Christmas decorations?’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:02:02: Montage of invitation-printing and Christmas Eve party-planning. This movie is 12 hours long, I swear to god.\u003c/p>\n\u003cp>1:02:43: Tad and the Ice Fisherman are around a campfire eating beans. The sexual tension is thicker than the snow.\u003c/p>\n\u003cp>1:04:24: Sierra’s dad gets back from a business trip, discovers she’s disappeared, and declares his intention to get the sheriff involved. It’s hard to care about any of it because I just realized that Sierra’s dad has the middle-aged man version of Jake’s haircut and, um, that seems weird.\u003c/p>\n\u003cfigure id=\"attachment_13921514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png\" alt=\"An attractive older man wearing a white shirt and tie and black winter coat, looks concerned.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-768x472.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1536x944.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1920x1179.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair.png 1960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Why does Sierra’s dad have the same hair as her love interest? You know what? Nevermind. That’s a question for her therapist. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:06:00: The sheriff finds Tad and the Ice Fisherman and brings them in for “poaching on government land.” Tad defends his mountain man in the sheriff’s office. If these two don’t make out soon, I’m going to toss my laptop through a window.\u003c/p>\n\u003cp>1:08:02: Sierra walks down some stairs wearing a red dress and everyone gasps and you already know this scene because it’s in literally every romantic comedy ever made.\u003c/p>\n\u003cfigure id=\"attachment_13921515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png\" alt=\"Lindsay Lohan wearing a red dress, walking down some stairs, Christmas decorations all around her.\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1020x603.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-768x454.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1536x908.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations.png 1848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">If it weren’t for the excessive Christmas decoration, I’d assume this was Rachael Leigh Cook in ‘She’s All That.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:10:09: Party is in full swing and everyone is smiling like the Grinning Child. Random people keep giving Jake checks for all the free crap he’s done for them over the years. Literally everyone is donating by check. Is Jake’s ski lodge a portal back to the 1970s?\u003c/p>\n\u003cp>1:14:17: Sierra’s dad and Tad run into the party, she remembers everything and unceremoniously bolts despite the objections of Grinning Child, who has finally stopped grinning. Sweet relief!\u003c/p>\n\u003cp>1:16:39: Grossly unnecessary montage of all of the things we’ve literally just spent the last hour watching Sierra and Jake doing together. Give me strength.\u003c/p>\n\u003cp>[aside postid='arts_13889748']1:18:30: Sierra is in the kitchen hanging out with the hotel staff making pancakes. This scene was much better when it was in \u003cem>Overboard\u003c/em> because in that version there was tequila.\u003c/p>\n\u003cp>1:19:11: Sierra holds a press conference on Christmas morning because journalists definitely don’t have anything better to do that day. She shouts out Jake and recommends the lodge to all of the people watching a stupid heiress press conference on Christmas morning.\u003c/p>\n\u003cp>1:20:51: Grinning Child insists Jake tell Sierra how he feels about her, and the two take Creepy Santa’s sleigh (which is magically waiting for them outside the lodge — don’t ask questions) over to Sierra’s dad’s fancy resort.\u003c/p>\n\u003cp>1:23:04: Sierra tells her dad she needs to make her own way in the world. He replies “I promised your mother I’d take care of you. Looks like you’re starting to take care of yourself.” IF YOU MAKE A PANCAKE IN FRONT OF YOUR DAD THAT’S MAKING YOUR WAY IN THE WORLD NOW.\u003c/p>\n\u003cp>1:24:19: The lodge’s phone won’t stop ringing because of Sierra Belmont’s fans booking rooms. On Christmas Day. Grandma deals with it because she is the only glue holding this lodge together.\u003c/p>\n\u003cp>1:25:10: Sierra breaks up with Tad. Go find the Ice Fisherman, Tad!\u003c/p>\n\u003cfigure id=\"attachment_13921518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png\" alt=\"A handsome white man with very styled dark hair looks fondly at someone, tilting his head.\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1020x706.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1536x1064.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man.png 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tad, a sexually ambiguous British man in need of some fisherman love.\u003c/figcaption>\u003c/figure>\n\u003cp>1:26:06: Tad invites the 1990s Gay Stereotype to spend New Year’s with him. It’s not quite what I wanted, but it’ll do!\u003c/p>\n\u003cp>1:26:51: Creepy Santa shows up and directs Jake to where Sierra is in the hotel. Haven’t you got children to spy on, Creepy Santa?\u003c/p>\n\u003cp>1:28:28: Sierra says her dad wants to invest in Jake’s lodge and that she will work there too. Instead of discussing contracts or the fact that Sierra basically just invited herself to move in with Jake after he’s known her for one week, they kiss finally and, meh, it’s not really worth all the build-up to be honest.\u003c/p>\n\u003cp>1:28:52: Sierra’s dad walks in with Grinning Child. “What a Christmas, you guys,” Jake says. “Yeah, it’s one I’ll never forget,” says Sierra. Massive groan.\u003c/p>\n\u003cp>1:29:49: It’s over! It’s finally over!\u003c/p>\n\u003cp>1:29:54: Wait. No. There’s a blooper reel.\u003c/p>\n\u003cp>1:33:45: \u003cem>Now\u003c/em> it’s finally over! Lindsay Lohan doesn’t get a Tyra gif for this one, but she can definitely have this instead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921516 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy-1.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.netflix.com/search?q=falling%20for%20christmas\" target=\"_blank\" rel=\"noopener noreferrer\">Falling for Christmas\u003c/a>‘ is streaming now, on Netflix.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know \u003ca href=\"https://giphy.com/clips/justin-tyra-banks-rooting-for-you-EghhnKjTtyVWCTVM64\" rel=\"noopener noreferrer\">that gif of Tyra Banks\u003c/a> yelling “I was rooting for you! We were all rooting for you!”? I have a theory that the reason it’s still in such heavy rotation is that we need it every time Lindsay Lohan does A Thing.\u003c/p>\n\u003cp>That reality show based on \u003ca href=\"https://www.kqed.org/pop/104384/cancel-your-summer-plans-lindsay-lohan-has-a-beach-resort-in-greece-now\">Lohan’s Greek beach resort\u003c/a>, which was a lot like watching an ungodly mash-up of \u003cem>The Apprentice\u003c/em> and \u003cem>Love Island?\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/pop/91507/why-lindsay-lohans-i-know-who-killed-me-should-be-a-cult-favorite\">\u003cem>I Know Who Killed Me\u003c/em>\u003c/a>, a movie in which body parts literally start falling off Lohan’s main character because she has a secret twin who’s losing limbs elsewhere?\u003c/p>\n\u003cp>That super low-budget 2018 werewolf (yes, \u003cem>werewolf\u003c/em>) movie Lohan made, called \u003ca href=\"https://www.youtube.com/watch?v=wvALu6kj6lo\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Among the Shadows\u003c/em>\u003c/a>?\u003c/p>\n\u003cp>All deserve a Tyra.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921481 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy.gif\" alt=\"\" width=\"500\" height=\"303\">\u003c/p>\n\u003cp>And yet, like so many other optimistic humans, I just keep returning to the Land o’ Lohan in the hope that one day — \u003cem>someday\u003c/em> — she gets her life and career back on track. (Damn you, \u003cem>Mean Girls\u003c/em>, for keeping us here!)\u003c/p>\n\u003cp>Lohan’s latest attempt at doing something worth watching is a new Netflix movie titled \u003cem>Falling for Christmas\u003c/em>. It is one of the approximately 8,500 seasonal movies that will come out this year and, having landed Nov. 10, it’s one of the earliest.\u003c/p>\n\u003cp>I’m here to watch it, so you don’t have to. (Oh, and I am going to tell you literally everything, so consider this your spoiler alert.)\u003c/p>\n\u003cp>0:50: Lindsay Lohan is Sierra Belmont. We know she’s terrible because she wears a padded eye mask in bed which, in movieland, as we all know, is the universal signifier for Mean Rich Lady.\u003c/p>\n\u003cfigure id=\"attachment_13921496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921496\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Eye-Mask-800x497.png\" alt=\"A woman lying on silky white pillows, under a duvet, wearing a red nightgown and a white eye mask.\" width=\"800\" height=\"497\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-800x497.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1020x634.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-768x477.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1536x954.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask-1920x1193.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Eye-Mask.png 1932w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rom-Com Rule #1: If you wear an eye mask anywhere other than a plane, you are a terrible person. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:05: Opening credit montage of annoying fancy people at a Rich People Ski Resort. We know they’re annoying rich people because they’re all wearing fluorescent colors and an air of self-entitlement.\u003c/p>\n\u003cp>2:21: Sierra is conducting a tightly packed exposition scene over the phone with a Sexually Ambiguous British Man. This is Tad, her boyfriend (surprise!), and a person that refers to himself as “one of Hype magazine’s top social influencers.” Sierra is a hotel heiress who doesn’t want to work for her dad. This movie is going to be rough.\u003c/p>\n\u003cp>3:00 Mid-phone convo, a four-person “glam squad” and a personal assistant named Terry — who is a 1990s stereotype of a Professional Gay Man — arrive at Sierra’s hotel room and start feeding her champagne and caviar while she complains about the fact that people think she’s spoiled. This movie is not subtle on any level.\u003c/p>\n\u003cfigure id=\"attachment_13921502\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921502\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png\" alt=\"A man with neat fair hair, wearing a suit jacket, looks stunned.\" width=\"800\" height=\"516\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-800x516.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1020x658.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-768x496.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype-1536x991.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/1990s-gay-stereotype.png 1714w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Terry: Woulda been perfect on ‘Will and Grace.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>4:30: A skiing man does a series of little jumps on the slopes. We know he’s a Good (Probably Poor) Person because his clothes are muted colors and he is being soundtracked by jaunty music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>4:50: Good Poor Person Man is named Jake. He is trying to talk to Sierra’s father because he needs an investor for his Regular People Ski Lodge, which is not doing so well. Then the two race each other downhill because that is absolutely how people do business at ski resorts.\u003c/p>\n\u003cp>5:19: Jake will not stop doing little unnecessary ski jumps. Please fall over, please fall over, please fall over.\u003c/p>\n\u003cp>8:50: Jake lives inside a snow globe from your Aunt Jackie’s Christmas decorations with a horse named Balthazar, an adorable grandmother and a daughter who grins constantly like she’s in a seasonal Macy’s commercial.\u003c/p>\n\u003cfigure id=\"attachment_13921501\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921501\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Snow-globe-800x445.png\" alt=\"A mountain lodge, surrounded by snowy mountains.\" width=\"800\" height=\"445\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-800x445.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1020x568.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-160x89.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-768x428.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1536x855.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-2048x1140.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1038x576.png 1038w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Snow-globe-1920x1069.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The snow globe that Jake lives in. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>13:45: Tad says the phrase “Gondolas are for losers” and dear god in heaven, how will I ever get through this movie?\u003c/p>\n\u003cp>14:15: Sierra starts singing along to “\u003ca href=\"https://www.rollingstone.com/music/music-news/lindsay-lohan-jingle-bell-rock-netflix-film-1234624531/\">Jingle Bell Rock\u003c/a>” in Tad’s car, because she just released that single, so let’s get that shoehorned in.\u003c/p>\n\u003cp>15:11: Back in Aunt Jackie’s snow globe, Jake is taking a couple from an Old Navy commercial on a sleigh ride.\u003c/p>\n\u003cp>17:33: Tad takes Sierra to the top of a mountain to propose. Sierra is dressed in a pink version of the Bride’s yellow and black jumpsuit from \u003cem>Kill Bill\u003c/em> so, frankly, who can blame him?\u003c/p>\n\u003cfigure id=\"attachment_13921503\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921503\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png\" alt=\"A woman in a fluorescent pink ski suit with black details stands on skis on a mountaintop. A man in a black and white checkered jacket knees before her.\" width=\"800\" height=\"548\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-800x548.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1020x698.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-160x110.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-768x526.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal-1536x1052.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Kill-Bill-Proposal.png 1618w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It’s a ‘Kill Bill’ ski suit, for crying out loud! He’d be crazy not to put a ring on it! \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>18:33: Jake’s perpetually-grinning child writes down a wish and hangs it on a tree at the local Christmas market. A creepazoid Santa look-a-like sees this, grins eerily and the wish flies up into the air and directly into a snowstorm. Said snowstorm hits Sierra and she falls off the side of the mountain. I am exhausted already.\u003c/p>\n\u003cp>19:35: I have a sneaking suspicion that this movie is about to turn into the Goldie Hawn-starring \u003ca href=\"https://www.youtube.com/watch?v=HH6OuDYKWNE\" target=\"_blank\" rel=\"noopener noreferrer\">1987 romantic comedy, \u003c/a>\u003cem>Overboard, \u003c/em>in which a Mean Rich Lady (she too wears an eye mask to bed) has an accident, loses her memory, then learns to be a good person by doing chores for A Working Man.\u003c/p>\n\u003cp>21:31: This movie just turned into \u003cem>Overboard\u003c/em>. This is the part where Goldie Hawn wakes up at the hospital and can’t remember who she is or what happened to her, but she’s enough of herself that she’s still awful to everyone who’s trying to help her and they can’t wait to get rid of her. Insert: Lindsay Lohan and a slightly more diverse cast.\u003c/p>\n\u003cfigure id=\"attachment_13921506\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921506\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png\" alt=\"A woman sits up in bed with a bandage on her head. She is talking to a female doctor and a sheriff. There is a wreath hanging behind the hospital bed.\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-800x514.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1020x656.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-160x103.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-768x494.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM-1536x987.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Screen-Shot-2022-11-09-at-4.38.06-PM.png 1780w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">May your hair look this flawless should you ever fall off a mountain and collide with a tree. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>23:23: Jake — who discovered Sierra while out on his Old Navy sleigh ride — volunteers to take her back to the snow globe until they can figure out who she is. (Dude. Giving away free hotel rooms to strangers might be why your business is failing.)\u003c/p>\n\u003cp>25:03: Sierra has arrived at Jake’s lodge wearing festive hospital scrubs and no head bandage, because those evaporate the second you leave the hospital. The Grinning Child spots Sierra and does some grinning. Danny from \u003cem>The Shining\u003c/em> just popped into my head and I can’t be sure why…\u003c/p>\n\u003cfigure id=\"attachment_13921507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921507\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png\" alt=\"An adorable child with dark curly hair smiles broadly.\" width=\"800\" height=\"529\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-800x529.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1020x675.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-768x508.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child-1536x1016.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/The-Grinning-Child.png 1624w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Redrum, kid. Redrum. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>25:15: Sierra has a huge, fully decorated Christmas tree in her gigantic room. (Jake, man, we really need to talk about how much your struggling lodge is wasting on excessive Christmas decorations…)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>28:52: Sierra wakes up with a sock over her eyes and accidentally turns on the TV, so we can all catch a glimpse of another Netflix Christmas movie that the channel apparently needs to promote in the middle of \u003cem>this\u003c/em> Christmas movie. For shame, Netflix. For shame.\u003c/p>\n\u003cp>29:32: Sierra just used a crappy portable hairdryer to dry her long flowing hair and, holy crap, that must’ve taken two and a half hours.\u003c/p>\n\u003cp>31:03: Old Navy couple runs into Sierra and the Grinning Child. I am unclear what their role is in this movie but they keep showing up and doing nothing.\u003c/p>\n\u003cfigure id=\"attachment_13921509\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921509\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png\" alt=\"A man driving a sleigh looks into the distance, shocked, while a white blond woman and a handsome Black man gaze at each other adoringly in the back of the sleigh.\" width=\"800\" height=\"524\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-800x524.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1020x668.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-160x105.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-768x503.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1536x1006.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-2048x1341.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Old-navy-sleigh-1920x1257.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Can we please talk about how Old Navy these hotel guests are? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>34:56: Tad, who got lost in the mountains, has found a small cabin with a bearded Ice Fisherman in it. Their weird sexual tension is finally giving me a reason to finish this movie.\u003c/p>\n\u003cp>35:01: Jake’s crappy customers keep calling and canceling because they’re staying at Airbnbs instead. “We can’t even afford a housekeeper!” Jake despairs. Cue Sierra taking up the task, because this movie is \u003cem>Overboard, \u003c/em>albeit without the humor and the electric sexual chemistry.\u003c/p>\n\u003cfigure id=\"attachment_13921510\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921510\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Bed-Making-800x508.png\" alt=\"A woman lies on a bed, stretched out on top of a fitted sheet that's clinging to her.\" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making-1536x975.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Bed-Making.png 1802w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sierra: A grown-ass human who doesn’t know how to put a sheet on a bed. This is supposed to be funny, I think? \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>37:54: It’s not my imagination. Tad and the Ice Fisherman have a full blown \u003cem>vibe\u003c/em>. They’re wrestling in the snow. ”You’re so strong,” Tad says, followed by a series of sex noises. I’m really rooting for these two.\u003c/p>\n\u003cp>40:05: Sierra goes outside and tells all of her feelings to Balthazar the horse like he’s Mr. Ed.\u003c/p>\n\u003cp>43:48: Sierra, Jake and the Grinning Child are at the local Christmas market where Creepy Santa is showing them all a sleigh Jake can’t afford.\u003c/p>\n\u003cfigure id=\"attachment_13921511\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921511\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Trio-at-Market-800x508.png\" alt=\"A woman, man and child all wearing winter clothes and hats, stand together smiling. \" width=\"800\" height=\"508\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-800x508.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1020x648.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-160x102.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-768x488.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market-1536x976.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Trio-at-Market.png 1558w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The only direction given to this child for the entirety of this movie was ‘smile broadly.’ It is unnerving. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>47:16: Despite wearing that beanie all damn night, when the trio get home from the market, Jake’s hair looks like this.\u003c/p>\n\u003cfigure id=\"attachment_13921512\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921512\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Jake-hair-800x493.png\" alt=\"A white man with perfectly coiffed hair smiles.\" width=\"800\" height=\"493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-800x493.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1020x629.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-160x99.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-768x474.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair-1536x947.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Jake-hair.png 1904w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Stop it. Just stop it. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>48:32: Sierra figures out how to make a bed and flip a pancake, so she is A Good Person now. This Grinning Child situation is gonna finish me.\u003c/p>\n\u003cp>49:23: Sierra, Jake and the Grinning Child are singing songs and decorating gingerbread houses and skiing and dear god man, haven’t you got a business to save?\u003c/p>\n\u003cfigure id=\"attachment_13921519\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921519\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/popcorn-fight-800x461.png\" alt=\"A young girl and a woman flinch and laugh as they throw popcorn.\" width=\"800\" height=\"461\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-800x461.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1020x588.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-160x92.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-768x442.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1536x885.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-2048x1180.png 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/popcorn-fight-1920x1106.png 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">What do you do when you’re about to lose your business and home? Have a popcorn fight with these two, apparently. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>50:28: Old Navy Couple just checked out of the lodge and who will sit in the background now?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>55:47: Sierra and Jake almost kiss, then don’t and all I can think about is Tad and the Ice Fisherman, who are probably at third base by now.\u003c/p>\n\u003cp>56:56: Sierra tells Jake’s grandmother and the Grinning Child that she’s figured out how to save Jake’s lodge: a party/fundraiser. Grandma, who gave the lodge to Jake and her (now deceased) daughter as a wedding gift, helpfully provides Sierra with “every contact for every guest from the last three decades,” like all those old-timey landlines are still going to work just fine. Thanks Grandma.\u003c/p>\n\u003cp>1:00:00: This small lodge has more Christmas decorations than the Union Square Macy’s windows on Dec. 24 and I have so many questions about Jake’s budgeting abilities.\u003c/p>\n\u003cfigure id=\"attachment_13921513\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921513\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/excessive-decorations-800x500.png\" alt=\"A hallway with rooms visible down the hall, all very thoroughly decorated with lights and green festive decorations.\" width=\"800\" height=\"500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-800x500.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1020x638.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-160x100.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-768x480.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1536x960.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations-1920x1200.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/excessive-decorations.png 2006w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jake’s lodge: The answer to the question, ‘How many Christmas decorations is too many Christmas decorations?’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:02:02: Montage of invitation-printing and Christmas Eve party-planning. This movie is 12 hours long, I swear to god.\u003c/p>\n\u003cp>1:02:43: Tad and the Ice Fisherman are around a campfire eating beans. The sexual tension is thicker than the snow.\u003c/p>\n\u003cp>1:04:24: Sierra’s dad gets back from a business trip, discovers she’s disappeared, and declares his intention to get the sheriff involved. It’s hard to care about any of it because I just realized that Sierra’s dad has the middle-aged man version of Jake’s haircut and, um, that seems weird.\u003c/p>\n\u003cfigure id=\"attachment_13921514\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921514\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png\" alt=\"An attractive older man wearing a white shirt and tie and black winter coat, looks concerned.\" width=\"800\" height=\"491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-800x491.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1020x627.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-160x98.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-768x472.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1536x944.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair-1920x1179.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sierra-Dad-hair.png 1960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Why does Sierra’s dad have the same hair as her love interest? You know what? Nevermind. That’s a question for her therapist. \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:06:00: The sheriff finds Tad and the Ice Fisherman and brings them in for “poaching on government land.” Tad defends his mountain man in the sheriff’s office. If these two don’t make out soon, I’m going to toss my laptop through a window.\u003c/p>\n\u003cp>1:08:02: Sierra walks down some stairs wearing a red dress and everyone gasps and you already know this scene because it’s in literally every romantic comedy ever made.\u003c/p>\n\u003cfigure id=\"attachment_13921515\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921515\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png\" alt=\"Lindsay Lohan wearing a red dress, walking down some stairs, Christmas decorations all around her.\" width=\"800\" height=\"473\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-800x473.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1020x603.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-160x95.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-768x454.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations-1536x908.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/red-dress-xmas-decorations.png 1848w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">If it weren’t for the excessive Christmas decoration, I’d assume this was Rachael Leigh Cook in ‘She’s All That.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>1:10:09: Party is in full swing and everyone is smiling like the Grinning Child. Random people keep giving Jake checks for all the free crap he’s done for them over the years. Literally everyone is donating by check. Is Jake’s ski lodge a portal back to the 1970s?\u003c/p>\n\u003cp>1:14:17: Sierra’s dad and Tad run into the party, she remembers everything and unceremoniously bolts despite the objections of Grinning Child, who has finally stopped grinning. Sweet relief!\u003c/p>\n\u003cp>1:16:39: Grossly unnecessary montage of all of the things we’ve literally just spent the last hour watching Sierra and Jake doing together. Give me strength.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>1:18:30: Sierra is in the kitchen hanging out with the hotel staff making pancakes. This scene was much better when it was in \u003cem>Overboard\u003c/em> because in that version there was tequila.\u003c/p>\n\u003cp>1:19:11: Sierra holds a press conference on Christmas morning because journalists definitely don’t have anything better to do that day. She shouts out Jake and recommends the lodge to all of the people watching a stupid heiress press conference on Christmas morning.\u003c/p>\n\u003cp>1:20:51: Grinning Child insists Jake tell Sierra how he feels about her, and the two take Creepy Santa’s sleigh (which is magically waiting for them outside the lodge — don’t ask questions) over to Sierra’s dad’s fancy resort.\u003c/p>\n\u003cp>1:23:04: Sierra tells her dad she needs to make her own way in the world. He replies “I promised your mother I’d take care of you. Looks like you’re starting to take care of yourself.” IF YOU MAKE A PANCAKE IN FRONT OF YOUR DAD THAT’S MAKING YOUR WAY IN THE WORLD NOW.\u003c/p>\n\u003cp>1:24:19: The lodge’s phone won’t stop ringing because of Sierra Belmont’s fans booking rooms. On Christmas Day. Grandma deals with it because she is the only glue holding this lodge together.\u003c/p>\n\u003cp>1:25:10: Sierra breaks up with Tad. Go find the Ice Fisherman, Tad!\u003c/p>\n\u003cfigure id=\"attachment_13921518\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13921518\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png\" alt=\"A handsome white man with very styled dark hair looks fondly at someone, tilting his head.\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-800x554.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1020x706.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man-1536x1064.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/11/Sexually-ambiguous-British-man.png 1828w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tad, a sexually ambiguous British man in need of some fisherman love.\u003c/figcaption>\u003c/figure>\n\u003cp>1:26:06: Tad invites the 1990s Gay Stereotype to spend New Year’s with him. It’s not quite what I wanted, but it’ll do!\u003c/p>\n\u003cp>1:26:51: Creepy Santa shows up and directs Jake to where Sierra is in the hotel. Haven’t you got children to spy on, Creepy Santa?\u003c/p>\n\u003cp>1:28:28: Sierra says her dad wants to invest in Jake’s lodge and that she will work there too. Instead of discussing contracts or the fact that Sierra basically just invited herself to move in with Jake after he’s known her for one week, they kiss finally and, meh, it’s not really worth all the build-up to be honest.\u003c/p>\n\u003cp>1:28:52: Sierra’s dad walks in with Grinning Child. “What a Christmas, you guys,” Jake says. “Yeah, it’s one I’ll never forget,” says Sierra. Massive groan.\u003c/p>\n\u003cp>1:29:49: It’s over! It’s finally over!\u003c/p>\n\u003cp>1:29:54: Wait. No. There’s a blooper reel.\u003c/p>\n\u003cp>1:33:45: \u003cem>Now\u003c/em> it’s finally over! Lindsay Lohan doesn’t get a Tyra gif for this one, but she can definitely have this instead.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13921516 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/11/giphy-1.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.netflix.com/search?q=falling%20for%20christmas\" target=\"_blank\" rel=\"noopener noreferrer\">Falling for Christmas\u003c/a>‘ is streaming now, on Netflix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "For La Doña, SF’s Guaranteed Income Pilot Supports A Rising Music Career",
"headTitle": "For La Doña, SF’s Guaranteed Income Pilot Supports A Rising Music Career | KQED",
"content": "\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>It’s no coincidence that \u003ca href=\"https://www.ladona415.com/\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a> has become one of San Francisco’s biggest breakout stars in the past two years. If you’ve been to her concerts or seen her \u003ca href=\"https://www.youtube.com/watch?v=0W-FaXYeHmg\" target=\"_blank\" rel=\"noopener noreferrer\">music videos\u003c/a>, you’ve immediately noticed that she places a premium on \u003ci>craft\u003c/i>. [aside postID=\"arts_13913750\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-2-1020x574.jpg\"]\u003c/p>\n\u003cp>On stage last Saturday at Oakland’s Fox Theater, La Doña expertly hyped the crowd while switching from powerful vocal runs to trumpet solos and dance moves, all while leading a six-piece band. She’s currently on tour with soul quintet \u003ca href=\"https://www.instagram.com/p/Cd6CMUblMhf/\" target=\"_blank\" rel=\"noopener noreferrer\">Durand Jones & the Indications\u003c/a>, and juggling a busy schedule of studio sessions (not least a collaboration with fellow San Francisco native \u003ca href=\"https://www.instagram.com/p/CdetN7YLFJh/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>).\u003c/p>\n\u003cp>The artist, whose real name is Cecilia Peña-Govea, is in go-mode. Even though the pandemic disrupted the rollout of her highly anticipated debut album, 2020’s \u003ci>Algo Nuevo\u003c/i>, her singular Bay Area blend of rancheras, salsa, reggaeton and hyphy caught the attention of national publications like \u003ci>The New York Times\u003c/i> and \u003ci>Billboard\u003c/i>. This year, she followed up her initial success with a slate of singles, sold-out hometown shows and six performances at South By Southwest. [pullquote size=\"medium\" align=\"right\" citation=\"Stephanie Imah, YBCA\"]‘Artists truly offer unique talent and skill—creativity that fosters social cohesion and belonging, trust, civic engagement. Artists bring so much to a community’s identity.’[/pullquote]\u003c/p>\n\u003cp>But excellence is expensive, and Peña-Govea, who’s not signed to a label, often has to pay out of her own pocket to maintain the momentum of her career. That’s gotten a little easier since she became a recipient of the \u003ca href=\"https://www.guaranteedinc.org/#about\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists\u003c/a> (SF-GIPA), a program administered by \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a>. Given \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">how little musicians earn from streaming\u003c/a>—coupled with the fact that COVID erased two years of touring revenue—the guaranteed income program is proving to be a crucial support structure for independent artists at a time when the economics of the music industry mostly work against them.\u003c/p>\n\u003cp>“[Independent artists] are always hustling,” says Peña-Govea. “Especially because creating art in the way that it needs to be consumed is super expensive, right? Music videos, photo shoots, mixing and mastering, playlisting, doing publicity, all of these things. It’ll cost you $10,000 to put out one single song if you do it to the industry standard.”\u003c/p>\n\u003cp>https://www.instagram.com/p/Cd4isQmr0_d/\u003c/p>\n\u003ch2>Artists are Essential for Healthy Communities\u003c/h2>\n\u003cp>The 130 artists selected for the SF Guaranteed Income Pilot for Artists, which \u003ca href=\"https://www.kqed.org/news/11874499/san-franciscos-guaranteed-income-for-struggling-artists\" target=\"_blank\" rel=\"noopener noreferrer\">launched in May 2021\u003c/a>, receive $1,000 a month for 18 months, no strings attached. Unlike most grants, which fund specific projects, there’s no requirement for output, and no tracking of expenses. The model operates on the principle that artists are vital components of thriving communities, whether their work is profitable in the commercial market or not. (SF-GIPA hasn’t been without controversy: Some artists and organizers have taken issue with \u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">the choice of YBCA to administer the program\u003c/a>, arguing that Mayor London Breed’s office should have selected an organization more embedded in communities of color. Others criticized its \u003ca class=\"c-link\" href=\"https://datebook.sfchronicle.com/entertainment/conflict-over-s-f-and-ybcas-guaranteed-income-for-artists-shows-tension-in-movement-for-racial-equity\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://datebook.sfchronicle.com/entertainment/conflict-over-s-f-and-ybcas-guaranteed-income-for-artists-shows-tension-in-movement-for-racial-equity\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">eligibility criteria and selection process\u003c/a>. YBCA addressed some of the concerns \u003ca href=\"https://static1.squarespace.com/static/61520b7a3397d0569808c600/t/61786fe974d2cf2cbe97b109/1635282924074/Guaranteed+Income+Pilot+Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">in an Oct. 2021 report\u003c/a>.)\u003c/p>\n\u003cp>“Artists truly offer unique talent and skill—creativity that fosters social cohesion and belonging, trust, civic engagement,” says Stephanie Imah, senior manager of artists investments at YBCA. “Artists bring so much to a community’s identity.” [aside postID=\"arts_13913821\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/Our-Creative-Futures-Featured-Image-Endeavors-1020x574.jpg\"]\u003c/p>\n\u003cp>That’s certainly true for Peña-Govea, whose lyrics—among narratives of love, queerness and self-empowerment—give voice to Frisco pride and the grief of gentrification, displacement and cultural loss. Raised by a village of artists, teachers and activists in Bernal Heights, she’s buoyed by a close-knit team that wants to see her shine. That includes her partner, her dad and a handful of childhood friends, all of whom are in her band.\u003c/p>\n\u003cp>Peña-Govea is both a culture keeper and an innovator: Growing up as a member of her family band, \u003ca href=\"https://ww2.kqed.org/spark/la-familia-pea-govea/\" target=\"_blank\" rel=\"noopener noreferrer\">La Familia Peña-Govea\u003c/a>, she honed her trumpet, guitarron and vocal skills and mastered a variety of Latin musical traditions. She does her part to pass them down as a mariachi music teacher in the San Francisco and Oakland Unified School Districts, and is a teaching artist in \u003ca href=\"https://sites.google.com/sfjazz.org/sfjazzeducationonline/jazz-in-the-middle\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ’s Jazz in the Middle\u003c/a> music program. And as La Doña, she pushes these traditions forward by blending them with feminist lyrical concepts and the party energy of rap, dembow and reggaeton.\u003c/p>\n\u003cp>Peña-Govea’s approach is resonating with a new generation, as her 54,573 monthly Spotify listeners can attest. But, because Spotify only pays about $0.0038 per stream (this is an unofficial calculation; the streaming service is notoriously opaque about its finances), she says she only earns about $300 a year from the platform. Her art is clearly impactful, but the commercial market isn’t designed to support it. And as housing in the Bay Area only grows more expensive, and gas prices and inflation mount, guaranteed income could emerge as a permanent strategy of keeping music scenes alive in cities like San Francisco. [pullquote size=\"medium\" align=\"right\" citation=\"La Doña, a.k.a. Cecilia Peña-Govea\"]‘It doesn’t have to be Apple’s featured artist for it to be important and impactful artwork. I think the way that we value different types of artists also definitely has to change.’[/pullquote]\u003c/p>\n\u003cp>“Guaranteed income is rooted in this belief that everyone deserves economic security,” says Imah of YBCA. She says other recipients of the program have used the funds to rent studio spaces, and \u003ca href=\"https://www.kqed.org/arts/13912500/liminal-space-sf-trans-artists\" target=\"_blank\" rel=\"noopener noreferrer\">Liminal Space\u003c/a>, San Francisco’s new trans-centering art gallery, received funding from the program. According to YBCA’s voluntary surveys and informal conversations with recipients, other artists have used the funds to travel and see family for the first time in years, pursue educational opportunities, or simply take better care of themselves.\u003c/p>\n\u003cp>“[There are] improvements to mental to mental and emotional health, less stress,” Imah adds.\u003c/p>\n\u003cp>And less financial stress frees up energy to make better art. For Peña-Govea, the Guaranteed Income Pilot provides much-needed stability. “It’s the end of the month and I’m like, ‘Oh my God, what is happening? How am I going to do this?’ I look at the next tour. I have to book all these things,” she says. “And then it’s the first, and I have this little angel descending a grand into my account, and I’m like, ‘OK, thank God.’”\u003c/p>\n\u003cfigure id=\"attachment_13913897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ybca-800x533.jpg\" alt=\"An exterior shot of Yerba Buena Center for the Arts with visitors lined up outside.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts administers the San Francisco Guaranteed Income Pilot for Artists. \u003ccite>(Tommy Lau )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Many Jobs of an Independent Artist\u003c/h2>\n\u003cp>Independent artists like Peña-Govea must juggle multiple roles that—in the well-resourced ecosystem of a major label—are each jobs of their own. There are rehearsals with the band; time in the studio crafting new material; creating social media content and monitoring engagement; and managing all the contracts and logistics that go into booking live performances.\u003c/p>\n\u003cp>“I can’t work a nine-to-five if I have to go on tour and if I have to be churning out all this content and going to different sites for gigs and, you know—I mean, it’s an artist’s life,” says Peña-Govea. “It’s not very conducive [to a job] with full benefits and stable income.”\u003c/p>\n\u003cp>Her teaching work—made up of contract gigs—helps her pay the bills, but that comes with its own challenges. Many children are traumatized from pandemic isolation and poverty; some have fallen behind because of distance learning.\u003c/p>\n\u003cp>“Most of the artists I know definitely do teaching work,” she says. “It’s kind of a catch-22. … If I get sick in the classroom, then I can’t play my gig and I miss that income. What happens if \u003ca href=\"https://www.kqed.org/arts/13912324/mask-requirements-touring-musicians-covid-tsa\" target=\"_blank\" rel=\"noopener noreferrer\">I get sick on the road and I have to quarantine\u003c/a>, and I can’t teach when I get home?”\u003c/p>\n\u003cfigure id=\"attachment_13913898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The $1,000 a month from the Guaranteed Income Pilot only covers a fraction of Peña-Govea’s expenses. It’s crucial to take her band along on tour to capture the full dimension and energy of her sound, she says, but it’s costly. The South by Southwest trip cost about $5,000, and she crowdfunded to cover costs for her current tour with Durand Jones & the Indications. With the Guaranteed Income Pilot, the regular check on top of earnings from teaching means that she can breathe easier, and spend more time working on her craft instead of constantly hustling for grants.\u003c/p>\n\u003ch2>Taking Guaranteed Income from Pilot to Policy\u003c/h2>\n\u003cp>There’s a lot of need among artists in a gentrified city like San Francisco, which Peña-Govea refers to as a “contested area.” Coming to fill that need is an expanding array of guaranteed income programs, engineered to deal with the realities of rising inequality at a time when wages haven’t increased to keep up with the cost of living.\u003c/p>\n\u003cfigure id=\"attachment_13913912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913912\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ybca-artists-composite-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1536x829.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1920x1037.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Recipients of the San Francisco Guaranteed Income Pilot for Artists include choreographer Marika Brussel, writer and poet Kevin Dublin and dancer Clarissa Dyas. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to the \u003ca href=\"https://sftreasurer.org/pilots-policy-change#1\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Advisory Group\u003c/a>, there are currently nearly a dozen guaranteed income programs either in practice or development in San Francisco alone, and at least six in neighboring counties. In the city, that includes cash payments for \u003ca href=\"https://www.sfexaminer.com/news/pilot-program-would-provide-basic-income-to-aid-san-franciscos-transgender-community/\" target=\"_blank\" rel=\"noopener noreferrer\">low-income transgender people\u003c/a>, as well as for \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-launch-pilot-program-provide-basic-income-black-and-pacific\" target=\"_blank\" rel=\"noopener noreferrer\">Black and Pacific Islanders during pregnancy and six months post-partum\u003c/a>. Oakland has a program for \u003ca href=\"https://www.oaklandca.gov/news/2021/oakland-guaranteed-income-pilot-now-accepting-applications-for-phase-2\" target=\"_blank\" rel=\"noopener noreferrer\">low-income families\u003c/a>, and the \u003ca href=\"https://www.cdss.ca.gov/inforesources/guaranteed-basic-income-projects\" target=\"_blank\" rel=\"noopener noreferrer\">California Department of Social Services\u003c/a> has announced a 2022 rollout of its own pilot focused on young adults who’ve aged out of foster care, as well as low-income pregnant people.\u003c/p>\n\u003cp>The goal for the Guaranteed Income Pilot for Artists, Imah says, is to take the program from pilot to policy. She wants to see it written into law. “We’re really, truly advocating for the city, state and federal level of guaranteed income implementation,” she says. [aside postID=\"arts_13913584\" hero=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/WORKING-FILE-Our-Creative-Futures-Featured-Image-1-1020x574.jpg\"]\u003c/p>\n\u003cp>For artists like Peña-Govea, investments in guaranteed income are part of a necessary reexamination of the value of art in society, which isn’t always legible from earnings reports or follower counts. “You’re not going to go see Beyoncé playing at 24th Street BART. What about the people that show up there every single week and are playing for free and vivifying our whole lives?” she says. “It doesn’t have to be Apple’s featured artist for it to be important and impactful artwork. I think the way that we value different types of artists definitely has to change.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Streaming pays pennies, and the pandemic disrupted touring. Here's how guaranteed income can sustain music in San Francisco. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note:\u003c/strong> Two years into the pandemic, artists are charting new paths forward. Across the Bay Area, they’re advocating for better pay, sharing resources and looking out for their communities’ well-being. Welcome to \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem>, a KQED Arts & Culture series that takes stock of the arts in this unpredictable climate. \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">Share your story here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>It’s no coincidence that \u003ca href=\"https://www.ladona415.com/\" target=\"_blank\" rel=\"noopener noreferrer\">La Doña\u003c/a> has become one of San Francisco’s biggest breakout stars in the past two years. If you’ve been to her concerts or seen her \u003ca href=\"https://www.youtube.com/watch?v=0W-FaXYeHmg\" target=\"_blank\" rel=\"noopener noreferrer\">music videos\u003c/a>, you’ve immediately noticed that she places a premium on \u003ci>craft\u003c/i>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On stage last Saturday at Oakland’s Fox Theater, La Doña expertly hyped the crowd while switching from powerful vocal runs to trumpet solos and dance moves, all while leading a six-piece band. She’s currently on tour with soul quintet \u003ca href=\"https://www.instagram.com/p/Cd6CMUblMhf/\" target=\"_blank\" rel=\"noopener noreferrer\">Durand Jones & the Indications\u003c/a>, and juggling a busy schedule of studio sessions (not least a collaboration with fellow San Francisco native \u003ca href=\"https://www.instagram.com/p/CdetN7YLFJh/\" target=\"_blank\" rel=\"noopener noreferrer\">Stunnaman02\u003c/a>).\u003c/p>\n\u003cp>The artist, whose real name is Cecilia Peña-Govea, is in go-mode. Even though the pandemic disrupted the rollout of her highly anticipated debut album, 2020’s \u003ci>Algo Nuevo\u003c/i>, her singular Bay Area blend of rancheras, salsa, reggaeton and hyphy caught the attention of national publications like \u003ci>The New York Times\u003c/i> and \u003ci>Billboard\u003c/i>. This year, she followed up her initial success with a slate of singles, sold-out hometown shows and six performances at South By Southwest. \u003c/p>\u003c/div>",
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"content": "‘Artists truly offer unique talent and skill—creativity that fosters social cohesion and belonging, trust, civic engagement. Artists bring so much to a community’s identity.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But excellence is expensive, and Peña-Govea, who’s not signed to a label, often has to pay out of her own pocket to maintain the momentum of her career. That’s gotten a little easier since she became a recipient of the \u003ca href=\"https://www.guaranteedinc.org/#about\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Pilot for Artists\u003c/a> (SF-GIPA), a program administered by \u003ca href=\"https://ybca.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Yerba Buena Center for the Arts\u003c/a>. Given \u003ca href=\"https://www.kqed.org/arts/13893952/musicians-demand-better-pay-at-spotify-headquarters-around-the-world\" target=\"_blank\" rel=\"noopener noreferrer\">how little musicians earn from streaming\u003c/a>—coupled with the fact that COVID erased two years of touring revenue—the guaranteed income program is proving to be a crucial support structure for independent artists at a time when the economics of the music industry mostly work against them.\u003c/p>\n\u003cp>“[Independent artists] are always hustling,” says Peña-Govea. “Especially because creating art in the way that it needs to be consumed is super expensive, right? Music videos, photo shoots, mixing and mastering, playlisting, doing publicity, all of these things. It’ll cost you $10,000 to put out one single song if you do it to the industry standard.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003ch2>Artists are Essential for Healthy Communities\u003c/h2>\n\u003cp>The 130 artists selected for the SF Guaranteed Income Pilot for Artists, which \u003ca href=\"https://www.kqed.org/news/11874499/san-franciscos-guaranteed-income-for-struggling-artists\" target=\"_blank\" rel=\"noopener noreferrer\">launched in May 2021\u003c/a>, receive $1,000 a month for 18 months, no strings attached. Unlike most grants, which fund specific projects, there’s no requirement for output, and no tracking of expenses. The model operates on the principle that artists are vital components of thriving communities, whether their work is profitable in the commercial market or not. (SF-GIPA hasn’t been without controversy: Some artists and organizers have taken issue with \u003ca class=\"c-link\" href=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://www.kqed.org/arts/13897576/sf-sends-1000-in-monthly-relief-to-artists-critics-say-process-inequitable\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">the choice of YBCA to administer the program\u003c/a>, arguing that Mayor London Breed’s office should have selected an organization more embedded in communities of color. Others criticized its \u003ca class=\"c-link\" href=\"https://datebook.sfchronicle.com/entertainment/conflict-over-s-f-and-ybcas-guaranteed-income-for-artists-shows-tension-in-movement-for-racial-equity\" target=\"_blank\" rel=\"noopener noreferrer\" data-stringify-link=\"https://datebook.sfchronicle.com/entertainment/conflict-over-s-f-and-ybcas-guaranteed-income-for-artists-shows-tension-in-movement-for-racial-equity\" data-sk=\"tooltip_parent\" data-remove-tab-index=\"true\">eligibility criteria and selection process\u003c/a>. YBCA addressed some of the concerns \u003ca href=\"https://static1.squarespace.com/static/61520b7a3397d0569808c600/t/61786fe974d2cf2cbe97b109/1635282924074/Guaranteed+Income+Pilot+Report.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">in an Oct. 2021 report\u003c/a>.)\u003c/p>\n\u003cp>“Artists truly offer unique talent and skill—creativity that fosters social cohesion and belonging, trust, civic engagement,” says Stephanie Imah, senior manager of artists investments at YBCA. “Artists bring so much to a community’s identity.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s certainly true for Peña-Govea, whose lyrics—among narratives of love, queerness and self-empowerment—give voice to Frisco pride and the grief of gentrification, displacement and cultural loss. Raised by a village of artists, teachers and activists in Bernal Heights, she’s buoyed by a close-knit team that wants to see her shine. That includes her partner, her dad and a handful of childhood friends, all of whom are in her band.\u003c/p>\n\u003cp>Peña-Govea is both a culture keeper and an innovator: Growing up as a member of her family band, \u003ca href=\"https://ww2.kqed.org/spark/la-familia-pea-govea/\" target=\"_blank\" rel=\"noopener noreferrer\">La Familia Peña-Govea\u003c/a>, she honed her trumpet, guitarron and vocal skills and mastered a variety of Latin musical traditions. She does her part to pass them down as a mariachi music teacher in the San Francisco and Oakland Unified School Districts, and is a teaching artist in \u003ca href=\"https://sites.google.com/sfjazz.org/sfjazzeducationonline/jazz-in-the-middle\" target=\"_blank\" rel=\"noopener noreferrer\">SFJAZZ’s Jazz in the Middle\u003c/a> music program. And as La Doña, she pushes these traditions forward by blending them with feminist lyrical concepts and the party energy of rap, dembow and reggaeton.\u003c/p>\n\u003cp>Peña-Govea’s approach is resonating with a new generation, as her 54,573 monthly Spotify listeners can attest. But, because Spotify only pays about $0.0038 per stream (this is an unofficial calculation; the streaming service is notoriously opaque about its finances), she says she only earns about $300 a year from the platform. Her art is clearly impactful, but the commercial market isn’t designed to support it. And as housing in the Bay Area only grows more expensive, and gas prices and inflation mount, guaranteed income could emerge as a permanent strategy of keeping music scenes alive in cities like San Francisco. \u003c/p>\u003c/div>",
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"content": "‘It doesn’t have to be Apple’s featured artist for it to be important and impactful artwork. I think the way that we value different types of artists also definitely has to change.’",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Guaranteed income is rooted in this belief that everyone deserves economic security,” says Imah of YBCA. She says other recipients of the program have used the funds to rent studio spaces, and \u003ca href=\"https://www.kqed.org/arts/13912500/liminal-space-sf-trans-artists\" target=\"_blank\" rel=\"noopener noreferrer\">Liminal Space\u003c/a>, San Francisco’s new trans-centering art gallery, received funding from the program. According to YBCA’s voluntary surveys and informal conversations with recipients, other artists have used the funds to travel and see family for the first time in years, pursue educational opportunities, or simply take better care of themselves.\u003c/p>\n\u003cp>“[There are] improvements to mental to mental and emotional health, less stress,” Imah adds.\u003c/p>\n\u003cp>And less financial stress frees up energy to make better art. For Peña-Govea, the Guaranteed Income Pilot provides much-needed stability. “It’s the end of the month and I’m like, ‘Oh my God, what is happening? How am I going to do this?’ I look at the next tour. I have to book all these things,” she says. “And then it’s the first, and I have this little angel descending a grand into my account, and I’m like, ‘OK, thank God.’”\u003c/p>\n\u003cfigure id=\"attachment_13913897\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913897\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ybca-800x533.jpg\" alt=\"An exterior shot of Yerba Buena Center for the Arts with visitors lined up outside.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Yerba Buena Center for the Arts administers the San Francisco Guaranteed Income Pilot for Artists. \u003ccite>(Tommy Lau )\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The Many Jobs of an Independent Artist\u003c/h2>\n\u003cp>Independent artists like Peña-Govea must juggle multiple roles that—in the well-resourced ecosystem of a major label—are each jobs of their own. There are rehearsals with the band; time in the studio crafting new material; creating social media content and monitoring engagement; and managing all the contracts and logistics that go into booking live performances.\u003c/p>\n\u003cp>“I can’t work a nine-to-five if I have to go on tour and if I have to be churning out all this content and going to different sites for gigs and, you know—I mean, it’s an artist’s life,” says Peña-Govea. “It’s not very conducive [to a job] with full benefits and stable income.”\u003c/p>\n\u003cp>Her teaching work—made up of contract gigs—helps her pay the bills, but that comes with its own challenges. Many children are traumatized from pandemic isolation and poverty; some have fallen behind because of distance learning.\u003c/p>\n\u003cp>“Most of the artists I know definitely do teaching work,” she says. “It’s kind of a catch-22. … If I get sick in the classroom, then I can’t play my gig and I miss that income. What happens if \u003ca href=\"https://www.kqed.org/arts/13912324/mask-requirements-touring-musicians-covid-tsa\" target=\"_blank\" rel=\"noopener noreferrer\">I get sick on the road and I have to quarantine\u003c/a>, and I can’t teach when I get home?”\u003c/p>\n\u003cfigure id=\"attachment_13913898\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913898\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/014_KQEDArts_Alameda_LaDona_07202021.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cecilia Peña-Govea, a.k.a. La Doña. \u003ccite>(Beth LaBerge)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The $1,000 a month from the Guaranteed Income Pilot only covers a fraction of Peña-Govea’s expenses. It’s crucial to take her band along on tour to capture the full dimension and energy of her sound, she says, but it’s costly. The South by Southwest trip cost about $5,000, and she crowdfunded to cover costs for her current tour with Durand Jones & the Indications. With the Guaranteed Income Pilot, the regular check on top of earnings from teaching means that she can breathe easier, and spend more time working on her craft instead of constantly hustling for grants.\u003c/p>\n\u003ch2>Taking Guaranteed Income from Pilot to Policy\u003c/h2>\n\u003cp>There’s a lot of need among artists in a gentrified city like San Francisco, which Peña-Govea refers to as a “contested area.” Coming to fill that need is an expanding array of guaranteed income programs, engineered to deal with the realities of rising inequality at a time when wages haven’t increased to keep up with the cost of living.\u003c/p>\n\u003cfigure id=\"attachment_13913912\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13913912\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/05/ybca-artists-composite-800x432.jpg\" alt=\"\" width=\"800\" height=\"432\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-800x432.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1020x551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-160x86.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-768x415.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1536x829.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite-1920x1037.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/05/ybca-artists-composite.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Recipients of the San Francisco Guaranteed Income Pilot for Artists include choreographer Marika Brussel, writer and poet Kevin Dublin and dancer Clarissa Dyas. \u003ccite>(Alexa Trevino)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>According to the \u003ca href=\"https://sftreasurer.org/pilots-policy-change#1\" target=\"_blank\" rel=\"noopener noreferrer\">San Francisco Guaranteed Income Advisory Group\u003c/a>, there are currently nearly a dozen guaranteed income programs either in practice or development in San Francisco alone, and at least six in neighboring counties. In the city, that includes cash payments for \u003ca href=\"https://www.sfexaminer.com/news/pilot-program-would-provide-basic-income-to-aid-san-franciscos-transgender-community/\" target=\"_blank\" rel=\"noopener noreferrer\">low-income transgender people\u003c/a>, as well as for \u003ca href=\"https://sfmayor.org/article/mayor-london-breed-announces-launch-pilot-program-provide-basic-income-black-and-pacific\" target=\"_blank\" rel=\"noopener noreferrer\">Black and Pacific Islanders during pregnancy and six months post-partum\u003c/a>. Oakland has a program for \u003ca href=\"https://www.oaklandca.gov/news/2021/oakland-guaranteed-income-pilot-now-accepting-applications-for-phase-2\" target=\"_blank\" rel=\"noopener noreferrer\">low-income families\u003c/a>, and the \u003ca href=\"https://www.cdss.ca.gov/inforesources/guaranteed-basic-income-projects\" target=\"_blank\" rel=\"noopener noreferrer\">California Department of Social Services\u003c/a> has announced a 2022 rollout of its own pilot focused on young adults who’ve aged out of foster care, as well as low-income pregnant people.\u003c/p>\n\u003cp>The goal for the Guaranteed Income Pilot for Artists, Imah says, is to take the program from pilot to policy. She wants to see it written into law. “We’re really, truly advocating for the city, state and federal level of guaranteed income implementation,” she says. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For artists like Peña-Govea, investments in guaranteed income are part of a necessary reexamination of the value of art in society, which isn’t always legible from earnings reports or follower counts. “You’re not going to go see Beyoncé playing at 24th Street BART. What about the people that show up there every single week and are playing for free and vivifying our whole lives?” she says. “It doesn’t have to be Apple’s featured artist for it to be important and impactful artwork. I think the way that we value different types of artists definitely has to change.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>Read more stories from \u003c/em>\u003ca href=\"http://kqed.org/ourcreativefutures\" target=\"_blank\" rel=\"noopener noreferrer\">Our Creative Futures\u003c/a>\u003cem> here. Have something to share? Tell us about how \u003ca href=\"https://artskqed.typeform.com/Artist2022\" target=\"_blank\" rel=\"noopener noreferrer\">the pandemic has impacted your art practice or community\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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},
"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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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},
"perspectives": {
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"order": 14
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"politicalbreakdown": {
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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