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"content": "\u003cp>This year’s Super Bowl commercials were packed with superstar cameos and in-your-face messages — from Ellen DeGeneres \u003ca href=\"https://www.youtube.com/watch?v=RF9t2rFmTVE&feature=emb_title\">speaking up\u003c/a> for Amazon’s Alexa to an ad about \u003ca href=\"https://www.youtube.com/watch?v=ANarZ_113Xc\">organic farmland.\u003c/a> But they had a few unintended messages, too.\u003c/p>\n\u003cp>These were the stories America’s largest corporations developed to entertain, inform and sell products on the biggest stage in television – costing as much as $5.6 million per 30 seconds this year. Sometimes, those stories said a lot more than their sponsors may have intended.\u003c/p>\n\u003cp>Consider Kia’s spot, featuring Raiders running back Josh Jacobs driving an SUV, imagining what advice he would give his younger self. Jacobs grew up homeless on the streets of Tulsa, Okla.; in the ad, he’s watching a young black boy sprint across the broken streets of Tulsa’s struggling neighborhoods. “Push yourself to be someone,” Jacobs says, “and I promise, someday, you will.”\u003c/p>\n\u003cp>https://youtu.be/YyMev6_XZ9s\u003c/p>\n\u003cp>It’s nice message for a day centered on scarfing snacks and watching football. But for anyone who knows how unlikely it is for a kid to actually \u003cem>become\u003c/em> a pro football player, it’s also a sobering reminder of how much young people who aren’t blessed with NFL-level athletic skills will have to achieve to escape similar circumstances.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here’s a look at some other ads that sent double messages, along with some of the more entertaining, provocative and just plain weird commercials aired on the biggest global showcase for TV advertising:\u003c/p>\n\u003cp>\u003cstrong>Oddest use of vaguely nationalistic language to sell beer: Budweiser’s “Typical American”\u003c/strong>\u003c/p>\n\u003cp>The self-styled “king of beers” offers some championship-level pandering in this ad, which features a gritty-voiced announcer sarcastically noting how “typical Americans” are always showing off their strength — as images of a heroic firefighter in action play across the screen. The ad urges viewers to celebrate the nobility of “typical Americans.” But I couldn’t help wonder who the narrator was referencing when he said, “they call us ‘typical Americans.’ ” Who exactly is “they?” And why is Budweiser developing brand loyalty by urging “typical Americans” to rise up against this unnamed source of insult? Vaguely nationalistic, condescending and solicitous all at once — hardly a regal combination.\u003c/p>\n\u003cp>https://youtu.be/yt-zXuAAD6Q\u003c/p>\n\u003cp>\u003cstrong>Best wishful thinking: Little Caesars’ “Best Thing Since Sliced Bread”\u003c/strong>\u003c/p>\n\u003cp>A customer getting a Little Caesars pizza delivered calls it the “best thing since sliced bread.” This sends a company called “Sliced Bread” — led by an increasingly grizzled Rainn Wilson — into a panic, which involves crying jags and chaotic office meetings with one employee riding an ostrich around. (Really.) But anyone who has tasted Little Caesars’ takeout pizza knows sliced bread probably doesn’t have much to worry about. \u003c/p>\n\u003cp>https://youtu.be/vnLBmYCHjZI\u003c/p>\n\u003cp>\u003cstrong>Savviest use of a billionaire’s pizza money: Michael Bloomberg’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>A \u003cem>Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/graphics/2020/politics/wealth-comparison/\">analysis found\u003c/a> that if Bloomberg spent $11 million on his Super Bowl ad, it would impact his net worth like the average American buying a pizza. For that pocket money, Bloomberg crafted a spot focused on his efforts to secure tougher gun laws, featuring the mother of George Kemp Jr. — a young black man who dreamed of playing in the NFL, shot dead after an altercation in 2013. The ad doesn’t mention Trump or any Democratic contenders and barely features Bloomberg, who has faced sharp questions over how his stop and frisk policies disproportionately affected people of color while he was mayor of New York. A bold example of buying your way past racial controversy and into the political conversation.\u003c/p>\n\u003cp>https://youtu.be/9Yp0yN8UxVg\u003c/p>\n\u003cp>\u003cstrong>Look on the bright side award: Donald Trump’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>The president aired two ads during the Super Bowl; one featured Alice Johnson, a woman whose life sentence Trump commuted after lobbying from Kim Kardashian. The other was a more traditional campaign ad with shots of the military and Trump at his beloved rallies, as complimentary economic statistics displayed on the screen featuring the tagline “Stronger, safer, more prosperous.” One ad seemed aimed right at his base supporters, while the other was a rare pitch to those who might not be among his core voters. Impeachment? What impeachment?\u003c/p>\n\u003cp>https://youtu.be/m4sVnOsXlAA\u003c/p>\n\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 1: Post Malone for Bud Light\u003c/strong>\u003c/p>\n\u003cp>There were actually two ads created starring the heavily tattooed rapper/songwriter: Fans picked the one that would land in the game. Both took viewers inside Malone’s mind as various characters debated his reaction to drinking Bud Light hard seltzer. My fave, which didn’t air during the Big Game, shows Malone, who has tats around his eyebrows and eyes, decked out in a white sweater yelling at his spleen in a bar, like an accountant on mescaline.\u003c/p>\n\u003cp>https://youtu.be/pj1meOmpezs\u003c/p>\n\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 2: MC Hammer for Cheetos\u003c/strong>\u003c/p>\n\u003cp>Hammer’s head pops out of a rolled-up carpet and a coiled water hose as his signature hit “U Can’t Touch This” plays. The joke: A young guy eating new Cheetos popcorn can’t touch anything — declining to help somebody move furniture, for example — because his fingers are coated in yellow dust. Why Cheetos would remind us of one of the most annoying elements of its product in a mega-expensive Super Bowl commercial is beyond me. But I’m glad to see Hammer can still squeeze into those genie pants.\u003c/p>\n\u003cp>https://youtu.be/qgQllY4GtkE\u003c/p>\n\u003cp>\u003cstrong>Best use of a ’90s movie to sell a modern product: Jeep’s “Groundhog Day”\u003c/strong>\u003c/p>\n\u003cp>Bill Murray provides one of the best celebrity Super Bowl ad appearances this year, re-creating his 1993 movie \u003cem>Groundhog Day\u003c/em> with a twist. This time, he steals the groundhog in a Jeep Gladiator truck, living a new adventure every day thanks to his great car. The scene where Murray is playing a Whack-A-Mole game, assuring the groundhog it’s nothing personal, was simply priceless.\u003c/p>\n\u003cp>https://youtu.be/AnhzGUcENWo\u003c/p>\n\u003cp>\u003cstrong>Best use of a Boston accent since \u003c/strong>\u003cstrong>\u003cem>The Departed\u003c/em>\u003c/strong>\u003cstrong>: Hyundai’s Smaaht Paahk\u003c/strong>\u003c/p>\n\u003cp>The carmaker won the pre-Super Bowl competition for attention with this ad — featured in loads of preview stories about the game’s commercials — with Chris Evans, Rachel Dratch and John Krasinski deploying their best Boston \u003cem>patois\u003c/em>. They’re touting Hyundai’s “remote smart park” feature, which guides cars into tight spaces on its own, while lampooning all the cartoonishly thick accents actors take on for roles set in Beantown. (Best of all, the ad has subtitles with words like “caah,” “paahk” “smahtypants” and “clickah.”)\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://youtu.be/85iRQdjCzj0\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Super+Bowl+Ads+2020%3A+Strange%2C+Serious%2C+Smaaht%2C+And+So+Very+Expensive&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s Super Bowl commercials were packed with superstar cameos and in-your-face messages — from Ellen DeGeneres \u003ca href=\"https://www.youtube.com/watch?v=RF9t2rFmTVE&feature=emb_title\">speaking up\u003c/a> for Amazon’s Alexa to an ad about \u003ca href=\"https://www.youtube.com/watch?v=ANarZ_113Xc\">organic farmland.\u003c/a> But they had a few unintended messages, too.\u003c/p>\n\u003cp>These were the stories America’s largest corporations developed to entertain, inform and sell products on the biggest stage in television – costing as much as $5.6 million per 30 seconds this year. Sometimes, those stories said a lot more than their sponsors may have intended.\u003c/p>\n\u003cp>Consider Kia’s spot, featuring Raiders running back Josh Jacobs driving an SUV, imagining what advice he would give his younger self. Jacobs grew up homeless on the streets of Tulsa, Okla.; in the ad, he’s watching a young black boy sprint across the broken streets of Tulsa’s struggling neighborhoods. “Push yourself to be someone,” Jacobs says, “and I promise, someday, you will.”\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/YyMev6_XZ9s'\n title='//www.youtube.com/embed/YyMev6_XZ9s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s nice message for a day centered on scarfing snacks and watching football. But for anyone who knows how unlikely it is for a kid to actually \u003cem>become\u003c/em> a pro football player, it’s also a sobering reminder of how much young people who aren’t blessed with NFL-level athletic skills will have to achieve to escape similar circumstances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here’s a look at some other ads that sent double messages, along with some of the more entertaining, provocative and just plain weird commercials aired on the biggest global showcase for TV advertising:\u003c/p>\n\u003cp>\u003cstrong>Oddest use of vaguely nationalistic language to sell beer: Budweiser’s “Typical American”\u003c/strong>\u003c/p>\n\u003cp>The self-styled “king of beers” offers some championship-level pandering in this ad, which features a gritty-voiced announcer sarcastically noting how “typical Americans” are always showing off their strength — as images of a heroic firefighter in action play across the screen. The ad urges viewers to celebrate the nobility of “typical Americans.” But I couldn’t help wonder who the narrator was referencing when he said, “they call us ‘typical Americans.’ ” Who exactly is “they?” And why is Budweiser developing brand loyalty by urging “typical Americans” to rise up against this unnamed source of insult? Vaguely nationalistic, condescending and solicitous all at once — hardly a regal combination.\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/yt-zXuAAD6Q'\n title='//www.youtube.com/embed/yt-zXuAAD6Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best wishful thinking: Little Caesars’ “Best Thing Since Sliced Bread”\u003c/strong>\u003c/p>\n\u003cp>A customer getting a Little Caesars pizza delivered calls it the “best thing since sliced bread.” This sends a company called “Sliced Bread” — led by an increasingly grizzled Rainn Wilson — into a panic, which involves crying jags and chaotic office meetings with one employee riding an ostrich around. (Really.) But anyone who has tasted Little Caesars’ takeout pizza knows sliced bread probably doesn’t have much to worry about. \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/vnLBmYCHjZI'\n title='//www.youtube.com/embed/vnLBmYCHjZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Savviest use of a billionaire’s pizza money: Michael Bloomberg’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>A \u003cem>Washington Post\u003c/em> \u003ca href=\"https://www.washingtonpost.com/graphics/2020/politics/wealth-comparison/\">analysis found\u003c/a> that if Bloomberg spent $11 million on his Super Bowl ad, it would impact his net worth like the average American buying a pizza. For that pocket money, Bloomberg crafted a spot focused on his efforts to secure tougher gun laws, featuring the mother of George Kemp Jr. — a young black man who dreamed of playing in the NFL, shot dead after an altercation in 2013. The ad doesn’t mention Trump or any Democratic contenders and barely features Bloomberg, who has faced sharp questions over how his stop and frisk policies disproportionately affected people of color while he was mayor of New York. A bold example of buying your way past racial controversy and into the political conversation.\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/9Yp0yN8UxVg'\n title='//www.youtube.com/embed/9Yp0yN8UxVg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Look on the bright side award: Donald Trump’s campaign ad\u003c/strong>\u003c/p>\n\u003cp>The president aired two ads during the Super Bowl; one featured Alice Johnson, a woman whose life sentence Trump commuted after lobbying from Kim Kardashian. The other was a more traditional campaign ad with shots of the military and Trump at his beloved rallies, as complimentary economic statistics displayed on the screen featuring the tagline “Stronger, safer, more prosperous.” One ad seemed aimed right at his base supporters, while the other was a rare pitch to those who might not be among his core voters. Impeachment? What impeachment?\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/m4sVnOsXlAA'\n title='//www.youtube.com/embed/m4sVnOsXlAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 1: Post Malone for Bud Light\u003c/strong>\u003c/p>\n\u003cp>There were actually two ads created starring the heavily tattooed rapper/songwriter: Fans picked the one that would land in the game. Both took viewers inside Malone’s mind as various characters debated his reaction to drinking Bud Light hard seltzer. My fave, which didn’t air during the Big Game, shows Malone, who has tats around his eyebrows and eyes, decked out in a white sweater yelling at his spleen in a bar, like an accountant on mescaline.\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/pj1meOmpezs'\n title='//www.youtube.com/embed/pj1meOmpezs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Weirdest use of a celebrity, Part 2: MC Hammer for Cheetos\u003c/strong>\u003c/p>\n\u003cp>Hammer’s head pops out of a rolled-up carpet and a coiled water hose as his signature hit “U Can’t Touch This” plays. The joke: A young guy eating new Cheetos popcorn can’t touch anything — declining to help somebody move furniture, for example — because his fingers are coated in yellow dust. Why Cheetos would remind us of one of the most annoying elements of its product in a mega-expensive Super Bowl commercial is beyond me. But I’m glad to see Hammer can still squeeze into those genie pants.\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/qgQllY4GtkE'\n title='//www.youtube.com/embed/qgQllY4GtkE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best use of a ’90s movie to sell a modern product: Jeep’s “Groundhog Day”\u003c/strong>\u003c/p>\n\u003cp>Bill Murray provides one of the best celebrity Super Bowl ad appearances this year, re-creating his 1993 movie \u003cem>Groundhog Day\u003c/em> with a twist. This time, he steals the groundhog in a Jeep Gladiator truck, living a new adventure every day thanks to his great car. The scene where Murray is playing a Whack-A-Mole game, assuring the groundhog it’s nothing personal, was simply priceless.\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/AnhzGUcENWo'\n title='//www.youtube.com/embed/AnhzGUcENWo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Best use of a Boston accent since \u003c/strong>\u003cstrong>\u003cem>The Departed\u003c/em>\u003c/strong>\u003cstrong>: Hyundai’s Smaaht Paahk\u003c/strong>\u003c/p>\n\u003cp>The carmaker won the pre-Super Bowl competition for attention with this ad — featured in loads of preview stories about the game’s commercials — with Chris Evans, Rachel Dratch and John Krasinski deploying their best Boston \u003cem>patois\u003c/em>. They’re touting Hyundai’s “remote smart park” feature, which guides cars into tight spaces on its own, while lampooning all the cartoonishly thick accents actors take on for roles set in Beantown. (Best of all, the ad has subtitles with words like “caah,” “paahk” “smahtypants” and “clickah.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For non-football types, the Super Bowl halftime show can be the only life raft in a confusing sea of frowning men wearing shoulder pads and over-long commercial breaks. And, since 1993, when Michael Jackson turned in his game-changing, five-song performance in Pasadena, standards for a successful halftime have been incredibly high.\u003c/p>\n\u003cp>No wonder. Super Bowl \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_television_ratings\" target=\"_blank\" rel=\"noopener noreferrer\">viewing figures\u003c/a> haven’t fallen under 100 million since 1981, and are more commonly closer to the 150 million mark—and that’s in America alone.\u003c/p>\n\u003cp>[aside postid='pop_20247']When it’s done right, the halftime show can be a source of national pride (as when \u003ca href=\"https://www.youtube.com/watch?v=pH5tHgXS-2M\" target=\"_blank\" rel=\"noopener noreferrer\">U2 tried to heal\u003c/a> the nation after 9/11). It can have an immediate and lasting impact on pop culture (Katy Perry’s \u003ca href=\"https://www.youtube.com/watch?v=ZD1QrIe--_Y\" target=\"_blank\" rel=\"noopener noreferrer\">Left Shark\u003c/a> will live on as a\u003ca href=\"https://knowyourmeme.com/memes/super-bowl-xlix-halftime-left-shark\" target=\"_blank\" rel=\"noopener noreferrer\"> meme\u003c/a> forever). And it can bring the country together during turbulent times (everyone stopped thinking about 2017’s divisive inauguration the second \u003ca href=\"https://www.youtube.com/watch?v=txXwg712zw4\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga threw herself\u003c/a> off the top of that stadium).\u003c/p>\n\u003cp>So it’s easy to forget quite how much the pre-Jackson Super Bowl halftime, well, sucked.\u003c/p>\n\u003cp>Going all the way back to the beginning, the first three halftime shows (’67-’69) consisted simply of \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">marching bands\u003c/a>. In 1970, when the NFL decided to jazz things up \u003ca href=\"https://www.theguardian.com/sport/2016/feb/06/carol-channing-super-bowl-broadway\" target=\"_blank\" rel=\"noopener noreferrer\">for Super Bowl IV\u003c/a> in New Orleans, it saw fit to give America \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">a surreal reenactment\u003c/a> of the 1815 Battle of New Orleans. Cannons, on-field “deaths” and Carol Channing singing “When the Saints Go Marching In” were all involved. (All of which makes \u003ca href=\"https://www.youtube.com/watch?v=NGRfz5_Cuo8\" target=\"_blank\" rel=\"noopener noreferrer\">Black Eyed Peas’ \u003cem>Tron\u003c/em> musical \u003c/a>in 2011 look perfectly reasonable.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Carol Channing was invited back again two years later, when Ella Fitzgerald and Al Hirt performed a rendition of “Mack the Knife” as part of a single-song “tribute to Louis Armstrong.” And by ’73, Andy Williams had been dragged in to pelt the crowd with two easy listening gems while the Michigan Marching Band did its thing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ny-1Q6qxn-A\u003c/p>\n\u003cp>Despite the fact that the flashiest thing about Williams’ performance was his belt, in subsequent years, the decision was made to return to simpler times. For the next 15 years, marching bands performing a grab bag of “themes” dominated.\u003c/p>\n\u003cp>These regimented “salutes” ranged from fairly reasonable celebrations (America’s bicentennial, “the Big Band era,” Hollywood’s 100th Anniversary), to totally random subjects (Duke Ellington, the Caribbean, Motown). And in between, there were moments of abject surreality (“World of Children’s Dreams,” “KaleidoSUPERscope” and “Beat of the Future,” anyone?)\u003c/p>\n\u003cp>Occasionally, flagrant advertising would interrupt proceedings—even more so than Pepsi does now. The most egregious example of this was 1977’s “It’s a Small World.” Produced by The Walt Disney Company, the halftime exhibition featured grinning but under-utilized Mouseketeers, a human reproduction of Disneyland’s “It’s a Small World” ride and, for reasons that remain unclear, green-hooded figures waving white sheets in formations that made… nothing.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-K-7je-6Dk0\u003c/p>\n\u003cp>1987’s “\u003ca href=\"https://www.youtube.com/watch?v=oSXMNbK2e98\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood’s 100th Anniversary\u003c/a>” special with George Burns, as well as New Kids On The Block’s \u003ca href=\"https://www.youtube.com/watch?v=ZTOt6CjYaHc\" target=\"_blank\" rel=\"noopener noreferrer\">weird, child-laden\u003c/a> set in 1991 also served as thinly-veiled Disney commercials.\u003c/p>\n\u003cp>[aside postid='arts_13863975']As late as 1989, the Super Bowl halftime show was such a mess, \u003ca href=\"https://www.youtube.com/watch?v=VqusO8PegFI&t=381s\" target=\"_blank\" rel=\"noopener noreferrer\">the NFL thought nothing of bringing in Elvis Presto, a magician and Elvis impersonator\u003c/a> who spent his time on the field doing one large-scale card trick for the stadium, then a bunch of smaller illusions while singing “Do You Love Me” by The Contours—instead of, you know, an Elvis song.\u003c/p>\n\u003cp>The most noteworthy halftime of that period came in 1988 with a show that answered the question: What happens when you have too many ideas and decide to do all of them at the same time?\u003c/p>\n\u003cp>The final result, featuring 88 grand pianos, 44 Rockettes, four dudes on roller skates, an untold number of “dancersizers,” hundreds of cheerleaders, “the biggest big band ever to swing” and—wouldn’t you know it?—Chubby Checker, is the single most entertaining (and unintentionally hilarious) halftime show of all time. Behold its majesty:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wqrksVDVO6w\u003c/p>\n\u003cp>In the last 25 years, the strides made by the Super Bowl halftime show are immense. But we still find reasons to quibble. For every \u003ca href=\"https://www.youtube.com/watch?v=sLrOSZi2pfw\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny’s Child reunion\u003c/a>, there is a \u003ca href=\"https://www.youtube.com/watch?v=0wL8sAr1Ym0\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars trying\u003c/a> (and failing) to make it work with Red Hot Chili Peppers. For every \u003ca href=\"https://www.youtube.com/watch?v=7NN3gsSf-Ys&t=105s\" target=\"_blank\" rel=\"noopener noreferrer\">Prince flawlessly powering through\u003c/a> a thunderstorm, there is an \u003ca href=\"https://www.youtube.com/watch?v=zIwkhEqVq4s\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Levine\u003c/a> assuming that removing his shirt constitutes a grand finale. And for every \u003ca href=\"https://www.youtube.com/watch?v=i4-0nbHFi4o\" target=\"_blank\" rel=\"noopener noreferrer\">inter-generationally loved Bruce Springsteen set\u003c/a>, there’s an \u003ca href=\"https://www.youtube.com/watch?v=X3ik_8QjM3U\" target=\"_blank\" rel=\"noopener noreferrer\">M.I.A. middle finger\u003c/a> or a \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener noreferrer\">Janet Jackson nipple guard\u003c/a>.\u003c/p>\n\u003cp>[aside postid='pop_20175']Right now, there are three guarantees when it comes to the Super Bowl halftime show. It \u003cem>will\u003c/em> be spectacular, it \u003cem>won’t\u003c/em> please everyone and, even at its worst, it’s still about a million times better than it was in its fledgling years. So this Sunday, if you happen to end up sitting next to someone complaining, feel free to send them a gentle reminder of how bad things used to be. The \u003cem>Peanuts\u003c/em>-related fever dream below ought to do it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X4zzu4Jrl4o\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For non-football types, the Super Bowl halftime show can be the only life raft in a confusing sea of frowning men wearing shoulder pads and over-long commercial breaks. And, since 1993, when Michael Jackson turned in his game-changing, five-song performance in Pasadena, standards for a successful halftime have been incredibly high.\u003c/p>\n\u003cp>No wonder. Super Bowl \u003ca href=\"https://en.wikipedia.org/wiki/Super_Bowl_television_ratings\" target=\"_blank\" rel=\"noopener noreferrer\">viewing figures\u003c/a> haven’t fallen under 100 million since 1981, and are more commonly closer to the 150 million mark—and that’s in America alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>When it’s done right, the halftime show can be a source of national pride (as when \u003ca href=\"https://www.youtube.com/watch?v=pH5tHgXS-2M\" target=\"_blank\" rel=\"noopener noreferrer\">U2 tried to heal\u003c/a> the nation after 9/11). It can have an immediate and lasting impact on pop culture (Katy Perry’s \u003ca href=\"https://www.youtube.com/watch?v=ZD1QrIe--_Y\" target=\"_blank\" rel=\"noopener noreferrer\">Left Shark\u003c/a> will live on as a\u003ca href=\"https://knowyourmeme.com/memes/super-bowl-xlix-halftime-left-shark\" target=\"_blank\" rel=\"noopener noreferrer\"> meme\u003c/a> forever). And it can bring the country together during turbulent times (everyone stopped thinking about 2017’s divisive inauguration the second \u003ca href=\"https://www.youtube.com/watch?v=txXwg712zw4\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga threw herself\u003c/a> off the top of that stadium).\u003c/p>\n\u003cp>So it’s easy to forget quite how much the pre-Jackson Super Bowl halftime, well, sucked.\u003c/p>\n\u003cp>Going all the way back to the beginning, the first three halftime shows (’67-’69) consisted simply of \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">marching bands\u003c/a>. In 1970, when the NFL decided to jazz things up \u003ca href=\"https://www.theguardian.com/sport/2016/feb/06/carol-channing-super-bowl-broadway\" target=\"_blank\" rel=\"noopener noreferrer\">for Super Bowl IV\u003c/a> in New Orleans, it saw fit to give America \u003ca href=\"https://www.youtube.com/watch?v=IGj3SFf_VOk\" target=\"_blank\" rel=\"noopener noreferrer\">a surreal reenactment\u003c/a> of the 1815 Battle of New Orleans. Cannons, on-field “deaths” and Carol Channing singing “When the Saints Go Marching In” were all involved. (All of which makes \u003ca href=\"https://www.youtube.com/watch?v=NGRfz5_Cuo8\" target=\"_blank\" rel=\"noopener noreferrer\">Black Eyed Peas’ \u003cem>Tron\u003c/em> musical \u003c/a>in 2011 look perfectly reasonable.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Carol Channing was invited back again two years later, when Ella Fitzgerald and Al Hirt performed a rendition of “Mack the Knife” as part of a single-song “tribute to Louis Armstrong.” And by ’73, Andy Williams had been dragged in to pelt the crowd with two easy listening gems while the Michigan Marching Band did its thing.\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/ny-1Q6qxn-A'\n title='//www.youtube.com/embed/ny-1Q6qxn-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Despite the fact that the flashiest thing about Williams’ performance was his belt, in subsequent years, the decision was made to return to simpler times. For the next 15 years, marching bands performing a grab bag of “themes” dominated.\u003c/p>\n\u003cp>These regimented “salutes” ranged from fairly reasonable celebrations (America’s bicentennial, “the Big Band era,” Hollywood’s 100th Anniversary), to totally random subjects (Duke Ellington, the Caribbean, Motown). And in between, there were moments of abject surreality (“World of Children’s Dreams,” “KaleidoSUPERscope” and “Beat of the Future,” anyone?)\u003c/p>\n\u003cp>Occasionally, flagrant advertising would interrupt proceedings—even more so than Pepsi does now. The most egregious example of this was 1977’s “It’s a Small World.” Produced by The Walt Disney Company, the halftime exhibition featured grinning but under-utilized Mouseketeers, a human reproduction of Disneyland’s “It’s a Small World” ride and, for reasons that remain unclear, green-hooded figures waving white sheets in formations that made… nothing.\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-7je-6Dk0'\n title='//www.youtube.com/embed/-K-7je-6Dk0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1987’s “\u003ca href=\"https://www.youtube.com/watch?v=oSXMNbK2e98\" target=\"_blank\" rel=\"noopener noreferrer\">Hollywood’s 100th Anniversary\u003c/a>” special with George Burns, as well as New Kids On The Block’s \u003ca href=\"https://www.youtube.com/watch?v=ZTOt6CjYaHc\" target=\"_blank\" rel=\"noopener noreferrer\">weird, child-laden\u003c/a> set in 1991 also served as thinly-veiled Disney commercials.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As late as 1989, the Super Bowl halftime show was such a mess, \u003ca href=\"https://www.youtube.com/watch?v=VqusO8PegFI&t=381s\" target=\"_blank\" rel=\"noopener noreferrer\">the NFL thought nothing of bringing in Elvis Presto, a magician and Elvis impersonator\u003c/a> who spent his time on the field doing one large-scale card trick for the stadium, then a bunch of smaller illusions while singing “Do You Love Me” by The Contours—instead of, you know, an Elvis song.\u003c/p>\n\u003cp>The most noteworthy halftime of that period came in 1988 with a show that answered the question: What happens when you have too many ideas and decide to do all of them at the same time?\u003c/p>\n\u003cp>The final result, featuring 88 grand pianos, 44 Rockettes, four dudes on roller skates, an untold number of “dancersizers,” hundreds of cheerleaders, “the biggest big band ever to swing” and—wouldn’t you know it?—Chubby Checker, is the single most entertaining (and unintentionally hilarious) halftime show of all time. Behold its majesty:\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/wqrksVDVO6w'\n title='//www.youtube.com/embed/wqrksVDVO6w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the last 25 years, the strides made by the Super Bowl halftime show are immense. But we still find reasons to quibble. For every \u003ca href=\"https://www.youtube.com/watch?v=sLrOSZi2pfw\" target=\"_blank\" rel=\"noopener noreferrer\">Destiny’s Child reunion\u003c/a>, there is a \u003ca href=\"https://www.youtube.com/watch?v=0wL8sAr1Ym0\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars trying\u003c/a> (and failing) to make it work with Red Hot Chili Peppers. For every \u003ca href=\"https://www.youtube.com/watch?v=7NN3gsSf-Ys&t=105s\" target=\"_blank\" rel=\"noopener noreferrer\">Prince flawlessly powering through\u003c/a> a thunderstorm, there is an \u003ca href=\"https://www.youtube.com/watch?v=zIwkhEqVq4s\" target=\"_blank\" rel=\"noopener noreferrer\">Adam Levine\u003c/a> assuming that removing his shirt constitutes a grand finale. And for every \u003ca href=\"https://www.youtube.com/watch?v=i4-0nbHFi4o\" target=\"_blank\" rel=\"noopener noreferrer\">inter-generationally loved Bruce Springsteen set\u003c/a>, there’s an \u003ca href=\"https://www.youtube.com/watch?v=X3ik_8QjM3U\" target=\"_blank\" rel=\"noopener noreferrer\">M.I.A. middle finger\u003c/a> or a \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\" target=\"_blank\" rel=\"noopener noreferrer\">Janet Jackson nipple guard\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Right now, there are three guarantees when it comes to the Super Bowl halftime show. It \u003cem>will\u003c/em> be spectacular, it \u003cem>won’t\u003c/em> please everyone and, even at its worst, it’s still about a million times better than it was in its fledgling years. So this Sunday, if you happen to end up sitting next to someone complaining, feel free to send them a gentle reminder of how bad things used to be. The \u003cem>Peanuts\u003c/em>-related fever dream below ought to do it.\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/X4zzu4Jrl4o'\n title='//www.youtube.com/embed/X4zzu4Jrl4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"slug": "super-bowl-liv-49ers-father-and-daughter",
"title": "For This Super Bowl-Bound Father and Daughter, It’s Just Another Football Game",
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"content": "\u003cp>As the 49ers head to the Super Bowl in Miami on Sunday and the Bay Area gears up to cheer them on, one local duo will be watching the game through a different type of lens.\u003c/p>\n\u003cp>You might recognize William Hammons or his daughter, Jazmyn, if you’ve ever looked up archival footage of 49ers pregame interviews or postgame recaps from the past three decades. Through their work as independent media producers, they’ve collectively had a front row seat to the \u003ca href=\"https://www.youtube.com/watch?v=akojZqKVRJ4\" target=\"_blank\" rel=\"noopener noreferrer\">final game\u003c/a> at Candlestick, “\u003ca href=\"https://www.youtube.com/watch?v=jL9tfB1OU5I\" target=\"_blank\" rel=\"noopener noreferrer\">The Catch Part 2\u003c/a>” and many other memorable moments in Bay Area pro sports over the past 25 years.\u003c/p>\n\u003cp>One week before this year’s Super Bowl, William and Jazmyn sat in \u003ca href=\"https://owhstudios.tv/liberty-hall-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">OWH Studios\u003c/a>, inside of the Marcus Garvey Building, a West Oakland meeting house in the National Register of Historic Places. Multiple monitors and an endless amount of knobs decorate the studio where the Hammons family produces the \u003cem>Sports Fans Rap\u003c/em> show, a Bay Area-based pro sports recap that’s been running since 1993.\u003c/p>\n\u003cp>“The first time I went to the Super Bowl, it was the 49ers in Miami,” says William, while laughing in a ‘where did the time go’ sort of way. He notes that Jan. 29 marks the 25th anniversary of that game. “That’s where I really found out what it meant: the \u003cem>Super Bowl\u003c/em>. It wasn’t about the game, it was about all of the other stuff going on around it.”\u003c/p>\n\u003cp>The Super Bowl, much like sports in general, isn’t only about what happens between the end zones. It’s about the larger story that is life. That’s especially evident this week, as the sports world tunes in to the NFL’s biggest game while still mourning the lives of basketball superstar Kobe Bryant, his daughter Gigi and those who died in a helicopter crash outside of Los Angeles this past weekend.\u003c/p>\n\u003cp>Sports is much bigger than sports; I’d argue it’s really about creating good memories with those you love, as is life. William knows that well.\u003c/p>\n\u003cfigure id=\"attachment_13874048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/imagejpeg_0-800x468.jpg\" alt=\"William Hammons interviewing Boy II Men at the NFC Championship Game in 1994\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/imagejpeg_0-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/imagejpeg_0-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/imagejpeg_0-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/imagejpeg_0-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/imagejpeg_0.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Hammons interviewing Boy II Men at the NFC Championship Game in 1994 \u003ccite>(William Hammons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hammons’ Highlight Reel\u003c/h2>\n\u003cp>He brought me back to 1995, when the 49ers beat the San Diego Chargers.\u003c/p>\n\u003cp>“One of the most memorable moments was when [49ers fullback] William Floyd comes out of the hotel and he starts looking around. I say ‘Hey man, the bus is gone already!’” Floyd missed the bus to practice, so William and his crew gave him a ride. As an independent producer who’s always on the job, of course William interviewed Floyd along the way.\u003c/p>\n\u003cp>William’s second Super Bowl came in 2002, when the Raiders lost to the Tampa Bay Buccaneers. The main story of that game was Bucs coach John Gruden, who at the time was only one year removed from his first stint as the Raiders’ head coach. But the other big story was about Barret Robbins, the Raiders offensive lineman who disappeared days before the game due to a mental health episode, and who reappeared the night before kickoff.\u003c/p>\n\u003cp>“Here’s the thing with the Barret Robbins story,” William tells me, as he leans forward in his seat. “The last day of press access, the last person we interviewed was Barret Robbins. In fact, \u003cem>he\u003c/em> took the mic and did the interview,” says William, noting that Robbins seemed to be in good spirits. “I think after that is when he ended up disappearing.”\u003c/p>\n\u003cp>William says that Raiders Super Bowl was memorable, but the first, with the 49ers, was better. Makes sense: he’s a real San Franciscan.\u003c/p>\n\u003cp>William grew up in the Bayview, and says he used to make the long walk to Candlestick with his grandfather. He attended George Washington High School on the other side of town before going on to SF State. There, he worked on campus managing media equipment for the school, equipment he’d often check out and use to hone his skills. He started his career as a photographer for the college paper, \u003cem>The Phoenix\u003c/em>, before working for \u003cem>The Sun-Reporter\u003c/em>. Since then, he’s worked for KPOO and KMTP, and for a nationwide anti-violence initiative called Tackle Violence.\u003c/p>\n\u003cfigure id=\"attachment_13873968\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/DSC8450-800x534.jpg\" alt=\"William Hammons and Jazmyn Hammons overlook the board and monitors at their studio in West Oakland.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Hammons and Jazmyn Hammons overlook the board and monitors at their studio in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Team of Two\u003c/h2>\n\u003cp>When it was announced that Super Bowl 50 would be held at the 49ers home stadium, which by then was in Santa Clara, the NFL championship became unforgettable for a different reason—it was the first time William and Jazmyn worked together on the big game.\u003c/p>\n\u003cp>Jazmyn wasn’t new to media production, she had been shadowing her pops his whole career. When he edited film in the studio at the basement of Sutro Tower, she’d accompany him.\u003c/p>\n\u003cp>When William would broadcast a live show from Everett and Jones BBQ in Oakland, Jazmyn says, “I used to drive down there, and set up all the knobs, and plug it all up and set up the entire system… I learned all of that growing up.”\u003c/p>\n\u003cp>For college, she went to Howard University (which is where we met), majoring in sports management and minoring in public relations. She says she never felt any pressure to work in this industry, but naturally gravitated to doing radio, photography and film.\u003c/p>\n\u003cp>“I used to call him and tell him that I was better than him when I was in college,” says Jazmyn. “He was like, ‘I’ll believe it when I see it.’” So Jazmyn brought her black-and-white photos and other media home to show him during Christmas break. “And he was like, ‘Na, you can do this better, you can do that better,’” says Jazmyn, causing William to laugh.\u003c/p>\n\u003cp>She was a summer intern for the Raiders PR office before graduating, moving home and getting a job with the Giants. But on the side, she worked with pops.\u003c/p>\n\u003cp>“I do all of the shooting now,” says Jazmyn. “If she’s shooting, I’m talent,” says William.\u003c/p>\n\u003cp>https://youtu.be/0_xniIl4Chg\u003c/p>\n\u003cp>\u003ci>William Hammons interviewing Governor Gavin Newsom at the NFC Championship Game, footage shot by Jazmyn Hammons.\u003c/i>\u003c/p>\n\u003cp>Jazmyn says she’s one of a few locally based African American women who cover pro sports in the Bay, but she doesn’t notice any differential or discriminatory treatment. However, things do sometimes get chippy. “I got bumped in the middle of John Lynch’s interview after the game last week,” says Jazmyn.\u003c/p>\n\u003cp>William followed by saying, “They don’t care, they’re just trying to get their shot.”\u003c/p>\n\u003cp>Looking out for his daughter in this industry is something he’s been thinking about for a long time. William says, “Before she started, I had to run it through my mind: my daughter in the locker room with naked men?” He says rules have changed over time, and there is more regulation as to how players are dressed and when they can be interviewed. “But still, who wants to bring their daughter into a room with naked men?”\u003c/p>\n\u003cp>But they managed, and now Jazmyn is a vet.\u003c/p>\n\u003cp>At that same NFC Championship Game, now two weeks ago, Jazmyn saw former Giants CEO Larry Baer, and asked him about the hiring of Alyssa Nakken, the first female coach in MLB history. After the convo, Baer said, “Good to see you Jazz.”\u003c/p>\n\u003cfigure id=\"attachment_13874086\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Hammons.jpg\" alt=\"\" width=\"1280\" height=\"762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons-1200x714.jpg 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">William Hammons and retired 49ers superstar quarterback Steve Young. \u003ccite>((William Hammons))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But encounters with big names aren’t new for Jazmyn or her pops. At Super Bowl 50, Jazmyn recalls walking past the entrance to the field during halftime, just before the Beyoncé performance, where she came across a set of very long legs laying down with the rest of the media folks on the sideline. “I was like, that’s a weird-looking photographer,” says Jazmyn. “And it was Kevin Durant.”\u003c/p>\n\u003cp>Not only do they get front row seats at the Super Bowl, but press passes to skyboxes and access to championship celebrations. Sometimes even for the opposing team. When Reggie White and the Packers beat the 49ers in a playoff game, William says he was in the background of the footage.\u003c/p>\n\u003cp>Jazmyn recently called and told him he was in the background of an NFL documentary she was watching. William responded, “I didn’t get that check, who do I call?”\u003c/p>\n\u003cp>On a serious note, William says of working with his daughter, “It’s a great pleasure. I doubt, and there may be some other father-daughter teams doing this in major league football or whatever, but I haven’t seen it.”\u003c/p>\n\u003cp>Looking ahead to the Super Bowl, Jazmyn says, “Everyone is like, ‘That’s so cool, you’re going to the Super Bowl,’ and I’m just like, ‘It’s just a football game, with my dad.’”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Bay Area sports reporters William and Jazmyn Hammons—maybe the only father-daughter duo in the business—will cover Super Bowl LIV together.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the 49ers head to the Super Bowl in Miami on Sunday and the Bay Area gears up to cheer them on, one local duo will be watching the game through a different type of lens.\u003c/p>\n\u003cp>You might recognize William Hammons or his daughter, Jazmyn, if you’ve ever looked up archival footage of 49ers pregame interviews or postgame recaps from the past three decades. Through their work as independent media producers, they’ve collectively had a front row seat to the \u003ca href=\"https://www.youtube.com/watch?v=akojZqKVRJ4\" target=\"_blank\" rel=\"noopener noreferrer\">final game\u003c/a> at Candlestick, “\u003ca href=\"https://www.youtube.com/watch?v=jL9tfB1OU5I\" target=\"_blank\" rel=\"noopener noreferrer\">The Catch Part 2\u003c/a>” and many other memorable moments in Bay Area pro sports over the past 25 years.\u003c/p>\n\u003cp>One week before this year’s Super Bowl, William and Jazmyn sat in \u003ca href=\"https://owhstudios.tv/liberty-hall-studios/\" target=\"_blank\" rel=\"noopener noreferrer\">OWH Studios\u003c/a>, inside of the Marcus Garvey Building, a West Oakland meeting house in the National Register of Historic Places. Multiple monitors and an endless amount of knobs decorate the studio where the Hammons family produces the \u003cem>Sports Fans Rap\u003c/em> show, a Bay Area-based pro sports recap that’s been running since 1993.\u003c/p>\n\u003cp>“The first time I went to the Super Bowl, it was the 49ers in Miami,” says William, while laughing in a ‘where did the time go’ sort of way. He notes that Jan. 29 marks the 25th anniversary of that game. “That’s where I really found out what it meant: the \u003cem>Super Bowl\u003c/em>. It wasn’t about the game, it was about all of the other stuff going on around it.”\u003c/p>\n\u003cp>The Super Bowl, much like sports in general, isn’t only about what happens between the end zones. It’s about the larger story that is life. That’s especially evident this week, as the sports world tunes in to the NFL’s biggest game while still mourning the lives of basketball superstar Kobe Bryant, his daughter Gigi and those who died in a helicopter crash outside of Los Angeles this past weekend.\u003c/p>\n\u003cp>Sports is much bigger than sports; I’d argue it’s really about creating good memories with those you love, as is life. William knows that well.\u003c/p>\n\u003cfigure id=\"attachment_13874048\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874048\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/imagejpeg_0-800x468.jpg\" alt=\"William Hammons interviewing Boy II Men at the NFC Championship Game in 1994\" width=\"800\" height=\"468\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/imagejpeg_0-800x468.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/imagejpeg_0-160x94.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/imagejpeg_0-768x449.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/imagejpeg_0-1020x597.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/imagejpeg_0.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Hammons interviewing Boy II Men at the NFC Championship Game in 1994 \u003ccite>(William Hammons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hammons’ Highlight Reel\u003c/h2>\n\u003cp>He brought me back to 1995, when the 49ers beat the San Diego Chargers.\u003c/p>\n\u003cp>“One of the most memorable moments was when [49ers fullback] William Floyd comes out of the hotel and he starts looking around. I say ‘Hey man, the bus is gone already!’” Floyd missed the bus to practice, so William and his crew gave him a ride. As an independent producer who’s always on the job, of course William interviewed Floyd along the way.\u003c/p>\n\u003cp>William’s second Super Bowl came in 2002, when the Raiders lost to the Tampa Bay Buccaneers. The main story of that game was Bucs coach John Gruden, who at the time was only one year removed from his first stint as the Raiders’ head coach. But the other big story was about Barret Robbins, the Raiders offensive lineman who disappeared days before the game due to a mental health episode, and who reappeared the night before kickoff.\u003c/p>\n\u003cp>“Here’s the thing with the Barret Robbins story,” William tells me, as he leans forward in his seat. “The last day of press access, the last person we interviewed was Barret Robbins. In fact, \u003cem>he\u003c/em> took the mic and did the interview,” says William, noting that Robbins seemed to be in good spirits. “I think after that is when he ended up disappearing.”\u003c/p>\n\u003cp>William says that Raiders Super Bowl was memorable, but the first, with the 49ers, was better. Makes sense: he’s a real San Franciscan.\u003c/p>\n\u003cp>William grew up in the Bayview, and says he used to make the long walk to Candlestick with his grandfather. He attended George Washington High School on the other side of town before going on to SF State. There, he worked on campus managing media equipment for the school, equipment he’d often check out and use to hone his skills. He started his career as a photographer for the college paper, \u003cem>The Phoenix\u003c/em>, before working for \u003cem>The Sun-Reporter\u003c/em>. Since then, he’s worked for KPOO and KMTP, and for a nationwide anti-violence initiative called Tackle Violence.\u003c/p>\n\u003cfigure id=\"attachment_13873968\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13873968\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/DSC8450-800x534.jpg\" alt=\"William Hammons and Jazmyn Hammons overlook the board and monitors at their studio in West Oakland.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/DSC8450.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Hammons and Jazmyn Hammons overlook the board and monitors at their studio in West Oakland. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Team of Two\u003c/h2>\n\u003cp>When it was announced that Super Bowl 50 would be held at the 49ers home stadium, which by then was in Santa Clara, the NFL championship became unforgettable for a different reason—it was the first time William and Jazmyn worked together on the big game.\u003c/p>\n\u003cp>Jazmyn wasn’t new to media production, she had been shadowing her pops his whole career. When he edited film in the studio at the basement of Sutro Tower, she’d accompany him.\u003c/p>\n\u003cp>When William would broadcast a live show from Everett and Jones BBQ in Oakland, Jazmyn says, “I used to drive down there, and set up all the knobs, and plug it all up and set up the entire system… I learned all of that growing up.”\u003c/p>\n\u003cp>For college, she went to Howard University (which is where we met), majoring in sports management and minoring in public relations. She says she never felt any pressure to work in this industry, but naturally gravitated to doing radio, photography and film.\u003c/p>\n\u003cp>“I used to call him and tell him that I was better than him when I was in college,” says Jazmyn. “He was like, ‘I’ll believe it when I see it.’” So Jazmyn brought her black-and-white photos and other media home to show him during Christmas break. “And he was like, ‘Na, you can do this better, you can do that better,’” says Jazmyn, causing William to laugh.\u003c/p>\n\u003cp>She was a summer intern for the Raiders PR office before graduating, moving home and getting a job with the Giants. But on the side, she worked with pops.\u003c/p>\n\u003cp>“I do all of the shooting now,” says Jazmyn. “If she’s shooting, I’m talent,” says William.\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/0_xniIl4Chg'\n title='//www.youtube.com/embed/0_xniIl4Chg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ci>William Hammons interviewing Governor Gavin Newsom at the NFC Championship Game, footage shot by Jazmyn Hammons.\u003c/i>\u003c/p>\n\u003cp>Jazmyn says she’s one of a few locally based African American women who cover pro sports in the Bay, but she doesn’t notice any differential or discriminatory treatment. However, things do sometimes get chippy. “I got bumped in the middle of John Lynch’s interview after the game last week,” says Jazmyn.\u003c/p>\n\u003cp>William followed by saying, “They don’t care, they’re just trying to get their shot.”\u003c/p>\n\u003cp>Looking out for his daughter in this industry is something he’s been thinking about for a long time. William says, “Before she started, I had to run it through my mind: my daughter in the locker room with naked men?” He says rules have changed over time, and there is more regulation as to how players are dressed and when they can be interviewed. “But still, who wants to bring their daughter into a room with naked men?”\u003c/p>\n\u003cp>But they managed, and now Jazmyn is a vet.\u003c/p>\n\u003cp>At that same NFC Championship Game, now two weeks ago, Jazmyn saw former Giants CEO Larry Baer, and asked him about the hiring of Alyssa Nakken, the first female coach in MLB history. After the convo, Baer said, “Good to see you Jazz.”\u003c/p>\n\u003cfigure id=\"attachment_13874086\" class=\"wp-caption aligncenter\" style=\"max-width: 1280px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13874086\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Hammons.jpg\" alt=\"\" width=\"1280\" height=\"762\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons.jpg 1280w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons-800x476.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons-768x457.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons-1020x607.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Hammons-1200x714.jpg 1200w\" sizes=\"(max-width: 1280px) 100vw, 1280px\">\u003cfigcaption class=\"wp-caption-text\">William Hammons and retired 49ers superstar quarterback Steve Young. \u003ccite>((William Hammons))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But encounters with big names aren’t new for Jazmyn or her pops. At Super Bowl 50, Jazmyn recalls walking past the entrance to the field during halftime, just before the Beyoncé performance, where she came across a set of very long legs laying down with the rest of the media folks on the sideline. “I was like, that’s a weird-looking photographer,” says Jazmyn. “And it was Kevin Durant.”\u003c/p>\n\u003cp>Not only do they get front row seats at the Super Bowl, but press passes to skyboxes and access to championship celebrations. Sometimes even for the opposing team. When Reggie White and the Packers beat the 49ers in a playoff game, William says he was in the background of the footage.\u003c/p>\n\u003cp>Jazmyn recently called and told him he was in the background of an NFL documentary she was watching. William responded, “I didn’t get that check, who do I call?”\u003c/p>\n\u003cp>On a serious note, William says of working with his daughter, “It’s a great pleasure. I doubt, and there may be some other father-daughter teams doing this in major league football or whatever, but I haven’t seen it.”\u003c/p>\n\u003cp>Looking ahead to the Super Bowl, Jazmyn says, “Everyone is like, ‘That’s so cool, you’re going to the Super Bowl,’ and I’m just like, ‘It’s just a football game, with my dad.’”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Just about the only thing that united America during 2019’s Super Bowl Halftime Show was the collective yawn it prompted.\u003c/p>\n\u003cp>After Rihanna and Pink, in solidarity with Colin Kaepernick, both turned down the chance to headline, the nation got stuck with a Maroon 5/Travis Scott/Big Boi snooze-fest—all of whom were \u003ca href=\"https://twitter.com/nessnitty/status/1085552587552837632?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1085552587552837632&ref_url=https%3A%2F%2Fvariety.com%2F2019%2Fbiz%2Fnews%2Ftravis-scott-colin-kaepernick-super-bowl-1203109159%2F\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> for taking part. Maroon 5 apparently \u003ca href=\"https://variety.com/2018/music/news/maroon-5-super-bowl-halftime-show-1203089706/\">struggled to find anyone\u003c/a> willing to fill the guest spots, with reports that Nicki Minaj, Usher, Cardi B, Mary J. Blige, Lauryn Hill and Andre 3000 all said no.\u003c/p>\n\u003cp>Probably fearing a similar outcome in 2020, the NFL has taken the bold step of collaborating with one of its fiercest critics: Jay-Z. Despite spitting \u003cem>“I said no to the Super Bowl, you need me, I don’t need you”\u003c/em> on last year’s \u003ca href=\"https://www.youtube.com/watch?v=kbMqWXnpXcA\">“APESHIT,”\u003c/a> and also reportedly trying to \u003ca href=\"https://variety.com/2019/biz/news/travis-scott-colin-kaepernick-super-bowl-1203109159/\" target=\"_blank\" rel=\"noopener\">talk Travis Scott out\u003c/a> of appearing at the halftime show, the rapper’s Roc Nation company has just signed on to be the NFL’s “live music entertainment strategist.” Moving forward, not only will Jay-Z co-produce the Super Bowl Halftime Show, he’ll also advise the NFL on musicians to be featured in the football season’s televised promos.\u003c/p>\n\u003cp>NFL Commissioner Roger Goodell has been careful to emphasize that this does not mean Jay-Z will be performing for them any time soon. “He was very quick to say that he does not want this to be about him performing,” \u003ca href=\"https://www.washingtonpost.com/sports/2019/08/13/nfl-is-partnering-with-jay-z-entertainment-social-justice-initiatives/\" target=\"_blank\" rel=\"noopener\">Goodell told the \u003cem>Washington Post\u003c/em>\u003c/a>, “that it was broader than that. It quickly went beyond that.” Goodell also noted that Jay-Z will also be involved in shaping programs at the NFL’s social justice organization, \u003ca href=\"https://operations.nfl.com/football-ops/economic-social-impact/inspire-change/\">Inspire Change\u003c/a>.\u003c/p>\n\u003cp>Jay-Z told the \u003cem>Washington Post\u003c/em> that while he had some Kaepernick-related hesitations before making the deal, “You can either go home, you can pack your bag and sit in the house, or you can choose to take it head-on. And that’s pretty much how we operate at Roc Nation. We seek to identify things that we want to be a part of and things that we believe that we can add value to, and we step in and we come with these ideas. And to their credit, the NFL agreed to these ideas.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>News of Jay-Z’s flip-flop regarding the NFL has been viewed with widespread cynicism on social media:\u003c/p>\n\u003cp>https://twitter.com/Kembo_Slice/status/1161336248071524353\u003c/p>\n\u003cp>https://twitter.com/MrErnestOwens/status/1161392218193592320\u003c/p>\n\u003cp>https://twitter.com/Hunitproof/status/1161360060313997312\u003c/p>\n\u003cp>https://twitter.com/BrianKnockin/status/1161339331467829250\u003c/p>\n\u003cp>Though some supporters are viewing the new partnership as positive progress:\u003c/p>\n\u003cp>https://twitter.com/jorgexluis__/status/1161355178739720193\u003c/p>\n\u003cp>https://twitter.com/AlecJRock/status/1161327794363744257\u003c/p>\n\u003cp>For his part, Jay-Z is sticking with the narrative that this business deal was intended to promote progress within the NFL. “We think at the end of the day,” he told the \u003cem>Washington Post\u003c/em>, “a lot of people will benefit from the NFL’s platform and the things that we brought to the table. We think it could help a lot of people.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether it helps or hurts Jay-Z’s credibility in the long run remains to be seen.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just about the only thing that united America during 2019’s Super Bowl Halftime Show was the collective yawn it prompted.\u003c/p>\n\u003cp>After Rihanna and Pink, in solidarity with Colin Kaepernick, both turned down the chance to headline, the nation got stuck with a Maroon 5/Travis Scott/Big Boi snooze-fest—all of whom were \u003ca href=\"https://twitter.com/nessnitty/status/1085552587552837632?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1085552587552837632&ref_url=https%3A%2F%2Fvariety.com%2F2019%2Fbiz%2Fnews%2Ftravis-scott-colin-kaepernick-super-bowl-1203109159%2F\" target=\"_blank\" rel=\"noopener\">criticized\u003c/a> for taking part. Maroon 5 apparently \u003ca href=\"https://variety.com/2018/music/news/maroon-5-super-bowl-halftime-show-1203089706/\">struggled to find anyone\u003c/a> willing to fill the guest spots, with reports that Nicki Minaj, Usher, Cardi B, Mary J. Blige, Lauryn Hill and Andre 3000 all said no.\u003c/p>\n\u003cp>Probably fearing a similar outcome in 2020, the NFL has taken the bold step of collaborating with one of its fiercest critics: Jay-Z. Despite spitting \u003cem>“I said no to the Super Bowl, you need me, I don’t need you”\u003c/em> on last year’s \u003ca href=\"https://www.youtube.com/watch?v=kbMqWXnpXcA\">“APESHIT,”\u003c/a> and also reportedly trying to \u003ca href=\"https://variety.com/2019/biz/news/travis-scott-colin-kaepernick-super-bowl-1203109159/\" target=\"_blank\" rel=\"noopener\">talk Travis Scott out\u003c/a> of appearing at the halftime show, the rapper’s Roc Nation company has just signed on to be the NFL’s “live music entertainment strategist.” Moving forward, not only will Jay-Z co-produce the Super Bowl Halftime Show, he’ll also advise the NFL on musicians to be featured in the football season’s televised promos.\u003c/p>\n\u003cp>NFL Commissioner Roger Goodell has been careful to emphasize that this does not mean Jay-Z will be performing for them any time soon. “He was very quick to say that he does not want this to be about him performing,” \u003ca href=\"https://www.washingtonpost.com/sports/2019/08/13/nfl-is-partnering-with-jay-z-entertainment-social-justice-initiatives/\" target=\"_blank\" rel=\"noopener\">Goodell told the \u003cem>Washington Post\u003c/em>\u003c/a>, “that it was broader than that. It quickly went beyond that.” Goodell also noted that Jay-Z will also be involved in shaping programs at the NFL’s social justice organization, \u003ca href=\"https://operations.nfl.com/football-ops/economic-social-impact/inspire-change/\">Inspire Change\u003c/a>.\u003c/p>\n\u003cp>Jay-Z told the \u003cem>Washington Post\u003c/em> that while he had some Kaepernick-related hesitations before making the deal, “You can either go home, you can pack your bag and sit in the house, or you can choose to take it head-on. And that’s pretty much how we operate at Roc Nation. We seek to identify things that we want to be a part of and things that we believe that we can add value to, and we step in and we come with these ideas. And to their credit, the NFL agreed to these ideas.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For his part, Jay-Z is sticking with the narrative that this business deal was intended to promote progress within the NFL. “We think at the end of the day,” he told the \u003cem>Washington Post\u003c/em>, “a lot of people will benefit from the NFL’s platform and the things that we brought to the table. We think it could help a lot of people.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whether it helps or hurts Jay-Z’s credibility in the long run remains to be seen.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Making Sense of the Super Bowl's Musical Moments",
"headTitle": "Making Sense of the Super Bowl’s Musical Moments | KQED",
"content": "\u003cp>A strained “Star-Spangled Banner,” a decaf flat white of a halftime show, an understated show of solidarity and, of course, the advertisements: If nothing else, Super Bowl LII’s musical moments were legion. Here are the ones that caught NPR Music’s ears over the course of the night.\u003c/p>\n\u003cp>\u003cstrong>Pink’s lozenge\u003c/strong>\u003c/p>\n\u003cp>Pink’s \u003ca href=\"https://www.youtube.com/watch?v=69ShK4TYHJk\">performance of “The Star-Spangled Banner”\u003c/a> will not go down in history as one of the best; she was ill. Proving once again that no moment of televised monoculture goes unnoticed by the digital hordes, the singer removing something from her mouth just before singing the American anthem was the subject of much discussion on Twitter, which she explained in \u003ca href=\"https://twitter.com/Pink/status/960315387513470976\">a succinct tweet\u003c/a> shortly after. — \u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Justin Timberlake’s halftime show\u003c/strong>\u003c/p>\n\u003cp>Justin Timberlake tried to create a wrinkle in time during last night’s Super Bowl halftime show: Early on in the inevitable medley that structured his busy, centerless take on the hallowed spectacle, he audaciously reprised his 2002 hit “Rock Your Body,” the soundtrack to the most notorious incident in the history of this savage American secular holiday. That was, of course, his \u003ca href=\"https://www.youtube.com/watch?v=npF1lkKEM9o\">fumbling removal\u003c/a> of Janet Jackson’s breastplate. It was a violation that, as even the most casual followers of pop culture know, cost her far more than it did him. Last night, as he came to the line that accompanied all that trouble back in 2004 — “Bet I’ll have you naked by the end of this song” — Timberlake shouted “\u003cem>STOP!” \u003c/em>and, with a raised eyebrow and a little leer, redirected the action. (Or mimed redirection: As an interview with halftime show sound engineer \u003ca href=\"https://www.theverge.com/2018/2/2/16961244/super-bowl-halftime-show-audio-patrick-baltzell-2018\">Patrick Baltzell\u003c/a> recently affirmed, no band but The Rolling Stones has played live at this event.) Instead of using the brief transition to shout something conciliatory (“Respect to Janet!” would have worked), Timberlake bet on silence. It was an emblematic move for a star whose entire career has been grounded in turning challenge and conflict into Teflon cool, a singer whose songs of heartbreak are icy smooth, and whose confessions float by on clouds of multi-tracked effects.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cHR8UWYkKTE\u003c/p>\n\u003cp>Aesthetically and ethically, Timberlake’s magic didn’t take. It seemed like he’d cast the wrong spell, making himself invisible within swarms of dancers, programmed beats setting up choreography that just looked wrong for the weird \u003cem>Walking Dead\u003c/em> ambience. (As many a Twitter raconteur noted, Timberlake’s own ensemble made him seem like he’d raided a Bass Pro Shop.) Even when standing alone on a small stage, he seemed to want to get lost in all the action he’d set up for himself. A muddy mix buried his vocals, and even his most arresting melodies ricocheted off the shiny shards of glass and neon on the purposefully disheveled stage sets. \u003c/p>\n\u003cp>Prince upstaged him, too. A rumored hologram of the beloved Minnesotan did not make an appearance, replaced by a billowing sheet bearing a giant screen projection overshadowing Timberlake at the piano. Rerun the whole show at half-speed and its star’s facial expressions seem to tell a sad story, with looks alternately panicked and disengaged, as if he knows that nothing short of self-immolation will spare him from a chorus of scorn from the judges who’d already sharpened their knives in \u003ca href=\"https://pitchfork.com/reviews/albums/justin-timberlake-man-of-the-woods/\">review\u003c/a> after \u003ca href=\"https://www.nytimes.com/2018/01/31/arts/music/justin-timberlake-man-of-the-woods-review.html\">weak review\u003c/a> of his new album, \u003cem>Man of the Woods\u003c/em>. \u003c/p>\n\u003cp>Timberlake’s great gift is easefulness. When he was ascendant, in those heady, early 21st-century days of tech startups and easy mortgages, his feathery tenor and Fred Astaire-from-the-block dance style subdued the questions his success raised about whether a white collaborator with black producers could be anything but exploitative, and about whether endless songs about dance floor seduction might in fact be essentially coercive. In 2018, though, what people crave from popular culture is the acknowledgment of struggle. Beyonce’s \u003ca href=\"https://www.youtube.com/watch?v=SDPITj1wlkg\">raised fist\u003c/a> and Lady Gaga’s ridiculous \u003ca href=\"https://www.google.com/search?q=lady+gaga+halftime+leap&num=20&safe=off&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjBlMryoY_ZAhXjmuAKHVclAfYQ_AUIDCgD&biw=1386&bih=799\">Spiderwoman leap\u003c/a> are the Super Bowl gestures that have resonated; they felt difficult, strenuous, engaged with this very loud era of self-expression and constant public argument. Timberlake is too smooth for this moment. He doesn’t own this wrinkle in time because it belongs to those who want you to see the work behind their magic, women especially, who know that underneath the flash of a show like this is flesh — that should be exposed. \u003cem>— Ann Powers\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Eagles walk on to Meek Mill\u003c/strong>\u003c/p>\n\u003cp>As the underdogs heading into the game, The Philadelphia Eagles used their spotlight moment to not only highlight their hip-hop taste, but to show solidarity with \u003ca href=\"https://www.npr.org/tags/564392028/meek-mill\">Meek Mill\u003c/a> — the prominent Philly rapper currently incarcerated for violating parole — by choosing his 2012 song “\u003ca href=\"https://www.youtube.com/watch?v=S8gfqs1-NuE\">Dreams and Nightmares (Intro)\u003c/a>” as their walk-on music.\u003c/p>\n\u003cp>“It says a lot that the Philadelphia Eagles are getting behind Meek Mill in such a public way,” NPR Music’s Rodney Carmichael said in a recent on-air segment. “For The Eagles to pick this song shows solidarity for a hometown guy with his back against the wall.”\u003c/p>\n\u003cp>The youthful, underdog essence of “Dreams and Nightmares (Intro)” is a sharp contrast to The Patriots’ signature walk-on music: the classical introduction to Carl Orff’s \u003cem>Carmina Burana\u003c/em>, followed by Ozzy Osbourne’s “Crazy Train.” (Once The Eagles had won the game, they \u003ca href=\"https://twitter.com/natalieweiner/status/960367411622023168\">celebrated\u003c/a> by playing the track again and popping champagne in the locker room.) \u003cem>— Sidney Madden\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The ads\u003c/strong>\u003c/p>\n\u003cp>Much of our time watching the Super Bowl is spent ingesting advertisements. It’s not news that the slots are expensive — NBC was \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/02/05/583302803/super-bowl-ads-2018-the-best-the-weirdest-and-the-most-complicated\">charging $5 million\u003c/a> for a 30-second spot. Because of that, music is incredibly useful to marketers: instantly recognizable songs can provide emotional shortcuts to the heart- and purse-strings. (When they don’t go for broke on song placements, advertisers often default to plinky ukulele or classical-ish exercises, as \u003ca href=\"https://www.youtube.com/watch?v=OPi9nTE70aA\">Coke did this year\u003c/a>.) \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Here, in descending order of novelty, were marketers’ attempts to grab your attention via your ear canal this year:\u003c/p>\n\u003cul>\n\u003cli>The deepest cut of the evening came from Squarespace, which put \u003ca href=\"https://www.youtube.com/watch?v=W3FH1scDhfA\">Keanu Reeves on a motorcycle\u003c/a> to the tune of “Adventures in Success” by Will Powers, co-written with Sting. (Powers was the musical nom de plume of rock photographer Lynn Goldsmith, whose album, also titled \u003cem>Adventures in Success,\u003c/em> was written to satirize the self-help boom of the ’80s and plumbed the era’s textures — Tom Tom Club comes to mind — for its goofy pastiche.)\u003c/li>\n\u003cli>For T-Mobile, babies \u003ca href=\"https://www.youtube.com/watch?v=C-rumHvmqCA\">were placated with a lullaby version of Nirvana’s “All Apologies,”\u003c/a> a song in which Kurt Cobain questioned his role as an artist-turned-superstar while examining the pervasiveness of depression. That the next commercial aired was \u003ca href=\"https://www.youtube.com/watch?v=Qrl3bU1-vvE\">for Scientology\u003c/a> seemed apropos in a perpendicular way.\u003c/li>\n\u003cli>PepsiCo, in a savvy piece of penny-pinching corporate synergy, got \u003ca href=\"https://www.youtube.com/watch?v=QNzzJzdgUto\">two ads for the price of one\u003c/a>: Peter Dinklage lip-synced Busta Rhymes’ verse from the 2011 Chris Brown song “Look At Me Now” to hawk Doritos, while Morgan Freeman ambled to Missy Elliot’s legendary “Get Ur Freak On” to tout corporate sister brand Mountain Dew. (You’ll have to ask them why they didn’t spend the extra money for Busta’s “Gimme Some More,” which would have kept the music cues in the same era of hip-hop.)\u003c/li>\n\u003cli>There was Aerosmith’s \u003ca href=\"https://www.youtube.com/watch?v=0YVbVXOjJv4\">Steven Tyler pulling a Benjamin Button\u003c/a> on behalf of Kia, in a spot that succeeded in showing us \u003ca href=\"https://en.wikipedia.org/wiki/Uncanny_valley\">the uncanny valley\u003c/a>, like Tyler, is still alive and well.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=J6-8DQALGt4\">Cardi B popped in\u003c/a> as a replacement for an under-the-weather Alexa.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">Keegan-Michael Key explained\u003c/a> the meaning of “taking an L” — via Big Sean’s “Bounce Back” — to a dad.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=Ja_FK1XXg2U\">Run The Jewels soundtracked\u003c/a> a Lexus ad moonlighting as a \u003cem>Black Panther\u003c/em> ad — the duo is not on the forthcoming, Top Dawg Entertainment-helmed \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/31/582185850/kendrick-lamar-releases-black-panther-tracklist-and-it-doesn-t-disappoint\">\u003cem>Black Panther: The Album\u003c/em>\u003c/a>.\u003c/li>\n\u003cli>Harry Belafonte’s “Banana Boat Song” was \u003ca href=\"https://www.youtube.com/watch?v=H2zkZgZYEng\">repurposed for E-Trade\u003c/a> in a an ad that also obliquely referenced the deceased \u003ca href=\"https://en.wikipedia.org/wiki/Ruth_Flowers\">Ruth Flowers\u003c/a>, who began DJing under the name “Mamy Rock” at the age of 78.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=cqg5oc20nxk\">Ram Trucks set Queen’s “We Will Rock You,”\u003c/a> already a sports stadium anthem, against footage of paddling Vikings, a nod to the Super Bowl’s host city of Minneapolis.\u003c/li>\n\u003cli>Pop star \u003ca href=\"https://www.youtube.com/watch?v=CxGUmtRLm5g\">Skylar Grey covered “Stand By Me”\u003c/a> for Budweiser’s water donation program. (NPR previously \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2018/02/02/582664769/fact-checking-matt-damons-clean-water-promise-in-a-super-bowl-ad\">fact-checked another\u003c/a> water-related advertisement.) \u003cem>— Andrew Flanagan\u003c/em>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Making+Sense+Of+The+Super+Bowl%27s+Musical+Moments&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A strained “Star-Spangled Banner,” a decaf flat white of a halftime show, an understated show of solidarity and, of course, the advertisements: If nothing else, Super Bowl LII’s musical moments were legion. Here are the ones that caught NPR Music’s ears over the course of the night.\u003c/p>\n\u003cp>\u003cstrong>Pink’s lozenge\u003c/strong>\u003c/p>\n\u003cp>Pink’s \u003ca href=\"https://www.youtube.com/watch?v=69ShK4TYHJk\">performance of “The Star-Spangled Banner”\u003c/a> will not go down in history as one of the best; she was ill. Proving once again that no moment of televised monoculture goes unnoticed by the digital hordes, the singer removing something from her mouth just before singing the American anthem was the subject of much discussion on Twitter, which she explained in \u003ca href=\"https://twitter.com/Pink/status/960315387513470976\">a succinct tweet\u003c/a> shortly after. — \u003cem>Andrew Flanagan\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Justin Timberlake’s halftime show\u003c/strong>\u003c/p>\n\u003cp>Justin Timberlake tried to create a wrinkle in time during last night’s Super Bowl halftime show: Early on in the inevitable medley that structured his busy, centerless take on the hallowed spectacle, he audaciously reprised his 2002 hit “Rock Your Body,” the soundtrack to the most notorious incident in the history of this savage American secular holiday. That was, of course, his \u003ca href=\"https://www.youtube.com/watch?v=npF1lkKEM9o\">fumbling removal\u003c/a> of Janet Jackson’s breastplate. It was a violation that, as even the most casual followers of pop culture know, cost her far more than it did him. Last night, as he came to the line that accompanied all that trouble back in 2004 — “Bet I’ll have you naked by the end of this song” — Timberlake shouted “\u003cem>STOP!” \u003c/em>and, with a raised eyebrow and a little leer, redirected the action. (Or mimed redirection: As an interview with halftime show sound engineer \u003ca href=\"https://www.theverge.com/2018/2/2/16961244/super-bowl-halftime-show-audio-patrick-baltzell-2018\">Patrick Baltzell\u003c/a> recently affirmed, no band but The Rolling Stones has played live at this event.) Instead of using the brief transition to shout something conciliatory (“Respect to Janet!” would have worked), Timberlake bet on silence. It was an emblematic move for a star whose entire career has been grounded in turning challenge and conflict into Teflon cool, a singer whose songs of heartbreak are icy smooth, and whose confessions float by on clouds of multi-tracked effects.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cHR8UWYkKTE'\n title='//www.youtube.com/embed/cHR8UWYkKTE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Aesthetically and ethically, Timberlake’s magic didn’t take. It seemed like he’d cast the wrong spell, making himself invisible within swarms of dancers, programmed beats setting up choreography that just looked wrong for the weird \u003cem>Walking Dead\u003c/em> ambience. (As many a Twitter raconteur noted, Timberlake’s own ensemble made him seem like he’d raided a Bass Pro Shop.) Even when standing alone on a small stage, he seemed to want to get lost in all the action he’d set up for himself. A muddy mix buried his vocals, and even his most arresting melodies ricocheted off the shiny shards of glass and neon on the purposefully disheveled stage sets. \u003c/p>\n\u003cp>Prince upstaged him, too. A rumored hologram of the beloved Minnesotan did not make an appearance, replaced by a billowing sheet bearing a giant screen projection overshadowing Timberlake at the piano. Rerun the whole show at half-speed and its star’s facial expressions seem to tell a sad story, with looks alternately panicked and disengaged, as if he knows that nothing short of self-immolation will spare him from a chorus of scorn from the judges who’d already sharpened their knives in \u003ca href=\"https://pitchfork.com/reviews/albums/justin-timberlake-man-of-the-woods/\">review\u003c/a> after \u003ca href=\"https://www.nytimes.com/2018/01/31/arts/music/justin-timberlake-man-of-the-woods-review.html\">weak review\u003c/a> of his new album, \u003cem>Man of the Woods\u003c/em>. \u003c/p>\n\u003cp>Timberlake’s great gift is easefulness. When he was ascendant, in those heady, early 21st-century days of tech startups and easy mortgages, his feathery tenor and Fred Astaire-from-the-block dance style subdued the questions his success raised about whether a white collaborator with black producers could be anything but exploitative, and about whether endless songs about dance floor seduction might in fact be essentially coercive. In 2018, though, what people crave from popular culture is the acknowledgment of struggle. Beyonce’s \u003ca href=\"https://www.youtube.com/watch?v=SDPITj1wlkg\">raised fist\u003c/a> and Lady Gaga’s ridiculous \u003ca href=\"https://www.google.com/search?q=lady+gaga+halftime+leap&num=20&safe=off&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjBlMryoY_ZAhXjmuAKHVclAfYQ_AUIDCgD&biw=1386&bih=799\">Spiderwoman leap\u003c/a> are the Super Bowl gestures that have resonated; they felt difficult, strenuous, engaged with this very loud era of self-expression and constant public argument. Timberlake is too smooth for this moment. He doesn’t own this wrinkle in time because it belongs to those who want you to see the work behind their magic, women especially, who know that underneath the flash of a show like this is flesh — that should be exposed. \u003cem>— Ann Powers\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The Eagles walk on to Meek Mill\u003c/strong>\u003c/p>\n\u003cp>As the underdogs heading into the game, The Philadelphia Eagles used their spotlight moment to not only highlight their hip-hop taste, but to show solidarity with \u003ca href=\"https://www.npr.org/tags/564392028/meek-mill\">Meek Mill\u003c/a> — the prominent Philly rapper currently incarcerated for violating parole — by choosing his 2012 song “\u003ca href=\"https://www.youtube.com/watch?v=S8gfqs1-NuE\">Dreams and Nightmares (Intro)\u003c/a>” as their walk-on music.\u003c/p>\n\u003cp>“It says a lot that the Philadelphia Eagles are getting behind Meek Mill in such a public way,” NPR Music’s Rodney Carmichael said in a recent on-air segment. “For The Eagles to pick this song shows solidarity for a hometown guy with his back against the wall.”\u003c/p>\n\u003cp>The youthful, underdog essence of “Dreams and Nightmares (Intro)” is a sharp contrast to The Patriots’ signature walk-on music: the classical introduction to Carl Orff’s \u003cem>Carmina Burana\u003c/em>, followed by Ozzy Osbourne’s “Crazy Train.” (Once The Eagles had won the game, they \u003ca href=\"https://twitter.com/natalieweiner/status/960367411622023168\">celebrated\u003c/a> by playing the track again and popping champagne in the locker room.) \u003cem>— Sidney Madden\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>The ads\u003c/strong>\u003c/p>\n\u003cp>Much of our time watching the Super Bowl is spent ingesting advertisements. It’s not news that the slots are expensive — NBC was \u003ca href=\"https://www.npr.org/sections/monkeysee/2018/02/05/583302803/super-bowl-ads-2018-the-best-the-weirdest-and-the-most-complicated\">charging $5 million\u003c/a> for a 30-second spot. Because of that, music is incredibly useful to marketers: instantly recognizable songs can provide emotional shortcuts to the heart- and purse-strings. (When they don’t go for broke on song placements, advertisers often default to plinky ukulele or classical-ish exercises, as \u003ca href=\"https://www.youtube.com/watch?v=OPi9nTE70aA\">Coke did this year\u003c/a>.) \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here, in descending order of novelty, were marketers’ attempts to grab your attention via your ear canal this year:\u003c/p>\n\u003cul>\n\u003cli>The deepest cut of the evening came from Squarespace, which put \u003ca href=\"https://www.youtube.com/watch?v=W3FH1scDhfA\">Keanu Reeves on a motorcycle\u003c/a> to the tune of “Adventures in Success” by Will Powers, co-written with Sting. (Powers was the musical nom de plume of rock photographer Lynn Goldsmith, whose album, also titled \u003cem>Adventures in Success,\u003c/em> was written to satirize the self-help boom of the ’80s and plumbed the era’s textures — Tom Tom Club comes to mind — for its goofy pastiche.)\u003c/li>\n\u003cli>For T-Mobile, babies \u003ca href=\"https://www.youtube.com/watch?v=C-rumHvmqCA\">were placated with a lullaby version of Nirvana’s “All Apologies,”\u003c/a> a song in which Kurt Cobain questioned his role as an artist-turned-superstar while examining the pervasiveness of depression. That the next commercial aired was \u003ca href=\"https://www.youtube.com/watch?v=Qrl3bU1-vvE\">for Scientology\u003c/a> seemed apropos in a perpendicular way.\u003c/li>\n\u003cli>PepsiCo, in a savvy piece of penny-pinching corporate synergy, got \u003ca href=\"https://www.youtube.com/watch?v=QNzzJzdgUto\">two ads for the price of one\u003c/a>: Peter Dinklage lip-synced Busta Rhymes’ verse from the 2011 Chris Brown song “Look At Me Now” to hawk Doritos, while Morgan Freeman ambled to Missy Elliot’s legendary “Get Ur Freak On” to tout corporate sister brand Mountain Dew. (You’ll have to ask them why they didn’t spend the extra money for Busta’s “Gimme Some More,” which would have kept the music cues in the same era of hip-hop.)\u003c/li>\n\u003cli>There was Aerosmith’s \u003ca href=\"https://www.youtube.com/watch?v=0YVbVXOjJv4\">Steven Tyler pulling a Benjamin Button\u003c/a> on behalf of Kia, in a spot that succeeded in showing us \u003ca href=\"https://en.wikipedia.org/wiki/Uncanny_valley\">the uncanny valley\u003c/a>, like Tyler, is still alive and well.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=J6-8DQALGt4\">Cardi B popped in\u003c/a> as a replacement for an under-the-weather Alexa.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">Keegan-Michael Key explained\u003c/a> the meaning of “taking an L” — via Big Sean’s “Bounce Back” — to a dad.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=Ja_FK1XXg2U\">Run The Jewels soundtracked\u003c/a> a Lexus ad moonlighting as a \u003cem>Black Panther\u003c/em> ad — the duo is not on the forthcoming, Top Dawg Entertainment-helmed \u003ca href=\"https://www.npr.org/sections/allsongs/2018/01/31/582185850/kendrick-lamar-releases-black-panther-tracklist-and-it-doesn-t-disappoint\">\u003cem>Black Panther: The Album\u003c/em>\u003c/a>.\u003c/li>\n\u003cli>Harry Belafonte’s “Banana Boat Song” was \u003ca href=\"https://www.youtube.com/watch?v=H2zkZgZYEng\">repurposed for E-Trade\u003c/a> in a an ad that also obliquely referenced the deceased \u003ca href=\"https://en.wikipedia.org/wiki/Ruth_Flowers\">Ruth Flowers\u003c/a>, who began DJing under the name “Mamy Rock” at the age of 78.\u003c/li>\n\u003cli>\u003ca href=\"https://www.youtube.com/watch?v=cqg5oc20nxk\">Ram Trucks set Queen’s “We Will Rock You,”\u003c/a> already a sports stadium anthem, against footage of paddling Vikings, a nod to the Super Bowl’s host city of Minneapolis.\u003c/li>\n\u003cli>Pop star \u003ca href=\"https://www.youtube.com/watch?v=CxGUmtRLm5g\">Skylar Grey covered “Stand By Me”\u003c/a> for Budweiser’s water donation program. (NPR previously \u003ca href=\"https://www.npr.org/sections/goatsandsoda/2018/02/02/582664769/fact-checking-matt-damons-clean-water-promise-in-a-super-bowl-ad\">fact-checked another\u003c/a> water-related advertisement.) \u003cem>— Andrew Flanagan\u003c/em>\u003c/li>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Making+Sense+Of+The+Super+Bowl%27s+Musical+Moments&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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