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"content": "\u003cp>Ending a summer of speculation, singer Taylor Swift confirmed Thursday that she’s planning to re-record her existing catalog in order to regain artistic and financial control of her material after her former record label sold it in a reported $300 million deal.\u003c/p>\n\u003cp>Swift first spoke publicly about her plans in an \u003ca href=\"https://www.cbsnews.com/news/taylor-swift-moving-to-regain-control-of-her-catalog-by-re-recording-masters-of-prior-songs/\">interview \u003c/a>that will be broadcast on “CBS Sunday Morning” this week.\u003c/p>\n\u003cp>She reasserted her plans in a live interview Thursday on ABC’s \u003ca href=\"https://www.youtube.com/watch?v=ellK-CXh7B4\">“Good Morning America,”\u003c/a> shortly before a live performance in New York City that also served as promotion for her newest album, \u003cem>Lover\u003c/em>, which drops Friday.\u003c/p>\n\u003cp>Interviewer Robin Roberts pointed out that \u003cem>Lover\u003c/em> has sold almost a million copies in pre-sale, which means that it is very likely to go platinum upon release. Swift added, “One thing that’s really special to me is that it’s the first one that I will own.” (The audience erupted into loud, extended cheers at her answer.)\u003c/p>\n\u003cp>https://youtu.be/ellK-CXh7B4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Roberts followed up by asking Swift about her plans to re-record her earlier material. Taylor answered, “Yeah, and it’s something that I’m very excited about doing, because my contract says that starting November 2020 — so, next year — I can record albums 1 through 5 all over again — I’m very excited about it. … I think artists deserve to own their work. I just feel very passionately about that.” (The fate of 2017’s \u003cem>Reputation\u003c/em> –her sixth project released on her former label — is unclear at this point.)\u003c/p>\n\u003cp>Swift’s announcement comes nearly two months after her former label home, Big Machine, was \u003ca href=\"https://www.npr.org/2019/07/01/737613627/taylor-swifts-former-label-big-machine-is-sold-rankling-the-star\">sold \u003c/a>to Ithaca Holdings, an umbrella company owned by impresario Scooter Braun. (Braun’s own management roster includes Justin Bieber and Ariana Grande.) Public speculation about Swift’s plans to re-record that material was sparked by Kelly Clarkson, who \u003ca href=\"https://twitter.com/kellyclarkson/status/1150168164853882880\">tweeted the idea\u003c/a> at Swift on July 13.\u003c/p>\n\u003cp>https://twitter.com/kellyclarkson/status/1150168164853882880\u003c/p>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Big Machine, which was founded by Nashville music industry veteran Scott Borchetta, signed Swift in 2006; Swift, then just a teenager, was Big Machine’s staple artist, and her first six albums were released on that label.\u003c/p>\n\u003cp>Swift claimed that she was unaware of the sale to Braun’s company, and called the deal “my worst-case scenario,” alluding to Braun’s involvement in a number of feuds between her and artists he has managed, including Kanye West. Swift also said that she had tried to buy back her masters from Big Machine, but that the terms the label offered her were intolerable. In a blog post, she \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">wrote\u003c/a>: “For years, I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cp>Last year, Swift signed a deal with the world’s largest record company, Universal Music Group, and its subsidiary Republic Records; \u003cem>Lover\u003c/em> is her first release under this new contract.\u003c/p>\n\u003cp>For artists, master recordings — the original recordings of musicians’ work — are vital musically, historically and financially. In most situations, labels own those masters. But many musicians, both prominent and independent ones, have tried to hang on to their masters. As Prince famously told \u003ca href=\"https://sites.google.com/site/prninterviews/home/rolling-stone-748-28-november-1996\">\u003cem>Rolling Stone\u003c/em>\u003c/a> back in 1996, “If you don’t own your masters, your master owns you.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Some artists have jumped at the opportunity to re-record their work — sometimes for artistic or technological reasons (such as in the case of Car Seat Headrest, who \u003ca href=\"https://www.npr.org/2018/01/09/576742731/car-seat-headrests-twin-fantasy-is-a-new-album-viewed-through-rearview-mirrors\">re-recorded\u003c/a> 2011’s \u003cem>Twin Fantasy\u003c/em> and re-released it last year), and other times with far more explicitly financial goals. One example is the one-hit wonder Wang Chung, who in 2007 re-recorded “Everybody Have Fun Tonight” in order to \u003ca href=\"https://www.nytimes.com/2007/04/18/arts/music/18old.html\">rejigger\u003c/a> its licensing profits. Squeeze followed suit in 2010; singer Glenn Tilbrook \u003ca href=\"https://www.theguardian.com/music/musicblog/2010/oct/25/squeeze-back-catalogue-up-junction\">wrote\u003c/a> in \u003cem>The Guardian\u003c/em>: “If one of my children was doing a life sentence in prison for a crime I knew they hadn’t committed, I would do my best to get them out, no matter what. Having the recordings of my songs owned forever by someone else, with no chance of getting them back, is a little bit like that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The country-pop record company Big Machine Label Group, one of the most successful independent labels in the country — and the longtime label home of megastar Taylor Swift — has been sold. It was purchased by Ithaca Holdings, an umbrella company owned by Scooter Braun, the manager of Justin Bieber and Ariana Grande, among others. According to anonymous sources quoted by the \u003cem>Wall Street Journal\u003c/em>, the deal \u003ca href=\"https://www.wsj.com/articles/scooter-braun-makes-300-million-deal-for-big-machine-records-11561893008\">is valued\u003c/a> at more than $300 million.\u003c/p>\n\u003cp>Big Machine Label Group was founded by Nashville music industry veteran Scott Borchetta and signed Swift as a teenager in 2006, shortly after the label’s founding; it has released all of her albums to date. As Swift was Big Label’s most successful artist by a wide margin, her catalog would have been a prized asset within the company’s portfolio.\u003c/p>\n\u003cp>After announcing the sale — which had been rumored for years and had attracted interest from various companies, \u003ca href=\"https://www.billboard.com/articles/business/8482512/universal-only-major-label-left-buy-taylor-swift-big-machine-label\">including\u003c/a> from Snapchat co-founder and CEO Evan Spiegel — the shift in ownership prompted a heated back-and-forth between Swift, Borchetta and some in orbit around Scooter Braun, including\u003ca href=\"https://www.instagram.com/p/BzWfMAWAIkE/?utm_source=ig_embed\"> Braun’s wife\u003c/a> and\u003ca href=\"https://www.instagram.com/p/BzWYdS9Hj5R/\"> Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>In \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">a blog post\u003c/a> on Sunday, Swift claimed to have been unaware of the deal before its announcement, and called the sale of Big Machine to Ithaca “my worst-case scenario,” alluding to Braun’s past involvement in feuds between her and artists he manages, including Kanye West. In the post, Swift says that overtures she made to purchase control of her master recordings from Big Machine were met with a proposal by the company that she found unacceptable.\u003c/p>\n\u003cp>“For years,” she wrote, “I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cfigure id=\"attachment_13860574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-800x450.jpg\" alt=\"Ithaca Holdings owner Scooter Braun, left, and his management client Justin Bieber, photographed on Apr. 27, 2012 in New York.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13860574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ithaca Holdings owner Scooter Braun, left, and his management client Justin Bieber, photographed on Apr. 27, 2012 in New York. \u003ccite>(Jemal Countess/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last fall, Swift\u003ca href=\"https://www.instagram.com/p/BqXgDJBlz7d/?utm_source=ig_embed\"> departed\u003c/a> Big Machine for the world’s largest record company, Universal Music Group, and its subsidiary label Republic Records. (At the time, Universal Music was also said to be considering a purchase of Big Machine.) A major part of that deal, and something long desired by Swift, was ownership of her master recordings. “Thankfully, I am now signed to a label that believes I should own anything I create,” Swift wrote on Sunday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(It’s uncommon for artists not of Swift’s stature to own their masters; instead, the label’s ownership of those materials is generally the centerpiece of any major-label contract. Relatedly, controversy erupted when the \u003cem>New York Times\u003c/em> recently\u003cem> \u003c/em>revealed that potentially hundreds of thousands of master recordings and other archival materials owned by Universal Music were destroyed in a 2008 fire; the company has been\u003ca href=\"https://www.npr.org/2019/06/22/734973029/artists-file-100-million-suit-against-universal-music-over-2008-fire\"> sued\u003c/a> for at least $100 million by a group of artists over failing to protect that property.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Big Machine president Scott Borchetta responded to Swift with\u003ca href=\"https://www.bigmachinelabelgroup.com/news/so-its-time-some-truth\"> his own\u003c/a> riposte, claiming he made Swift aware of the deal via text on Saturday, and that the terms of the deal Big Machine offered her were different from what she described on Sunday. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"http://737613627\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%27s+Former+Label+Big+Machine+Is+Sold%2C+Rankling+The+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The country-pop record company Big Machine Label Group, one of the most successful independent labels in the country — and the longtime label home of megastar Taylor Swift — has been sold. It was purchased by Ithaca Holdings, an umbrella company owned by Scooter Braun, the manager of Justin Bieber and Ariana Grande, among others. According to anonymous sources quoted by the \u003cem>Wall Street Journal\u003c/em>, the deal \u003ca href=\"https://www.wsj.com/articles/scooter-braun-makes-300-million-deal-for-big-machine-records-11561893008\">is valued\u003c/a> at more than $300 million.\u003c/p>\n\u003cp>Big Machine Label Group was founded by Nashville music industry veteran Scott Borchetta and signed Swift as a teenager in 2006, shortly after the label’s founding; it has released all of her albums to date. As Swift was Big Label’s most successful artist by a wide margin, her catalog would have been a prized asset within the company’s portfolio.\u003c/p>\n\u003cp>After announcing the sale — which had been rumored for years and had attracted interest from various companies, \u003ca href=\"https://www.billboard.com/articles/business/8482512/universal-only-major-label-left-buy-taylor-swift-big-machine-label\">including\u003c/a> from Snapchat co-founder and CEO Evan Spiegel — the shift in ownership prompted a heated back-and-forth between Swift, Borchetta and some in orbit around Scooter Braun, including\u003ca href=\"https://www.instagram.com/p/BzWfMAWAIkE/?utm_source=ig_embed\"> Braun’s wife\u003c/a> and\u003ca href=\"https://www.instagram.com/p/BzWYdS9Hj5R/\"> Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>In \u003ca href=\"https://taylorswift.tumblr.com/post/185958366550/for-years-i-asked-pleaded-for-a-chance-to-own-my\">a blog post\u003c/a> on Sunday, Swift claimed to have been unaware of the deal before its announcement, and called the sale of Big Machine to Ithaca “my worst-case scenario,” alluding to Braun’s past involvement in feuds between her and artists he manages, including Kanye West. In the post, Swift says that overtures she made to purchase control of her master recordings from Big Machine were met with a proposal by the company that she found unacceptable.\u003c/p>\n\u003cp>“For years,” she wrote, “I asked, pleaded for a chance to own my work. Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past.”\u003c/p>\n\u003cfigure id=\"attachment_13860574\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-800x450.jpg\" alt=\"Ithaca Holdings owner Scooter Braun, left, and his management client Justin Bieber, photographed on Apr. 27, 2012 in New York.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13860574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/gettyimages-143490686_wide-a07060a6874ffc4295143d0f68e6d967a3cbe5c2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ithaca Holdings owner Scooter Braun, left, and his management client Justin Bieber, photographed on Apr. 27, 2012 in New York. \u003ccite>(Jemal Countess/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Last fall, Swift\u003ca href=\"https://www.instagram.com/p/BqXgDJBlz7d/?utm_source=ig_embed\"> departed\u003c/a> Big Machine for the world’s largest record company, Universal Music Group, and its subsidiary label Republic Records. (At the time, Universal Music was also said to be considering a purchase of Big Machine.) A major part of that deal, and something long desired by Swift, was ownership of her master recordings. “Thankfully, I am now signed to a label that believes I should own anything I create,” Swift wrote on Sunday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(It’s uncommon for artists not of Swift’s stature to own their masters; instead, the label’s ownership of those materials is generally the centerpiece of any major-label contract. Relatedly, controversy erupted when the \u003cem>New York Times\u003c/em> recently\u003cem> \u003c/em>revealed that potentially hundreds of thousands of master recordings and other archival materials owned by Universal Music were destroyed in a 2008 fire; the company has been\u003ca href=\"https://www.npr.org/2019/06/22/734973029/artists-file-100-million-suit-against-universal-music-over-2008-fire\"> sued\u003c/a> for at least $100 million by a group of artists over failing to protect that property.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Big Machine president Scott Borchetta responded to Swift with\u003ca href=\"https://www.bigmachinelabelgroup.com/news/so-its-time-some-truth\"> his own\u003c/a> riposte, claiming he made Swift aware of the deal via text on Saturday, and that the terms of the deal Big Machine offered her were different from what she described on Sunday. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"http://737613627\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%27s+Former+Label+Big+Machine+Is+Sold%2C+Rankling+The+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou know that moment in a celebrity documentary when we meet our subject as a child? There she is, in grainy home video of a school play or a family reunion, looking nothing like a pop star. It helps us relate: she seems something like we all did, we imagine. Sweet, awkward, guileless.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>We do not get this moment from \u003cem>MATANGI / MAYA / M.I.A.\u003c/em>, the new documentary about the British pop star and Tamil rights activist whose 15-year career is marked by both chart-topping hits—at the very least you’d recognize “\u003ca href=\"https://www.youtube.com/watch?v=ewRjZoRtu0Y\" target=\"_blank\" rel=\"noopener noreferrer\">Paper Planes\u003c/a>,” with its Clash sample and gunshot chorus—and a reputation for being difficult and controversial. (A highlight reel: music videos depicting children being shot point-blank in the head; \u003ca href=\"https://www.theguardian.com/music/2009/feb/11/mia-sri-lanka-tamil-tigers\" target=\"_blank\" rel=\"noopener noreferrer\">being called a terrorist by the Sri Lankan government\u003c/a>; flipping the bird while sharing a stage with Madonna during the Super Bowl.)\u003c/p>\n\u003cp>Yes, there’s a tiny bit of footage in this doc of Mathangi “Maya” Arulpragasam as a small child. But the girl with whom we spend the most time is far from guileless: she’s a sharp and charismatic would-be filmmaker, a young woman equally at home behind and in front of the camera.\u003c/p>\n\u003cp>Director Steve Loveridge sorted through more than 700 hours of the artist’s own self-shot footage in order to make this documentary, and the result is a feeling of impressive foresight on M.I.A’s part. Eyes open, a teenager who loves Madonna and Public Enemy films herself in her family’s apartment in Tooting, south of London. She dances. She drinks. She addresses the camera, makes sure it’s picking up the things around her. She discusses being poor, being an immigrant and a refugee, interviews her siblings about resenting their absentee father (a founder of the militant Tamil revolution in the family’s native northern Sri Lanka). It’s relentless self-documentation, a full two decades before Instagram or reality TV or selfie culture—and years before she had an inkling anyone might care.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, it helps that the camera loves her right back: she was stunning, even then. But the urgency is what pulls you in. This is a young woman who knows she has a story worth telling, and doesn’t trust anyone else to tell it.\u003c/p>\n\u003cp>Turns out, she had good reason.\u003c/p>\n\u003cfigure id=\"attachment_13843123\" class=\"wp-caption aligncenter\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843123\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"651\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-240x291.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-375x455.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-520x631.jpg 520w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n a culture with the attention span of a gnat, it can be difficult, once an accepted narrative about a famous person has settled into place, to remember how it got there—let alone to question its plot points. (Witness America just \u003ca href=\"https://www.harpersbazaar.com/culture/politics/a21530030/monica-lewinsky-apology/\" target=\"_blank\" rel=\"noopener noreferrer\">beginning to reconsider the tale of Monica Lewinsky \u003c/a>a mere two decades later.) No, the easier thing is to form a sort of composite sketch about a person or event based on incomplete information, without even realizing you’re doing it: a particularly vivid rumor; a magazine interview you skimmed in the supermarket checkout line; a knee-jerk reaction based on your ex having liked their stuff.\u003c/p>\n\u003cp>Heading into this film \u003ca href=\"https://www.roxie.com/ai1ec_event/matangi-maya-m-i-a/\" target=\"_blank\" rel=\"noopener noreferrer\">at the Roxie this week\u003c/a>, I knew I loved some of M.I.A.’s songs—I was in college in 2005, when her trailblazing blend of hip-hop, pop, electroclash, punk and world music first stormed the charts in the shape of collaborations with then-boyfriend Diplo. (\u003ca href=\"https://www.billboard.com/articles/news/dance/7942273/mia-diplo-major-lazer-interview-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Exactly who deserves credit for whose career here is a fight for another time.\u003c/a>) I knew she had an outspoken, combative public persona, and had cultivated a “bad girl” image (literally, her 2012 single is called “Bad Girls”). I knew she espoused revolutionary politics, and I \u003cem>kind of\u003c/em> knew she had been cut off on television while speaking about the plight of the Tamil people (which she’s said were victims of a “genocide” in northern Sri Lanka; the Sri Lankan government has basically said “you are mistaken, please stop talking”).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2uYs0gJD-LE\u003c/p>\n\u003cp>But I also believed M.I.A. to be something of a loose cannon—one whose ammo wasn’t exactly grounded in reality. In retrospect, this was mainly thanks to a \u003ca href=\"https://www.nytimes.com/2010/05/30/magazine/30mia-t.html\" target=\"_blank\" rel=\"noopener noreferrer\">brutal 2010 \u003cem>New York Times Magazine\u003c/em> profile\u003c/a> that portrayed the star like a pampered college freshman who just read Howard Zinn for the first time and ran out to buy a “Free Mumia” bumper sticker. At the time of the piece, she was engaged to Benjamin Bronfman (heir to the Seagrams fortune), regularly appeared at swank Hollywood parties, and had songs at the top of the pop charts. The juxtaposition, in the story, rendered her activism naïve at best, disingenuous at worst.\u003c/p>\n\u003cp>At the very least, she didn’t know to \u003cem>not\u003c/em> talk about her radical politics over cocktails and truffle fries at the Beverly Wilshire Hotel. From the \u003cem>New York Times\u003c/em> piece:\u003c/p>\n\u003cblockquote>\u003cp>“I kind of want to be an outsider,” she said, eating a truffle-flavored French fry. “I don’t want to make the same music, sing about the same stuff, talk about the same things. If that makes me a terrorist, then I’m a terrorist.”\u003c/p>\u003c/blockquote>\n\u003cp>The irony was just too delicious. For years, our collective conscious held onto that damn truffle fry.\u003c/p>\n\u003cfigure id=\"attachment_13805063\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13805063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_4573.jpg\" alt=\"M.I.A. performing at Outside Lands in Golden Gate Park, 2009.\" width=\"402\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-375x562.jpg 375w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. performing at Outside Lands in Golden Gate Park, 2009. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To the degree that a documentary directed by the subject’s school friend can be described as a more reliable narrator, \u003cem>MATANGI / MAYA / M.I.A.\u003c/em> provides a corrective course. It suggests that the “M.I.A.” we in America have come to believe we know is a lazy caricature, and also that that’s far from accidental: it’s the result of sexism, racism, and censorship by a culture that has no idea what to do with an outspoken, brown-skinned female pop star. (Footage of talking heads on Fox News decrying her \u003ca href=\"https://www.rollingstone.com/music/music-news/nfl-sues-m-i-a-for-16-6-million-over-super-bowl-middle-finger-187835/\" target=\"_blank\" rel=\"noopener noreferrer\">costly Super Bowl stunt\u003c/a> and \u003ca href=\"https://www.mediaite.com/tv/dana-perino-is-outraged-that-m-i-a-not-even-an-american-performed-at-the-super-bowl/\" target=\"_blank\" rel=\"noopener noreferrer\">questioning why we can’t have some “American” in our football\u003c/a>, like Blake Shelton or Miranda Lambert, is a nice bit of supporting evidence.)\u003c/p>\n\u003cp>These are also the major underlying reasons, the film offers, that her career has sort of … slid sideways over the past decade. She continues to work, but the U.S. in particular seems to have moved on. Her most recent full-length, 2016’s \u003cem>AIM,\u003c/em> came with the announcement that it was\u003ca href=\"https://www.theguardian.com/music/2016/jul/15/mia-aim-last-album\" target=\"_blank\" rel=\"noopener noreferrer\"> her retirement record. \u003c/a>Then she said \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/10/mia-maya-matangi-documentary-interview/571750/\" target=\"_blank\" rel=\"noopener noreferrer\">maybe never mind. \u003c/a>It was her first record not to crack Billboard’s Top 40 since her debut.\u003c/p>\n\u003cfigure id=\"attachment_13843124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-800x1044.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-800x1044.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-768x1002.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-1020x1331.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-920x1200.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-960x1252.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-375x489.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-520x678.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT.jpg 1123w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> left the theater on Monday night consumed by thoughts of Bono.\u003c/p>\n\u003cp>Because here’s the thing: M.I.A. may be more of a shapeshifter than most, but you can drive yourself crazy trying to get at the “real” or “authentic” version of \u003cem>any\u003c/em> celebrity. Direct celeb-to-fan contact via social media has provided a simulacrum, but in today’s landscape, we all know that a personal-seeming Instagram account is just one more required tentacle of a savvy #brand strategy.\u003c/p>\n\u003cp>Besides, what’s more interesting to me than authenticity is standards. Specifically: if we acknowledge that M.I.A.’s activism and lifestyle might not quite align—and I can—then can we also acknowledge that no white man working in entertainment has ever been held to the same standard she has in this department?\u003c/p>\n\u003cp>There’s a tidbit about Bono that’s stuck with me for years now—a “truffle fry” moment, if you will. I can’t help it. I think about it every time there’s a headline about his AIDS work in Africa, every time he participates in another \u003ca href=\"https://archives.sfweekly.com/shookdown/2014/11/17/breaking-do-they-know-its-christmas-is-still-a-misguided-patronizing-terrible-song\" target=\"_blank\" rel=\"noopener noreferrer\">patronizing Christmas song\u003c/a>, every time my friend who works at a fancy restaurant in the Ferry Building texts me to say Bono’s there spending a gazillion dollars in the private dining room with Apple’s Jony Ive after an iPod launch (okay, that only happened once). It’s this: \u003ca href=\"http://www.contactmusic.com/bono/news/bono-pays-.1.500-to-get-forgotten-hat\" target=\"_blank\" rel=\"noopener noreferrer\">Bono once paid $1,500 for a hat to fly first-class from England to Italy, so he could wear it during a charity concert\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Do you know how many starving children $1,500 could feed?\u003c/em> is a question I have never seen in a \u003cem>New York Times Magazine\u003c/em> profile of Bono. \u003cem>Bono was wearing a $12,000 suit and drinking a $400 bottle of wine while talking about AIDS and poverty\u003c/em> is an irony I have never seen stick like rubber cement in the minds of a million Americans.\u003c/p>\n\u003cp>I’ve been trying, since I saw this documentary, to think of a white male pop star who’s been raked over the coals in a way that even remotely resembles what our culture has done with M.I.A., all for the hypocrisy of being a rich person—who lives like a rich person—while speaking about the plight of poor people. Or one who, in discussing their politics, has consistently been described by the press not as “controversial” or “bold” but as “naïve” or “a loose cannon.” So far I can’t think of one.\u003c/p>\n\u003cfigure id=\"attachment_13843122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-800x1067.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f I were the kind of person who felt sorry for celebrities, I would say I’ve felt sorry for celebrities over the past two years. After the 2016 election, conventional wisdom about how to use one’s platform for social causes went out the window. The ground has shifted; posting about Black Lives Matter is par for the white celebrity course; \u003ca href=\"https://noisey.vice.com/en_us/article/jpbwbp/when-did-katy-perry-become-woke-an-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">even Katy Perry is “woke,” or something\u003c/a>. Everyone’s scrambling to learn the new playbook, all while the rules continue to change.\u003c/p>\n\u003cp>So when Taylor Swift—she of perfect blond waves and calculated, stubborn apoliticality—\u003ca href=\"https://www.npr.org/2018/10/08/655599374/taylor-swift-endorses-democratic-candidates-in-tennessee\" target=\"_blank\" rel=\"noopener noreferrer\">posted to Instagram last week in reasoned support of Democratic candidates in Tennessee (and impassioned support of voting in general)\u003c/a>, it was hard not to imagine the marketing meeting that preceded it.\u003c/p>\n\u003cp>“It’s time!” one of her publicists must have cried. “She’s out of step with the rest of America by \u003cem>not\u003c/em> weighing in.” Or maybe the team all gathered around someone’s computer, did some tallies on Quickbooks, realized she was worth more than \u003ca href=\"https://www.forbes.com/sites/zackomalleygreenburg/2018/07/11/taylor-swifts-net-worth-320-million-in-2018/#7467e197233f\" target=\"_blank\" rel=\"noopener noreferrer\">THREE HUNDRED AND TWENTY MILLION DOLLARS\u003c/a>, and shrugged. They hit “post.” \u003ca href=\"https://www.nytimes.com/2018/10/09/us/politics/taylor-swift-voter-registration.html\" target=\"_blank\" rel=\"noopener noreferrer\">Voter registration spiked\u003c/a>.\u003c/p>\n\u003cp>It’s interesting, in this context, to think about what M.I.A.’s career might have looked like if she was coming up right now, as opposed to 15 years ago. She might be more image-savvy. She might not give interviews like the one she did to the \u003cem>New York Times\u003c/em>. Even if she did, she might not \u003ca href=\"https://www.theguardian.com/music/2010/may/28/mia-tweets-phone-number-journalist\" target=\"_blank\" rel=\"noopener noreferrer\">launch a personal attack on the journalist\u003c/a> who conducted it. Or \u003ca href=\"https://www.huffingtonpost.com/2010/01/13/mia-f-new-york-times_n_422167.html\" target=\"_blank\" rel=\"noopener noreferrer\">tweet this\u003c/a>, uh, in general.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wcN1i6Qcjxg\u003c/p>\n\u003cp>“Why don’t I just shut up and get a hit?” is one of the first things we hear her say in this documentary, in a weary way that suggests she has fielded this question countless times. Her answer, and I believe her here, is that she can’t.\u003c/p>\n\u003cp>If she could “shut up” and follow a now-established political celebrity path, she might have teamed up earlier with more traditional activists—like folks from a nonprofit working on sexual violence against Tamil women, as we see her eventually do in this film. She might have an easier package to sell; she might have been more manageable. She might not be portrayed as difficult, or “crazy,” or “\u003ca href=\"https://www.theguardian.com/music/2016/sep/11/mia-is-the-musician-paranoid-or-is-everyone-out-to-get-her\" target=\"_blank\" rel=\"noopener noreferrer\">paranoid\u003c/a>” for saying that tech companies are tools for government surveillance. Commercially, at least, her career would certainly have been better for it.\u003c/p>\n\u003cp>But here’s where it’s tough not to go back to that first version of M.I.A., the teenager we meet early on this doc. Because that funny, intense young woman obsessively documenting herself—plotting films, fingerpainting with the sounds and attitudes of British punk and American hip-hop and Madonna through her headphones at night, sure in her belief that her little life will be one that makes people sit up and take notice? As it turns out, \u003ca href=\"https://pitchfork.com/news/51229-mia-revisits-criticism-of-ys-the-message-in-light-of-nsa-surveillance-revelations/\" target=\"_blank\" rel=\"noopener noreferrer\">she was right\u003c/a> about a lot.\u003c/p>\n\u003cp>She may well be difficult. But it’s also entirely possible that M.I.A. was just ahead of her time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">Y\u003c/span>ou know that moment in a celebrity documentary when we meet our subject as a child? There she is, in grainy home video of a school play or a family reunion, looking nothing like a pop star. It helps us relate: she seems something like we all did, we imagine. Sweet, awkward, guileless.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13839927\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg\" alt=\"\" width=\"160\" height=\"193\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/08/EmmaSilvers.HeadshotwCap.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>We do not get this moment from \u003cem>MATANGI / MAYA / M.I.A.\u003c/em>, the new documentary about the British pop star and Tamil rights activist whose 15-year career is marked by both chart-topping hits—at the very least you’d recognize “\u003ca href=\"https://www.youtube.com/watch?v=ewRjZoRtu0Y\" target=\"_blank\" rel=\"noopener noreferrer\">Paper Planes\u003c/a>,” with its Clash sample and gunshot chorus—and a reputation for being difficult and controversial. (A highlight reel: music videos depicting children being shot point-blank in the head; \u003ca href=\"https://www.theguardian.com/music/2009/feb/11/mia-sri-lanka-tamil-tigers\" target=\"_blank\" rel=\"noopener noreferrer\">being called a terrorist by the Sri Lankan government\u003c/a>; flipping the bird while sharing a stage with Madonna during the Super Bowl.)\u003c/p>\n\u003cp>Yes, there’s a tiny bit of footage in this doc of Mathangi “Maya” Arulpragasam as a small child. But the girl with whom we spend the most time is far from guileless: she’s a sharp and charismatic would-be filmmaker, a young woman equally at home behind and in front of the camera.\u003c/p>\n\u003cp>Director Steve Loveridge sorted through more than 700 hours of the artist’s own self-shot footage in order to make this documentary, and the result is a feeling of impressive foresight on M.I.A’s part. Eyes open, a teenager who loves Madonna and Public Enemy films herself in her family’s apartment in Tooting, south of London. She dances. She drinks. She addresses the camera, makes sure it’s picking up the things around her. She discusses being poor, being an immigrant and a refugee, interviews her siblings about resenting their absentee father (a founder of the militant Tamil revolution in the family’s native northern Sri Lanka). It’s relentless self-documentation, a full two decades before Instagram or reality TV or selfie culture—and years before she had an inkling anyone might care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of course, it helps that the camera loves her right back: she was stunning, even then. But the urgency is what pulls you in. This is a young woman who knows she has a story worth telling, and doesn’t trust anyone else to tell it.\u003c/p>\n\u003cp>Turns out, she had good reason.\u003c/p>\n\u003cfigure id=\"attachment_13843123\" class=\"wp-caption aligncenter\" style=\"max-width: 651px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13843123\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"651\" height=\"790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4.jpg 651w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-240x291.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-375x455.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_4-520x631.jpg 520w\" sizes=\"(max-width: 651px) 100vw, 651px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>n a culture with the attention span of a gnat, it can be difficult, once an accepted narrative about a famous person has settled into place, to remember how it got there—let alone to question its plot points. (Witness America just \u003ca href=\"https://www.harpersbazaar.com/culture/politics/a21530030/monica-lewinsky-apology/\" target=\"_blank\" rel=\"noopener noreferrer\">beginning to reconsider the tale of Monica Lewinsky \u003c/a>a mere two decades later.) No, the easier thing is to form a sort of composite sketch about a person or event based on incomplete information, without even realizing you’re doing it: a particularly vivid rumor; a magazine interview you skimmed in the supermarket checkout line; a knee-jerk reaction based on your ex having liked their stuff.\u003c/p>\n\u003cp>Heading into this film \u003ca href=\"https://www.roxie.com/ai1ec_event/matangi-maya-m-i-a/\" target=\"_blank\" rel=\"noopener noreferrer\">at the Roxie this week\u003c/a>, I knew I loved some of M.I.A.’s songs—I was in college in 2005, when her trailblazing blend of hip-hop, pop, electroclash, punk and world music first stormed the charts in the shape of collaborations with then-boyfriend Diplo. (\u003ca href=\"https://www.billboard.com/articles/news/dance/7942273/mia-diplo-major-lazer-interview-2017\" target=\"_blank\" rel=\"noopener noreferrer\">Exactly who deserves credit for whose career here is a fight for another time.\u003c/a>) I knew she had an outspoken, combative public persona, and had cultivated a “bad girl” image (literally, her 2012 single is called “Bad Girls”). I knew she espoused revolutionary politics, and I \u003cem>kind of\u003c/em> knew she had been cut off on television while speaking about the plight of the Tamil people (which she’s said were victims of a “genocide” in northern Sri Lanka; the Sri Lankan government has basically said “you are mistaken, please stop talking”).\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/2uYs0gJD-LE'\n title='//www.youtube.com/embed/2uYs0gJD-LE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But I also believed M.I.A. to be something of a loose cannon—one whose ammo wasn’t exactly grounded in reality. In retrospect, this was mainly thanks to a \u003ca href=\"https://www.nytimes.com/2010/05/30/magazine/30mia-t.html\" target=\"_blank\" rel=\"noopener noreferrer\">brutal 2010 \u003cem>New York Times Magazine\u003c/em> profile\u003c/a> that portrayed the star like a pampered college freshman who just read Howard Zinn for the first time and ran out to buy a “Free Mumia” bumper sticker. At the time of the piece, she was engaged to Benjamin Bronfman (heir to the Seagrams fortune), regularly appeared at swank Hollywood parties, and had songs at the top of the pop charts. The juxtaposition, in the story, rendered her activism naïve at best, disingenuous at worst.\u003c/p>\n\u003cp>At the very least, she didn’t know to \u003cem>not\u003c/em> talk about her radical politics over cocktails and truffle fries at the Beverly Wilshire Hotel. From the \u003cem>New York Times\u003c/em> piece:\u003c/p>\n\u003cblockquote>\u003cp>“I kind of want to be an outsider,” she said, eating a truffle-flavored French fry. “I don’t want to make the same music, sing about the same stuff, talk about the same things. If that makes me a terrorist, then I’m a terrorist.”\u003c/p>\u003c/blockquote>\n\u003cp>The irony was just too delicious. For years, our collective conscious held onto that damn truffle fry.\u003c/p>\n\u003cfigure id=\"attachment_13805063\" class=\"wp-caption aligncenter\" style=\"max-width: 402px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13805063\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/IMG_4573.jpg\" alt=\"M.I.A. performing at Outside Lands in Golden Gate Park, 2009.\" width=\"402\" height=\"602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573.jpg 402w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-240x359.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/IMG_4573-375x562.jpg 375w\" sizes=\"(max-width: 402px) 100vw, 402px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. performing at Outside Lands in Golden Gate Park, 2009. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>To the degree that a documentary directed by the subject’s school friend can be described as a more reliable narrator, \u003cem>MATANGI / MAYA / M.I.A.\u003c/em> provides a corrective course. It suggests that the “M.I.A.” we in America have come to believe we know is a lazy caricature, and also that that’s far from accidental: it’s the result of sexism, racism, and censorship by a culture that has no idea what to do with an outspoken, brown-skinned female pop star. (Footage of talking heads on Fox News decrying her \u003ca href=\"https://www.rollingstone.com/music/music-news/nfl-sues-m-i-a-for-16-6-million-over-super-bowl-middle-finger-187835/\" target=\"_blank\" rel=\"noopener noreferrer\">costly Super Bowl stunt\u003c/a> and \u003ca href=\"https://www.mediaite.com/tv/dana-perino-is-outraged-that-m-i-a-not-even-an-american-performed-at-the-super-bowl/\" target=\"_blank\" rel=\"noopener noreferrer\">questioning why we can’t have some “American” in our football\u003c/a>, like Blake Shelton or Miranda Lambert, is a nice bit of supporting evidence.)\u003c/p>\n\u003cp>These are also the major underlying reasons, the film offers, that her career has sort of … slid sideways over the past decade. She continues to work, but the U.S. in particular seems to have moved on. Her most recent full-length, 2016’s \u003cem>AIM,\u003c/em> came with the announcement that it was\u003ca href=\"https://www.theguardian.com/music/2016/jul/15/mia-aim-last-album\" target=\"_blank\" rel=\"noopener noreferrer\"> her retirement record. \u003c/a>Then she said \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2018/10/mia-maya-matangi-documentary-interview/571750/\" target=\"_blank\" rel=\"noopener noreferrer\">maybe never mind. \u003c/a>It was her first record not to crack Billboard’s Top 40 since her debut.\u003c/p>\n\u003cfigure id=\"attachment_13843124\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843124\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-800x1044.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"800\" height=\"1044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-800x1044.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-160x209.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-768x1002.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-1020x1331.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-920x1200.jpg 920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-960x1252.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-375x489.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT-520x678.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIAHEADHSHOT.jpg 1123w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> left the theater on Monday night consumed by thoughts of Bono.\u003c/p>\n\u003cp>Because here’s the thing: M.I.A. may be more of a shapeshifter than most, but you can drive yourself crazy trying to get at the “real” or “authentic” version of \u003cem>any\u003c/em> celebrity. Direct celeb-to-fan contact via social media has provided a simulacrum, but in today’s landscape, we all know that a personal-seeming Instagram account is just one more required tentacle of a savvy #brand strategy.\u003c/p>\n\u003cp>Besides, what’s more interesting to me than authenticity is standards. Specifically: if we acknowledge that M.I.A.’s activism and lifestyle might not quite align—and I can—then can we also acknowledge that no white man working in entertainment has ever been held to the same standard she has in this department?\u003c/p>\n\u003cp>There’s a tidbit about Bono that’s stuck with me for years now—a “truffle fry” moment, if you will. I can’t help it. I think about it every time there’s a headline about his AIDS work in Africa, every time he participates in another \u003ca href=\"https://archives.sfweekly.com/shookdown/2014/11/17/breaking-do-they-know-its-christmas-is-still-a-misguided-patronizing-terrible-song\" target=\"_blank\" rel=\"noopener noreferrer\">patronizing Christmas song\u003c/a>, every time my friend who works at a fancy restaurant in the Ferry Building texts me to say Bono’s there spending a gazillion dollars in the private dining room with Apple’s Jony Ive after an iPod launch (okay, that only happened once). It’s this: \u003ca href=\"http://www.contactmusic.com/bono/news/bono-pays-.1.500-to-get-forgotten-hat\" target=\"_blank\" rel=\"noopener noreferrer\">Bono once paid $1,500 for a hat to fly first-class from England to Italy, so he could wear it during a charity concert\u003c/a>.\u003c/p>\n\u003cp>\u003cem>Do you know how many starving children $1,500 could feed?\u003c/em> is a question I have never seen in a \u003cem>New York Times Magazine\u003c/em> profile of Bono. \u003cem>Bono was wearing a $12,000 suit and drinking a $400 bottle of wine while talking about AIDS and poverty\u003c/em> is an irony I have never seen stick like rubber cement in the minds of a million Americans.\u003c/p>\n\u003cp>I’ve been trying, since I saw this documentary, to think of a white male pop star who’s been raked over the coals in a way that even remotely resembles what our culture has done with M.I.A., all for the hypocrisy of being a rich person—who lives like a rich person—while speaking about the plight of poor people. Or one who, in discussing their politics, has consistently been described by the press not as “controversial” or “bold” but as “naïve” or “a loose cannon.” So far I can’t think of one.\u003c/p>\n\u003cfigure id=\"attachment_13843122\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13843122\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-800x1067.jpg\" alt=\"M.I.A. is the subject of a new documentary, 'MATANGI / MAYA / M.I.A.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/10/MIA_PressImages_3.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">M.I.A. is the subject of a new documentary, ‘MATANGI / MAYA / M.I.A.’ \u003ccite>(Courtesy Abramorama)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span>f I were the kind of person who felt sorry for celebrities, I would say I’ve felt sorry for celebrities over the past two years. After the 2016 election, conventional wisdom about how to use one’s platform for social causes went out the window. The ground has shifted; posting about Black Lives Matter is par for the white celebrity course; \u003ca href=\"https://noisey.vice.com/en_us/article/jpbwbp/when-did-katy-perry-become-woke-an-investigation\" target=\"_blank\" rel=\"noopener noreferrer\">even Katy Perry is “woke,” or something\u003c/a>. Everyone’s scrambling to learn the new playbook, all while the rules continue to change.\u003c/p>\n\u003cp>So when Taylor Swift—she of perfect blond waves and calculated, stubborn apoliticality—\u003ca href=\"https://www.npr.org/2018/10/08/655599374/taylor-swift-endorses-democratic-candidates-in-tennessee\" target=\"_blank\" rel=\"noopener noreferrer\">posted to Instagram last week in reasoned support of Democratic candidates in Tennessee (and impassioned support of voting in general)\u003c/a>, it was hard not to imagine the marketing meeting that preceded it.\u003c/p>\n\u003cp>“It’s time!” one of her publicists must have cried. “She’s out of step with the rest of America by \u003cem>not\u003c/em> weighing in.” Or maybe the team all gathered around someone’s computer, did some tallies on Quickbooks, realized she was worth more than \u003ca href=\"https://www.forbes.com/sites/zackomalleygreenburg/2018/07/11/taylor-swifts-net-worth-320-million-in-2018/#7467e197233f\" target=\"_blank\" rel=\"noopener noreferrer\">THREE HUNDRED AND TWENTY MILLION DOLLARS\u003c/a>, and shrugged. They hit “post.” \u003ca href=\"https://www.nytimes.com/2018/10/09/us/politics/taylor-swift-voter-registration.html\" target=\"_blank\" rel=\"noopener noreferrer\">Voter registration spiked\u003c/a>.\u003c/p>\n\u003cp>It’s interesting, in this context, to think about what M.I.A.’s career might have looked like if she was coming up right now, as opposed to 15 years ago. She might be more image-savvy. She might not give interviews like the one she did to the \u003cem>New York Times\u003c/em>. Even if she did, she might not \u003ca href=\"https://www.theguardian.com/music/2010/may/28/mia-tweets-phone-number-journalist\" target=\"_blank\" rel=\"noopener noreferrer\">launch a personal attack on the journalist\u003c/a> who conducted it. Or \u003ca href=\"https://www.huffingtonpost.com/2010/01/13/mia-f-new-york-times_n_422167.html\" target=\"_blank\" rel=\"noopener noreferrer\">tweet this\u003c/a>, uh, in general.\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/wcN1i6Qcjxg'\n title='//www.youtube.com/embed/wcN1i6Qcjxg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Why don’t I just shut up and get a hit?” is one of the first things we hear her say in this documentary, in a weary way that suggests she has fielded this question countless times. Her answer, and I believe her here, is that she can’t.\u003c/p>\n\u003cp>If she could “shut up” and follow a now-established political celebrity path, she might have teamed up earlier with more traditional activists—like folks from a nonprofit working on sexual violence against Tamil women, as we see her eventually do in this film. She might have an easier package to sell; she might have been more manageable. She might not be portrayed as difficult, or “crazy,” or “\u003ca href=\"https://www.theguardian.com/music/2016/sep/11/mia-is-the-musician-paranoid-or-is-everyone-out-to-get-her\" target=\"_blank\" rel=\"noopener noreferrer\">paranoid\u003c/a>” for saying that tech companies are tools for government surveillance. Commercially, at least, her career would certainly have been better for it.\u003c/p>\n\u003cp>But here’s where it’s tough not to go back to that first version of M.I.A., the teenager we meet early on this doc. Because that funny, intense young woman obsessively documenting herself—plotting films, fingerpainting with the sounds and attitudes of British punk and American hip-hop and Madonna through her headphones at night, sure in her belief that her little life will be one that makes people sit up and take notice? As it turns out, \u003ca href=\"https://pitchfork.com/news/51229-mia-revisits-criticism-of-ys-the-message-in-light-of-nsa-surveillance-revelations/\" target=\"_blank\" rel=\"noopener noreferrer\">she was right\u003c/a> about a lot.\u003c/p>\n\u003cp>She may well be difficult. But it’s also entirely possible that M.I.A. was just ahead of her time.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Emma Silvers is a writer living in San Francisco. Find her on Twitter \u003ca href=\"https://twitter.com/emmaruthless\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "NorCal Blogger Tussles With Taylor Swift Over First Amendment",
"headTitle": "NorCal Blogger Tussles With Taylor Swift Over First Amendment | KQED",
"content": "\u003cp>In a post titled “\u003ca href=\"http://popfront.us/2017/09/swiftly-to-the-alt-right-taylor-subtly-get-the-lower-case-kkk-in-formation/\">Swiftly to the alt-right: Taylor subtly gets the lower case kkk in formation\u003c/a>” on her blog \u003ca href=\"http://popfront.us/2017/09/swiftly-to-the-alt-right-taylor-subtly-get-the-lower-case-kkk-in-formation/\">Po\u003cem>pFront\u003c/em>\u003c/a>, San Jose native Meghan Herning theorized to her 200-ish subscribers about parallels she saw between the \u003ca href=\"https://store.taylorswift.com/\">Taylor Swift\u003c/a> song “Look WhatYou Made Me Do” and a documentary she watched featuring Neo-Nazis marching through Charlottesville.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Taylor Swift - Look What You Made Me Do\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/3tmd-ClpJxA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\">n my personal opinion, I thought the tone of lyrics in Swift’s song, like, ‘I don’t like your kingdom keys / They once belonged to me’ were similar to you chants of ‘You will not replace us’ in Charlottesville,” Herning says. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Charlottesville: Race and Terror – VICE News Tonight on HBO\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/RIrcB1sAN8I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>More prominent media outlets like \u003ca href=\"https://broadly.vice.com/en_us/article/ae5x8a/cant-shake-it-off-how-taylor-swift-became-a-nazi-idol\">\u003cem>Vice\u003c/em>\u003c/a> and \u003ca href=\"https://www.huffingtonpost.com/entry/alt-right-website-really-wants-you-to-believe-taylor-swift-voted-for-donald-trump_us_582dc80ce4b058ce7aa96a73\">\u003cem>The Huffington Post\u003c/em>\u003c/a> have speculated about the connection between the pop star and far right politics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So when Herning received a letter via email a couple of weeks ago from Swift’s Los Angeles-based lawyer, William J. Briggs II, demanding that she take down her blog post or face legal action for defamation, the 30-year-old Sacramento resident was shocked.\u003c/p>\n\u003cfigure id=\"attachment_13814231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-800x1031.png\" alt=\"Letter blogger Meghan Herning received from Taylor Swift's lawyer demanding that she take down her blog post or face charges. \" width=\"800\" height=\"1031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-800x1031.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-160x206.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-768x990.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-240x309.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-375x483.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-520x670.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51.png 908w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Letter blogger Meghan Herning received from Taylor Swift’s lawyer demanding that she take down her blog post or face charges. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I’m like, how on earth could she have found this?” Herning says. “I don’t think enough people even read it for a Google alert to be triggered.” \u003c/span>\u003c/p>\n\u003cp>Herning graduated from law school, though she works in the solar power industry these days. So after doing some research to authenticate the letter, she decided to contact the \u003ca href=\"https://www.aclunc.org/news/taylor-swift-attempts-silence-critic-aclu-fires-back\">American Civil Liberties Union\u003c/a> (ACLU) for help.\u003c/p>\n\u003cp>The ACLU took on her case. Earlier this week, the organization hit back with a \u003ca href=\"http://www.aclunc.org/docs/Swift_letter_final.pdf\">letter\u003c/a> to Briggs refuting Swift’s charges on freedom of speech grounds.\u003c/p>\n\u003cfigure id=\"attachment_13814225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-800x1027.png\" alt=\"The letter sent by the ACLU legal team representing Meghan Herning to Taylor Swift's lawyer, William J Briggs II.\" width=\"800\" height=\"1027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-800x1027.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-768x986.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-240x308.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-375x481.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-520x667.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04.png 910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The letter sent by the ACLU legal team representing Meghan Herning to Taylor Swift’s lawyer, William J Briggs II. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The powerful shouldn’t be able to deploy these types of legal threats to silence opinions and press they don’t like,” says Christine Sun, one of three ACLU attorneys representing Herning.\u003c/p>\n\u003cp>The spat has since caused \u003ca href=\"http://perezhilton.com/2017-11-06-taylor-swift-kill-stories-journalism-bloggers-writers/?from=post\">dozens of other commentators\u003c/a> to share similar experiences with Swift on Twitter.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-800x289.png\" alt=\"\" width=\"800\" height=\"289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-800x289.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-160x58.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-768x278.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-960x347.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-240x87.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-375x136.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-520x188.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15.png 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-800x322.png\" alt=\"\" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-800x322.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-160x64.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-768x309.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-960x387.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-240x97.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-375x151.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-520x209.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54.png 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>But the pop star, whose estimated net worth stands at $280 million, is by no means the only powerful celebrity to sic their lawyers on writers. Just this week, \u003ca href=\"http://trackrecord.net/jay-z-reportedly-threatened-a-music-site-over-an-articl-1820215682\">the rapper Jay Z’s attorney attacked a \u003cem>Digital Music News\u003c/em> reporter\u003c/a> over an article the attorney considered “false.”\u003c/p>\n\u003cp>University of Southern California journalism professor \u003ca href=\"http://annenberg.usc.edu/faculty/journalism/joe-saltzman\">Joe Saltzman\u003c/a>, who specializes in perceptions of journalists in pop culture, says this type of threat happens all too frequently.\u003c/p>\n\u003cp>“They want to set an example,” Saltzman says. “They want to say, ‘Look, we don’t care if you have 200 subscribers or two million. You write something bad about my client, we’re going after you.'”\u003c/p>\n\u003cp>Saltzman says writers are fairly powerless to do anything about this. Indeed, many of those who shared their own stories of being threatened by Swift’s lawyers over the past couple of days admitted to buckling under the intimidation tactics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-800x324.png\" alt=\"\" width=\"800\" height=\"324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-800x324.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-160x65.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-768x312.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-960x389.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-240x97.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-375x152.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-520x211.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34.png 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>KQED reached out to several of these commentators. The only one who responded said he couldn’t share any information about the cease and desist order for legal reasons and asked not to be identified.\u003c/p>\n\u003cp>But Herning thinks writers should learn to defend themselves.\u003cbr>\n“I hope that other journalists who have been threatened legally educate themselves on their legal rights,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13814238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-800x635.jpg\" alt=\"ACLU attorney Christine Sun.\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1020x810.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1920x1524.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-960x762.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-240x191.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-375x298.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-520x413.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ACLU attorney Christine Sun. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun says Swift’s attorney, who couldn’t be reached for comment, has until Monday, Nov. 13 to drop the charges against Herning. If that doesn’t happen, the ACLU might file a federal lawsuit, Sun says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Swift’s new album, \u003ca href=\"https://store.taylorswift.com/reputation.html\">\u003cem>Reputation\u003c/em>\u003c/a>, comes out Friday. And so far, there’s been no comment from the pop star herself on the issues raised by Herning’s case.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a post titled “\u003ca href=\"http://popfront.us/2017/09/swiftly-to-the-alt-right-taylor-subtly-get-the-lower-case-kkk-in-formation/\">Swiftly to the alt-right: Taylor subtly gets the lower case kkk in formation\u003c/a>” on her blog \u003ca href=\"http://popfront.us/2017/09/swiftly-to-the-alt-right-taylor-subtly-get-the-lower-case-kkk-in-formation/\">Po\u003cem>pFront\u003c/em>\u003c/a>, San Jose native Meghan Herning theorized to her 200-ish subscribers about parallels she saw between the \u003ca href=\"https://store.taylorswift.com/\">Taylor Swift\u003c/a> song “Look WhatYou Made Me Do” and a documentary she watched featuring Neo-Nazis marching through Charlottesville.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Taylor Swift - Look What You Made Me Do\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/3tmd-ClpJxA?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>“I\u003cspan style=\"font-weight: 400\">n my personal opinion, I thought the tone of lyrics in Swift’s song, like, ‘I don’t like your kingdom keys / They once belonged to me’ were similar to you chants of ‘You will not replace us’ in Charlottesville,” Herning says. \u003c/span>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Charlottesville: Race and Terror – VICE News Tonight on HBO\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/RIrcB1sAN8I?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>More prominent media outlets like \u003ca href=\"https://broadly.vice.com/en_us/article/ae5x8a/cant-shake-it-off-how-taylor-swift-became-a-nazi-idol\">\u003cem>Vice\u003c/em>\u003c/a> and \u003ca href=\"https://www.huffingtonpost.com/entry/alt-right-website-really-wants-you-to-believe-taylor-swift-voted-for-donald-trump_us_582dc80ce4b058ce7aa96a73\">\u003cem>The Huffington Post\u003c/em>\u003c/a> have speculated about the connection between the pop star and far right politics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So when Herning received a letter via email a couple of weeks ago from Swift’s Los Angeles-based lawyer, William J. Briggs II, demanding that she take down her blog post or face legal action for defamation, the 30-year-old Sacramento resident was shocked.\u003c/p>\n\u003cfigure id=\"attachment_13814231\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814231\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-800x1031.png\" alt=\"Letter blogger Meghan Herning received from Taylor Swift's lawyer demanding that she take down her blog post or face charges. \" width=\"800\" height=\"1031\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-800x1031.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-160x206.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-768x990.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-240x309.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-375x483.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51-520x670.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.55.51.png 908w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Letter blogger Meghan Herning received from Taylor Swift’s lawyer demanding that she take down her blog post or face charges. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“\u003cspan style=\"font-weight: 400\">I’m like, how on earth could she have found this?” Herning says. “I don’t think enough people even read it for a Google alert to be triggered.” \u003c/span>\u003c/p>\n\u003cp>Herning graduated from law school, though she works in the solar power industry these days. So after doing some research to authenticate the letter, she decided to contact the \u003ca href=\"https://www.aclunc.org/news/taylor-swift-attempts-silence-critic-aclu-fires-back\">American Civil Liberties Union\u003c/a> (ACLU) for help.\u003c/p>\n\u003cp>The ACLU took on her case. Earlier this week, the organization hit back with a \u003ca href=\"http://www.aclunc.org/docs/Swift_letter_final.pdf\">letter\u003c/a> to Briggs refuting Swift’s charges on freedom of speech grounds.\u003c/p>\n\u003cfigure id=\"attachment_13814225\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814225\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-800x1027.png\" alt=\"The letter sent by the ACLU legal team representing Meghan Herning to Taylor Swift's lawyer, William J Briggs II.\" width=\"800\" height=\"1027\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-800x1027.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-160x205.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-768x986.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-240x308.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-375x481.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04-520x667.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.35.04.png 910w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The letter sent by the ACLU legal team representing Meghan Herning to Taylor Swift’s lawyer, William J Briggs II. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The powerful shouldn’t be able to deploy these types of legal threats to silence opinions and press they don’t like,” says Christine Sun, one of three ACLU attorneys representing Herning.\u003c/p>\n\u003cp>The spat has since caused \u003ca href=\"http://perezhilton.com/2017-11-06-taylor-swift-kill-stories-journalism-bloggers-writers/?from=post\">dozens of other commentators\u003c/a> to share similar experiences with Swift on Twitter.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814228\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-800x289.png\" alt=\"\" width=\"800\" height=\"289\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-800x289.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-160x58.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-768x278.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-960x347.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-240x87.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-375x136.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15-520x188.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.44.15.png 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814230\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-800x322.png\" alt=\"\" width=\"800\" height=\"322\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-800x322.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-160x64.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-768x309.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-960x387.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-240x97.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-375x151.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54-520x209.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.54.png 998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>But the pop star, whose estimated net worth stands at $280 million, is by no means the only powerful celebrity to sic their lawyers on writers. Just this week, \u003ca href=\"http://trackrecord.net/jay-z-reportedly-threatened-a-music-site-over-an-articl-1820215682\">the rapper Jay Z’s attorney attacked a \u003cem>Digital Music News\u003c/em> reporter\u003c/a> over an article the attorney considered “false.”\u003c/p>\n\u003cp>University of Southern California journalism professor \u003ca href=\"http://annenberg.usc.edu/faculty/journalism/joe-saltzman\">Joe Saltzman\u003c/a>, who specializes in perceptions of journalists in pop culture, says this type of threat happens all too frequently.\u003c/p>\n\u003cp>“They want to set an example,” Saltzman says. “They want to say, ‘Look, we don’t care if you have 200 subscribers or two million. You write something bad about my client, we’re going after you.'”\u003c/p>\n\u003cp>Saltzman says writers are fairly powerless to do anything about this. Indeed, many of those who shared their own stories of being threatened by Swift’s lawyers over the past couple of days admitted to buckling under the intimidation tactics.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-13814229\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-800x324.png\" alt=\"\" width=\"800\" height=\"324\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-800x324.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-160x65.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-768x312.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-960x389.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-240x97.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-375x152.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34-520x211.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Screen-Shot-2017-11-08-at-20.43.34.png 996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>KQED reached out to several of these commentators. The only one who responded said he couldn’t share any information about the cease and desist order for legal reasons and asked not to be identified.\u003c/p>\n\u003cp>But Herning thinks writers should learn to defend themselves.\u003cbr>\n“I hope that other journalists who have been threatened legally educate themselves on their legal rights,” she says.\u003c/p>\n\u003cfigure id=\"attachment_13814238\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13814238\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-800x635.jpg\" alt=\"ACLU attorney Christine Sun.\" width=\"800\" height=\"635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1020x810.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1920x1524.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-960x762.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-240x191.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-375x298.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/11/Christine-Sun-ACLU-of-Northern-California-e1510204857262-520x413.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">ACLU attorney Christine Sun. \u003ccite>(Photo: Courtesy of ACLU)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sun says Swift’s attorney, who couldn’t be reached for comment, has until Monday, Nov. 13 to drop the charges against Herning. If that doesn’t happen, the ACLU might file a federal lawsuit, Sun says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Meanwhile, Swift’s new album, \u003ca href=\"https://store.taylorswift.com/reputation.html\">\u003cem>Reputation\u003c/em>\u003c/a>, comes out Friday. And so far, there’s been no comment from the pop star herself on the issues raised by Herning’s case.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Taylor Swift, Regular Super Normal Girl Like You and Me, Plays Levi's Stadium",
"headTitle": "Taylor Swift, Regular Super Normal Girl Like You and Me, Plays Levi’s Stadium | KQED",
"content": "\u003cp>There is very little to say about Taylor Swift that has not already been said about Taylor Swift — in thinkpieces, in profiles, in the daily analysis of her Twitter feed that passes for “celebrity journalism” in 2015. But try as you might to get to the heart of why 25-year-old Taylor Alison Swift is the biggest pop star in the world right now, you won’t really understand it until you see her perform live.\u003c/p>\n\u003cp>This is not to say that her vocal performance at Levi’s Stadium on Aug. 14, the first of two nights she played at the squeaky-clean new venue this weekend, exactly blew me away. Nor did any of the visual elements of the stage show, although her team of hard-working, hard-sweating male backup dancers deserve a nod. I like a lot of Taylor Swift’s music and I find her fascinating as a phenomenon, I should say upfront. But the thing I did not comprehend until I saw Taylor Swift in a glittery blue two-piece, perched atop a runway that had morphed into a giant swinging crane, maneuvering over a crowd of 50,000 screaming fans who all paid $150 to $1500 to be there and begging them to believe that \u003cem>no really, I’m a big dork, totally insecure, super normal and just like you\u003c/em>, is that Taylor Swift has maybe pulled off the biggest trick in the history of pop music. It’s a coup of the highest degree to be able to make a surprised face and have it communicate that you can’t believe all these people are here to see little old you while you are flying over them, literally dancing on a sparkly pedestal in the center of an enormous football field.\u003c/p>\n\u003cfigure id=\"attachment_10900527\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayEmbed-e1439793159480.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“This part of the country has always been really special to me,” she said early in the evening, smile spreading across her face, which would have been a more convincing comment if she had referred to it as the Bay Area and not “Santa Clara, California!” at least a half-dozen times over the course of her two-hour set. Still, the attempt to make us all feel special ran strong through her stage banter, which took the form of confessional, sometimes rambling pseudo-diary entries: about how if someone’s not texting you back within a reasonable time frame you deserve better (sure!); about how it’s important, when you find happiness, to just enjoy it and not be fearful about when it’s going to end. A monologue about how much she appreciates that her fans feel comfortable enough to share their lives with her via social media turned into the following: “So I just want to give a big shout out to all the people here who have anything to do with tech!” Woooo. Eat your hearts out, \u003ca href=\"http://gizmodo.com/meet-the-truthers-who-think-taylor-swift-plotted-with-a-1713491244\" target=\"_blank\" rel=\"noopener\">Apple Music truthers\u003c/a>. The woman knows how to stay on brand.\u003c/p>\n\u003cp>As for the songs: This was the \u003cem>1989\u003c/em> tour, a party for the album which signaled that Swift’s crossover from country to pure pop is complete, and she performed nearly the entire hook-filled, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6576210/taylor-swift-bad-blood-max-martin-20th-number-1-hot-100\" target=\"_blank\" rel=\"noopener\">Max Martin-coated album\u003c/a>, opening with “Welcome to New York” as the city’s skyline appeared behind her. As pop stars go, Swift has always been a strong songwriter, even if stadium shows don’t exactly lend themselves to highlighting it. “Blank Space” sounded good because “Blank Space” is an exceedingly good pop song. “I Knew You Were Trouble,” off 2012’s \u003cem>Red\u003c/em>, got the most exciting reboot, with super-heavy electric guitar and industrial levels of reverb turning it into something like metal; in an alternate universe it could have been played off a truckbed by the crazy guitar guy in \u003cem>Mad Max: Fury Road\u003c/em>. “Love Story,” which she explained she wanted to reinterpret to make it blend with the other tracks on \u003cem>1989\u003c/em>, fared much worse, sounding more like a discarded, downtempo Abba tune than a reinvented country-pop one. The rapping breakdown on “Shake It Off” was even more embarrassing live than it is in the music video, which I didn’t know was possible. “Out of the Woods” continues to be the most underrated song on the record, helped here tremendously by a chorus of live backup vocalists, not as tremendously by highly literal visuals (oh look we’re in the woods and now we’re, um, out of them).\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED) \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In general, the visuals provided by the crowd, each of us dutifully wearing the multi-colored light-up bracelets that had been taped to our seats, provided the most interesting scenery of the night. They were more interesting, certainly, than anything Swift’s \u003ca href=\"http://www.buzzfeed.com/annehelenpetersen/kaylor-forever\" target=\"_blank\" rel=\"noopener\">carefully curated gaggle of famous friends\u003c/a> had to say about her in a series of pre-taped interviews that ran on giant screens during set breaks and costume changes. “A typical hang with Taylor? Well, there’s always food — Chinese takeout that you eat way too much of, baked goods,” giggled supermodel Cara Delevingne, prompting more than one of us to flip her the bird, I’m guessing. The members of Haim talked about Swift’s cats, while Lena Dunham, Jaime King, and Selena Gomez all shared their own “she’s totally just a regular girl” type of anecdotes that totally just felt, well, forced. If you’re really just a regular girl, why am I watching supermodels on giant screens insisting that you’re really just a regular girl?\u003c/p>\n\u003cfigure id=\"attachment_10900529\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900529\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayPLot-e1439793280237.jpg\" alt=\"Taylor Swift fans in the parking lot at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"490\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fans in the parking lot at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, it doesn’t matter what any music or culture critic has to say about Taylor Swift, because for those who belong to Taylor Swift’s empire — and there are zero barriers to entry — the distinction between “super normal real girl Taylor Swift” and “years of market research smushed into the shape of a leggy blonde billionaire named Taylor Swift” is a false dichotomy. If you are a 13-year-old girl right now, you have grown up following your favorite musicians on Twitter and hoping they will reply to you, and thinking celebrities owe you their private lives via Instagram, and Taylor Swift is without a doubt the best at this particular game. Throw in an understanding of how to skirt the line between family-friendly tween idol and legitimate sex symbol, a remarkable control of branding, some perfectly general lyrics about self-esteem and relationships — and, yes, hard work — and you’ve got yourself a truly exceptional pop star.\u003c/p>\n\u003cp>What could be realer than that?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Friday night, between perfectly polished songs from her album '1989,' Taylor Swift continued her hat trick of appearing completely perplexed at her own massive popularity.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There is very little to say about Taylor Swift that has not already been said about Taylor Swift — in thinkpieces, in profiles, in the daily analysis of her Twitter feed that passes for “celebrity journalism” in 2015. But try as you might to get to the heart of why 25-year-old Taylor Alison Swift is the biggest pop star in the world right now, you won’t really understand it until you see her perform live.\u003c/p>\n\u003cp>This is not to say that her vocal performance at Levi’s Stadium on Aug. 14, the first of two nights she played at the squeaky-clean new venue this weekend, exactly blew me away. Nor did any of the visual elements of the stage show, although her team of hard-working, hard-sweating male backup dancers deserve a nod. I like a lot of Taylor Swift’s music and I find her fascinating as a phenomenon, I should say upfront. But the thing I did not comprehend until I saw Taylor Swift in a glittery blue two-piece, perched atop a runway that had morphed into a giant swinging crane, maneuvering over a crowd of 50,000 screaming fans who all paid $150 to $1500 to be there and begging them to believe that \u003cem>no really, I’m a big dork, totally insecure, super normal and just like you\u003c/em>, is that Taylor Swift has maybe pulled off the biggest trick in the history of pop music. It’s a coup of the highest degree to be able to make a surprised face and have it communicate that you can’t believe all these people are here to see little old you while you are flying over them, literally dancing on a sparkly pedestal in the center of an enormous football field.\u003c/p>\n\u003cfigure id=\"attachment_10900527\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900527\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayEmbed-e1439793159480.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"480\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>“This part of the country has always been really special to me,” she said early in the evening, smile spreading across her face, which would have been a more convincing comment if she had referred to it as the Bay Area and not “Santa Clara, California!” at least a half-dozen times over the course of her two-hour set. Still, the attempt to make us all feel special ran strong through her stage banter, which took the form of confessional, sometimes rambling pseudo-diary entries: about how if someone’s not texting you back within a reasonable time frame you deserve better (sure!); about how it’s important, when you find happiness, to just enjoy it and not be fearful about when it’s going to end. A monologue about how much she appreciates that her fans feel comfortable enough to share their lives with her via social media turned into the following: “So I just want to give a big shout out to all the people here who have anything to do with tech!” Woooo. Eat your hearts out, \u003ca href=\"http://gizmodo.com/meet-the-truthers-who-think-taylor-swift-plotted-with-a-1713491244\" target=\"_blank\" rel=\"noopener\">Apple Music truthers\u003c/a>. The woman knows how to stay on brand.\u003c/p>\n\u003cp>As for the songs: This was the \u003cem>1989\u003c/em> tour, a party for the album which signaled that Swift’s crossover from country to pure pop is complete, and she performed nearly the entire hook-filled, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/6576210/taylor-swift-bad-blood-max-martin-20th-number-1-hot-100\" target=\"_blank\" rel=\"noopener\">Max Martin-coated album\u003c/a>, opening with “Welcome to New York” as the city’s skyline appeared behind her. As pop stars go, Swift has always been a strong songwriter, even if stadium shows don’t exactly lend themselves to highlighting it. “Blank Space” sounded good because “Blank Space” is an exceedingly good pop song. “I Knew You Were Trouble,” off 2012’s \u003cem>Red\u003c/em>, got the most exciting reboot, with super-heavy electric guitar and industrial levels of reverb turning it into something like metal; in an alternate universe it could have been played off a truckbed by the crazy guitar guy in \u003cem>Mad Max: Fury Road\u003c/em>. “Love Story,” which she explained she wanted to reinterpret to make it blend with the other tracks on \u003cem>1989\u003c/em>, fared much worse, sounding more like a discarded, downtempo Abba tune than a reinvented country-pop one. The rapping breakdown on “Shake It Off” was even more embarrassing live than it is in the music video, which I didn’t know was possible. “Out of the Woods” continues to be the most underrated song on the record, helped here tremendously by a chorus of live backup vocalists, not as tremendously by highly literal visuals (oh look we’re in the woods and now we’re, um, out of them).\u003c/p>\n\u003cfigure id=\"attachment_10900528\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900528\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayMJ.jpg\" alt=\"Taylor Swift performs at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"1100\" height=\"619\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/08/TayMJ-960x540.jpg 960w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift performs at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED) \u003ccite>(Emma Silvers/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In general, the visuals provided by the crowd, each of us dutifully wearing the multi-colored light-up bracelets that had been taped to our seats, provided the most interesting scenery of the night. They were more interesting, certainly, than anything Swift’s \u003ca href=\"http://www.buzzfeed.com/annehelenpetersen/kaylor-forever\" target=\"_blank\" rel=\"noopener\">carefully curated gaggle of famous friends\u003c/a> had to say about her in a series of pre-taped interviews that ran on giant screens during set breaks and costume changes. “A typical hang with Taylor? Well, there’s always food — Chinese takeout that you eat way too much of, baked goods,” giggled supermodel Cara Delevingne, prompting more than one of us to flip her the bird, I’m guessing. The members of Haim talked about Swift’s cats, while Lena Dunham, Jaime King, and Selena Gomez all shared their own “she’s totally just a regular girl” type of anecdotes that totally just felt, well, forced. If you’re really just a regular girl, why am I watching supermodels on giant screens insisting that you’re really just a regular girl?\u003c/p>\n\u003cfigure id=\"attachment_10900529\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10900529\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/08/TayPLot-e1439793280237.jpg\" alt=\"Taylor Swift fans in the parking lot at Levi's Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\" width=\"640\" height=\"490\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift fans in the parking lot at Levi’s Stadium, Aug. 14, 2015. (Photo: Emma Silvers/KQED)\u003c/figcaption>\u003c/figure>\n\u003cp>In the end, of course, it doesn’t matter what any music or culture critic has to say about Taylor Swift, because for those who belong to Taylor Swift’s empire — and there are zero barriers to entry — the distinction between “super normal real girl Taylor Swift” and “years of market research smushed into the shape of a leggy blonde billionaire named Taylor Swift” is a false dichotomy. If you are a 13-year-old girl right now, you have grown up following your favorite musicians on Twitter and hoping they will reply to you, and thinking celebrities owe you their private lives via Instagram, and Taylor Swift is without a doubt the best at this particular game. Throw in an understanding of how to skirt the line between family-friendly tween idol and legitimate sex symbol, a remarkable control of branding, some perfectly general lyrics about self-esteem and relationships — and, yes, hard work — and you’ve got yourself a truly exceptional pop star.\u003c/p>\n\u003cp>What could be realer than that?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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