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"content": "\u003cp>In February 1995, Nashville-based country singer Ty Herndon released \"What Mattered Most,\" a love song about a woman. \"I thought I knew the girl so well,\" Herndon sings at the top of the track. \"If she was sad, I couldn't tell.\" By May of '95, the single hit No. 1 on \u003ca href=\"https://www.billboard.com/music/ty-herndon/chart-history/country-songs/song/35773\">\u003cem>Billboard\u003c/em>'s Hot Country Songs\u003c/a> charts. Now, over 20 years later, Herndon is re-releasing his hit single with a few updates.\u003c/p>\n\u003cp>Herndon came out as gay in 2014 and this year, to coincide with \u003ca href=\"https://www.npr.org/tags/197326306/lgbt\">Pride Month\u003c/a>, he is re-releasing his hit with updated lyrics to fit his true identity.\u003c/p>\n\u003cp>\"I thought I knew the boy so well / If he was sad, I couldn't tell,\" Herndon sings in the new version of the track. What was once \"Her eyes are blue / Her hair is long\" has become \"His eyes are blue / His hair is long.\" In short, all previously female pronouns in the song have been changed into male pronouns.\u003c/p>\n\u003cp>But for Herndon, this re-release process has meant much more than simply swapping out certain words. \"One of my rules has always been if I haven't lived it, I don't sing it,\" Herndon says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=91&v=tSnGDePzppE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Herndon used to follow that rule by thinking of his mother and father when he performed the original version of \"What Mattered Most.\" He says calling their \"great love story\" to mind did the trick... for the most part.\u003c/p>\n\u003cp>\"That's how I made it a living, breathing thing for me when I would perform it,\" Herndon says. \"But at the time, I was also in a relationship with a beautiful boy. His hair was long and his eyes were blue. So, I did think about him quite a bit.\"\u003c/p>\n\u003cp>The shift in the song's update carries meaning for Herndon and his fans alike. Herndon decided to revisit his '90s hit partially based on sentiments that he heard expressed by young would-be country listeners. \"When I go and speak to kids, I hear this all the time. They're like—especially the LGBT kids—'We really want to like country music, but we don't think country music likes us.'\"\u003c/p>\n\u003cp>According to Herndon, though, the Nashville scene is changing. He saw that firsthand when he came out to a largely supportive response from fans and friends. \"I was really prepared to walk away from it all, but I didn't have to do that,\" he says. Now, Herndon feels a responsibility to show those kids that they \"don't have to be afraid.\"\u003c/p>\n\u003cp>\"It starts with me,\" he says. \"It starts with artists that have been there.\"\u003c/p>\n\u003cp>Herndon can personally hear the profound difference in the song's old and new versions. \"I've sat down and listened to both of them carefully, and I can tell you: There was the kid singing the other song. There was the grown-up man that was a lot more emotional and living in his authentic skin singing this song.\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/729274752/729788374\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/people/580312943/christina-cala\">\u003cem>Christina Cala \u003c/em>\u003c/a>\u003cem>edited this audio for broadcast. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It+Starts+With+Me%27%3A+Ty+Herndon+On+Re-Releasing+His+Country+Hit+With+Male+Pronouns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In February 1995, Nashville-based country singer Ty Herndon released \"What Mattered Most,\" a love song about a woman. \"I thought I knew the girl so well,\" Herndon sings at the top of the track. \"If she was sad, I couldn't tell.\" By May of '95, the single hit No. 1 on \u003ca href=\"https://www.billboard.com/music/ty-herndon/chart-history/country-songs/song/35773\">\u003cem>Billboard\u003c/em>'s Hot Country Songs\u003c/a> charts. Now, over 20 years later, Herndon is re-releasing his hit single with a few updates.\u003c/p>\n\u003cp>Herndon came out as gay in 2014 and this year, to coincide with \u003ca href=\"https://www.npr.org/tags/197326306/lgbt\">Pride Month\u003c/a>, he is re-releasing his hit with updated lyrics to fit his true identity.\u003c/p>\n\u003cp>\"I thought I knew the boy so well / If he was sad, I couldn't tell,\" Herndon sings in the new version of the track. What was once \"Her eyes are blue / Her hair is long\" has become \"His eyes are blue / His hair is long.\" In short, all previously female pronouns in the song have been changed into male pronouns.\u003c/p>\n\u003cp>But for Herndon, this re-release process has meant much more than simply swapping out certain words. \"One of my rules has always been if I haven't lived it, I don't sing it,\" Herndon says.\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/tSnGDePzppE'\n title='//www.youtube.com/embed/tSnGDePzppE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Herndon used to follow that rule by thinking of his mother and father when he performed the original version of \"What Mattered Most.\" He says calling their \"great love story\" to mind did the trick... for the most part.\u003c/p>\n\u003cp>\"That's how I made it a living, breathing thing for me when I would perform it,\" Herndon says. \"But at the time, I was also in a relationship with a beautiful boy. His hair was long and his eyes were blue. So, I did think about him quite a bit.\"\u003c/p>\n\u003cp>The shift in the song's update carries meaning for Herndon and his fans alike. Herndon decided to revisit his '90s hit partially based on sentiments that he heard expressed by young would-be country listeners. \"When I go and speak to kids, I hear this all the time. They're like—especially the LGBT kids—'We really want to like country music, but we don't think country music likes us.'\"\u003c/p>\n\u003cp>According to Herndon, though, the Nashville scene is changing. He saw that firsthand when he came out to a largely supportive response from fans and friends. \"I was really prepared to walk away from it all, but I didn't have to do that,\" he says. Now, Herndon feels a responsibility to show those kids that they \"don't have to be afraid.\"\u003c/p>\n\u003cp>\"It starts with me,\" he says. \"It starts with artists that have been there.\"\u003c/p>\n\u003cp>Herndon can personally hear the profound difference in the song's old and new versions. \"I've sat down and listened to both of them carefully, and I can tell you: There was the kid singing the other song. There was the grown-up man that was a lot more emotional and living in his authentic skin singing this song.\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/729274752/729788374\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/people/580312943/christina-cala\">\u003cem>Christina Cala \u003c/em>\u003c/a>\u003cem>edited this audio for broadcast. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It+Starts+With+Me%27%3A+Ty+Herndon+On+Re-Releasing+His+Country+Hit+With+Male+Pronouns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Last Week, Everyone Tried To Put Out The Song Of The Summer",
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"content": "\u003cp>Most aspiring pop stars dream of one day churning out \"the Song of the Summer\"—that one inescapable jam that blows up every hot-weather radio playlist, beach party, car stereo and YouTube binge. Some of them may be frothy, seemingly disposable pop confections, but there's a certain permanence to Song of the Summer status; once you've reached that milestone, you're forever embedded in the memories of summertime revelers the world over. (Want proof? Listen to \u003ca href=\"https://www.npr.org/2012/06/20/155132353/the-mix-the-songs-of-the-summer\">this Songs of the Summer mix\u003c/a> spanning the years 1962 to 2018 and see how much of your past comes flooding back.)\u003c/p>\n\u003cp>But hits aren't made overnight; it can take a while for a song to make its way from release day to \"\u003ca href=\"https://www.youtube.com/watch?v=gUcisIlT7sM\">Old Town Road\u003c/a>\"-style hyper-ubiquity. Which is to say, if you want to lay claim to unofficial Song of the Summer status for 2019, you'd best do it quickly. That's likely why this week—and particularly the last day or so—has seen such an onslaught of summer jams, each of which seems to be aspiring to dominate our lives for months to come. Here's a quick rundown.\u003c/p>\n\u003ch3 style=\"text-align: center\">Katy Perry, 'Never Really Over'\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=aEb5gNsmGJ8\u003c/p>\n\u003cp>Katy Perry's songs have been streamed tens of billions of times, making her the sort of too-big-to-fail pop juggernaut that can never be counted out of any given Song of the Summer competition. \"Never Really Over\" taps into universal emotions—heartache, nostalgia, regret, reflection—with maximum wistfulness. Looking for a metric to capture just how fussed-over your favorite summer jams often are? \"Never Really Over\" is the work of \u003cem>nine\u003c/em> credited songwriters, including Perry herself and the ubiquitous Zedd.\u003c/p>\n\u003ch3 style=\"text-align: center\">Herve Pagez & Diplo, 'Spicy (feat. Charli XCX)'\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=bGrxBmyiMls\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The line between \"insistent\" and \"annoying\" rarely feels quite this thin. \"Spicy\" has been engineered to hit many sweet spots at once, starting with its headlong dive into '90s nostalgia: The track, assembled by U.K. DJ Herve Pagez and U.S. mega-producer Diplo, enlists Charli XCX to pay lovingly extravagant tribute to The Spice Girls' eternal \"Wannabe.\" A truly ridiculous trifle, this one's sold most effectively in its doofy video, in which its headliners ride, jam with, dance alongside and eat at a cafe with an array of brightly colored... dolphins.\u003c/p>\n\u003ch3 style=\"text-align: center\">Tove Lo, 'Glad He's Gone'\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=h1Tn1H7Sg8s\u003c/p>\n\u003cp>It's too early to tell which of these songs is likeliest to pop, but here's an unmistakable highlight of this week's lot. In \"Glad He's Gone,\" Swedish pop star Tove Lo comforts a dear friend with sexually frank affirmations in the aftermath of a painful breakup. Dispensing kind advice—mostly of the pick-yourself-up, you're-too-good-for-him variety—Lo drives her point home in the hypnotically infectious, haunting hook: \"You're better off / I'm glad that he's gone.\"\u003c/p>\n\u003ch3 style=\"text-align: center\">Cardi B, 'Press'\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=-IdnRv04IZc\u003c/p>\n\u003cp>Cardi B has been a vibrant, wildly charismatic addition to the pop landscape in recent years, but \"Press\" is a one-off swat at a gossip mill that's obsessed over her personal life with relentless invasiveness. Though a bit too specific in its messaging to connect on a grand scale—although who among us hasn't had to grapple with the prying eyes of the paparazzi?—\"Press\" does pack a tremendous amount of \u003ca href=\"https://www.npr.org/2019/05/31/728285009/cardi-b-needs-no-press-but-we-re-giving-it-to-her-anyway\">quotable aggression\u003c/a> into less than two-and-a-half minutes.\u003c/p>\n\u003ch3 style=\"text-align: center\">Mark Ronson & Camila Cabello, 'Find U Again'\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=ZLYYRqU_iqE\u003c/p>\n\u003cp>Pinning down Mark Ronson's aesthetic isn't easy: If you had to summarize him with a single genre signifier, it'd be... maybe \"hits\"? It's hard to find too many other throughlines connecting \"Find U Again,\" his new collaboration with Camila Cabello, to, say, \"Uptown Funk.\" But what \"Find U Again\" lacks in a distinct artistic identity, it makes up for in the sheer power of sounding like every other aggressively Auto-Tuned song on the radio. So who knows?\u003c/p>\n\u003ch3 style=\"text-align: center\">King Princess, 'Cheap Queen'\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=PH2DdYLO-uo\u003c/p>\n\u003cp>The clearest path to Song of the Summer status is to reach for something universal—something in the language of heartache, desire, loneliness or defiance. But another way is to serve up a mission statement to a smaller-but-mighty subset of the pop audience. For King Princess, a 20-year-old who's currently blooming into a queer icon, \"Cheap Queen\" has it all, from a coolly woozy sound to a statement of purpose sure to resonate: \"I can be bad sometimes / I'm a real queen / I can make grown men cry.\"\u003c/p>\n\u003ch3 style=\"text-align: center\">Gucci Mane & Justin Bieber, 'Love Thru The Computer'\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=XvinPCCGSxc\u003c/p>\n\u003cp>Maybe it's the tinny, computerized beats; maybe it's the lighthearted narrative about, well, finding \"Love Thru the Computer.\" But Gucci Mane's new single feels playfully old-school, even evoking the story-song rambles of Biz Markie or Young MC, albeit with far saltier language. Bieber's presence on the hook makes \"Love Thru the Computer\" a pop contender from the jump, though his own personality is muted next to Gucci's.\u003c/p>\n\u003ch3 style=\"text-align: center\">Bad Bunny, 'Callaíta'\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=acEOASYioGY\u003c/p>\n\u003cp>Puerto Rican superstar Bad Bunny just got around to releasing his first full-length album back in December, and he's already got a follow-up single in the smoothly ingratiating \"Callaíta.\" Recorded as a one-off with reggaeton producer Tainy, the track touches on the greatest hits of summer-song celebration: the beach, booze, sex and that certain someone with whom all three can be shared.\u003c/p>\n\u003ch3 style=\"text-align: center\">The Chainsmokers, 'Call You Mine (feat. Bebe Rexha)'\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=3XCVM3G3pns\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Three of the most eager collaborators in the electro-pop business—that'd be Bebe Rexha and the two basically interchangeable dudes in The Chainsmokers—gather for a familiar mish-mash of sensibilities, complete with one of those snaky little Chainsmokers-y hooks. Truth be told, the song's pretty easy to forget (ask again after radio stations have spun it a few hundred million times), but at least the video tells a \u003cem>Memento\u003c/em>-style story in which Rexha murders The Chainsmokers, stuffs them into a car and flees police. \u003cem>Summer, y'all!\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+Week%2C+Everyone+Tried+To+Put+Out+The+Song+Of+The+Summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Most aspiring pop stars dream of one day churning out \"the Song of the Summer\"—that one inescapable jam that blows up every hot-weather radio playlist, beach party, car stereo and YouTube binge. Some of them may be frothy, seemingly disposable pop confections, but there's a certain permanence to Song of the Summer status; once you've reached that milestone, you're forever embedded in the memories of summertime revelers the world over. (Want proof? Listen to \u003ca href=\"https://www.npr.org/2012/06/20/155132353/the-mix-the-songs-of-the-summer\">this Songs of the Summer mix\u003c/a> spanning the years 1962 to 2018 and see how much of your past comes flooding back.)\u003c/p>\n\u003cp>But hits aren't made overnight; it can take a while for a song to make its way from release day to \"\u003ca href=\"https://www.youtube.com/watch?v=gUcisIlT7sM\">Old Town Road\u003c/a>\"-style hyper-ubiquity. Which is to say, if you want to lay claim to unofficial Song of the Summer status for 2019, you'd best do it quickly. That's likely why this week—and particularly the last day or so—has seen such an onslaught of summer jams, each of which seems to be aspiring to dominate our lives for months to come. Here's a quick rundown.\u003c/p>\n\u003ch3 style=\"text-align: center\">Katy Perry, 'Never Really Over'\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/aEb5gNsmGJ8'\n title='//www.youtube.com/embed/aEb5gNsmGJ8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Katy Perry's songs have been streamed tens of billions of times, making her the sort of too-big-to-fail pop juggernaut that can never be counted out of any given Song of the Summer competition. \"Never Really Over\" taps into universal emotions—heartache, nostalgia, regret, reflection—with maximum wistfulness. Looking for a metric to capture just how fussed-over your favorite summer jams often are? \"Never Really Over\" is the work of \u003cem>nine\u003c/em> credited songwriters, including Perry herself and the ubiquitous Zedd.\u003c/p>\n\u003ch3 style=\"text-align: center\">Herve Pagez & Diplo, 'Spicy (feat. Charli XCX)'\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bGrxBmyiMls'\n title='//www.youtube.com/embed/bGrxBmyiMls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The line between \"insistent\" and \"annoying\" rarely feels quite this thin. \"Spicy\" has been engineered to hit many sweet spots at once, starting with its headlong dive into '90s nostalgia: The track, assembled by U.K. DJ Herve Pagez and U.S. mega-producer Diplo, enlists Charli XCX to pay lovingly extravagant tribute to The Spice Girls' eternal \"Wannabe.\" A truly ridiculous trifle, this one's sold most effectively in its doofy video, in which its headliners ride, jam with, dance alongside and eat at a cafe with an array of brightly colored... dolphins.\u003c/p>\n\u003ch3 style=\"text-align: center\">Tove Lo, 'Glad He's Gone'\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/h1Tn1H7Sg8s'\n title='//www.youtube.com/embed/h1Tn1H7Sg8s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's too early to tell which of these songs is likeliest to pop, but here's an unmistakable highlight of this week's lot. In \"Glad He's Gone,\" Swedish pop star Tove Lo comforts a dear friend with sexually frank affirmations in the aftermath of a painful breakup. Dispensing kind advice—mostly of the pick-yourself-up, you're-too-good-for-him variety—Lo drives her point home in the hypnotically infectious, haunting hook: \"You're better off / I'm glad that he's gone.\"\u003c/p>\n\u003ch3 style=\"text-align: center\">Cardi B, 'Press'\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/-IdnRv04IZc'\n title='//www.youtube.com/embed/-IdnRv04IZc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Cardi B has been a vibrant, wildly charismatic addition to the pop landscape in recent years, but \"Press\" is a one-off swat at a gossip mill that's obsessed over her personal life with relentless invasiveness. Though a bit too specific in its messaging to connect on a grand scale—although who among us hasn't had to grapple with the prying eyes of the paparazzi?—\"Press\" does pack a tremendous amount of \u003ca href=\"https://www.npr.org/2019/05/31/728285009/cardi-b-needs-no-press-but-we-re-giving-it-to-her-anyway\">quotable aggression\u003c/a> into less than two-and-a-half minutes.\u003c/p>\n\u003ch3 style=\"text-align: center\">Mark Ronson & Camila Cabello, 'Find U Again'\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZLYYRqU_iqE'\n title='//www.youtube.com/embed/ZLYYRqU_iqE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Pinning down Mark Ronson's aesthetic isn't easy: If you had to summarize him with a single genre signifier, it'd be... maybe \"hits\"? It's hard to find too many other throughlines connecting \"Find U Again,\" his new collaboration with Camila Cabello, to, say, \"Uptown Funk.\" But what \"Find U Again\" lacks in a distinct artistic identity, it makes up for in the sheer power of sounding like every other aggressively Auto-Tuned song on the radio. So who knows?\u003c/p>\n\u003ch3 style=\"text-align: center\">King Princess, 'Cheap Queen'\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/PH2DdYLO-uo'\n title='//www.youtube.com/embed/PH2DdYLO-uo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The clearest path to Song of the Summer status is to reach for something universal—something in the language of heartache, desire, loneliness or defiance. But another way is to serve up a mission statement to a smaller-but-mighty subset of the pop audience. For King Princess, a 20-year-old who's currently blooming into a queer icon, \"Cheap Queen\" has it all, from a coolly woozy sound to a statement of purpose sure to resonate: \"I can be bad sometimes / I'm a real queen / I can make grown men cry.\"\u003c/p>\n\u003ch3 style=\"text-align: center\">Gucci Mane & Justin Bieber, 'Love Thru The Computer'\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XvinPCCGSxc'\n title='//www.youtube.com/embed/XvinPCCGSxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maybe it's the tinny, computerized beats; maybe it's the lighthearted narrative about, well, finding \"Love Thru the Computer.\" But Gucci Mane's new single feels playfully old-school, even evoking the story-song rambles of Biz Markie or Young MC, albeit with far saltier language. Bieber's presence on the hook makes \"Love Thru the Computer\" a pop contender from the jump, though his own personality is muted next to Gucci's.\u003c/p>\n\u003ch3 style=\"text-align: center\">Bad Bunny, 'Callaíta'\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/acEOASYioGY'\n title='//www.youtube.com/embed/acEOASYioGY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Puerto Rican superstar Bad Bunny just got around to releasing his first full-length album back in December, and he's already got a follow-up single in the smoothly ingratiating \"Callaíta.\" Recorded as a one-off with reggaeton producer Tainy, the track touches on the greatest hits of summer-song celebration: the beach, booze, sex and that certain someone with whom all three can be shared.\u003c/p>\n\u003ch3 style=\"text-align: center\">The Chainsmokers, 'Call You Mine (feat. Bebe Rexha)'\u003c/h3>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3XCVM3G3pns'\n title='//www.youtube.com/embed/3XCVM3G3pns'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Three of the most eager collaborators in the electro-pop business—that'd be Bebe Rexha and the two basically interchangeable dudes in The Chainsmokers—gather for a familiar mish-mash of sensibilities, complete with one of those snaky little Chainsmokers-y hooks. Truth be told, the song's pretty easy to forget (ask again after radio stations have spun it a few hundred million times), but at least the video tells a \u003cem>Memento\u003c/em>-style story in which Rexha murders The Chainsmokers, stuffs them into a car and flees police. \u003cem>Summer, y'all!\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=This+Week%2C+Everyone+Tried+To+Put+Out+The+Song+Of+The+Summer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Life In 'Songland': The Reality Behind NBC's New Reality Show",
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"content": "\u003cp>\"My parents have no idea what I do,\" says Shane McAnally, calling from the airport in Los Angeles as he shuffles between his many duties: as a Grammy-winning songwriter, producer and now co-host of NBC's \u003cem>Songland\u003c/em>, a new musical competition show from the producers of \u003cem>The Voice\u003c/em> that judges songs, not those who sing them. McAnally's mom and dad aren't alone in being a bit confused. The job of a songwriter is likely one of the most important and the least understood in the entire craft of music—and, these days, one of the most proportionately underpaid. All that said, probably not an immediate homerun for compelling TV.\u003c/p>\n\u003cp>But that's exactly why McAnally, who has written with the likes of Kacey Musgraves and Sam Hunt, signed on to \u003cem>Songland\u003c/em> four years ago, without seeing much more than a preliminary concept. Though he's based in Nashville, a town that recognizes the songwriter more than perhaps anywhere on earth, McAnally still was mystified by how low on the totem pole of appreciation they actually are. And in today's climate, where songwriters are now positioned as anonymous faces in the fight for fair compensation against some of the world's most powerful media corporations—Spotify, Google and Amazon, to name a few—McAnally thought that could simply no longer stand.\u003c/p>\n\u003cp>McAnally, Ryan Tedder (lead singer of OneRepublic and Grammy-winning producer for Beyoncé, Adele and Taylor Swift) and Ester Dean (a Grammy-nominated songwriter and producer for Rihanna and Nicki Minaj) comprise the judging panel on \u003cem>Songland\u003c/em>, premiering tonight at 10 p.m. ET. The concept is pretty simple: a songwriter pitches a piece of work they've created to the panel along with a guest artist, from the Jonas Brothers to Meghan Trainor to Kelsea Ballerini, who will then cut and release that song after it's massaged in a workshop setting. On this evening's premiere, piano man John Legend is on deck.\u003c/p>\n\u003cp>Not long into tonight's premiere, Tedder will pose a question to Tebby Burrows, one of the contestants. She's a Bahamian-born songwriter who lives in Miami, and is offering up a message-driven tune called \"We Need Love\" that she hopes Legend will choose. It's a big step up from the usual process of just shuffling a demo tape around—but, again, that's not exactly thrilling television.\u003c/p>\n\u003cp>\"Do you make money as a songwriter?\" Tedder asks her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The answer, like many in her position, is no. Burrows describes herself as \"a little bit like Clark Kent,\" working a marketing job during the day and gigging at night more for passion than profit. She's likely not alone. It's not easy to make a comfortable, or even passable, living as a songwriter. A first deal at an independent publisher, if a writer is lucky enough to snag one, barely equates to minimum wage, leaving \"successful\" songwriters to find a second revenue stream. Therein lies the rub. \"To be successful, it pretty much has to take 100% of your attention,\" says Abe Stoklasa, a songwriter (Chris Lane's \"Fix,\" Charles Kelly's \"The Driver\") who says his first publishing deal was worth $15,000 a year. And that's with no health insurance, either, which isn't customarily offered to songwriters through their publisher or performance rights organization (\"PRO\") such as ASCAP or BMI.\u003c/p>\n\u003cp>Tedder agrees. Though his finances are no longer a worry, he admits on the premiere of \u003cem>Songland\u003c/em> that he used to work at Pottery Barn, back when he couldn't afford furniture himself. He hopes that \u003cem>Songland\u003c/em> helps songwriters in both direct and indirect ways: that the contestants, even if they don't win their respective episode, can use the visibility to score publishing deals or syncs (where a song is used for film or television), and that the public at large—and even some in the industry—might start to value songwriters as more than just a name on the back of a CD. But even if they do snag a publishing deal, is the path lucrative if their songs don't hit \"Old Town Road\" or \"High Hopes\" proportions?\u003c/p>\n\u003cp>\"If a guy working in the mailroom of Sony comes across the next Beyoncé, he gets more notoriety for discovering that artist than the songwriter that writes the song that becomes that artist's hit,\" says Tedder. \"Not only are we on the bottom of the food chain, the way the payment structure is set up, we get paid the least. And with streaming, that income has dropped drastically.\"\u003c/p>\n\u003cp>Indeed, things have gotten a lot more difficult for songwriters of late. It takes a massive hit for a songwriter to substantially profit from streaming services. And in the past two years, songwriters have been engaging in a score of battles, from lobbying to see the songwriter-focused Music Modernization Act signed into law—which it was, \u003ca href=\"https://www.npr.org/2018/09/19/649611777/a-music-industry-peace-treaty-passes-unanimously-through-congress\">unanimously\u003c/a>, last year—to fighting Spotify, Google, Amazon and SiriusXM/Pandora as they attempt to appeal a 2018 ruling that would \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">substantially increase\u003c/a> songwriter and publisher revenue. Both have been a struggle, in part because songwriters aren't generally celebrities, and it's a lot easier to garner support for a cause when there's a recognizable face at the helm.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kH9b-tBvbNg\u003c/p>\n\u003cp>Songwriting used to be a much more lucrative profession before the streaming era, and not just because of royalties. In a singles-centric landscape that is responding to \u003ca href=\"https://www.musicbusinessworldwide.com/us-recorded-music-industry-growth-slowed-in-h1-2018-with-a-dramatic-fall-in-cd-sales/\">rapidly declining\u003c/a> album sales, that means fewer chances for a songwriter to even land a cut to begin with, let alone a radio hit. And with more and more writers collaborating on a track—a Kanye West song can \u003ca href=\"https://www.youtube.com/watch?v=YdA7swZoxks\">have fifteen\u003c/a>—that means a proportionally smaller share of any royalties. \"Back in the day, you could make millions from album cuts, and then just retire to the Bahamas,\" says Tedder. \"You could have the fourth or fifth single on a Maroon 5 record. These days, if you don't have the next single, with a release date in writing, you have nothing. All that to say, it's not an easy time to be a songwriter.\"\u003c/p>\n\u003cp>Dave Stewart of the Eurythmics is one such writer happily (and literally) living in the Bahamas—though retired he is not. Stewart conceived \u003cem>Songland\u003c/em> with Emmy Award-winning producer Audrey Morrissey (\u003cem>The Voice\u003c/em>) and director Ivan Dudynsky, with Maroon 5's Adam Levine as an executive producer. Stewart came up with the seeds of the idea on a trip to Nashville. \"Nashville always stuck to this songwriting thing, and I just thought there should be a show to explore that,\" he says. \"It's not looking behind the curtains. It's like looking behind many curtains.\"\u003c/p>\n\u003cp>Stewart's right—the songwriting world is indeed shrouded in mystery. Truth is, the life of a songwriter is much more regimented than one might imagine, publishing deal or no. \"Most write every day at 11 a.m.,\" says Stoklasa. \"Some do two times a day. When I am super motivated, I am writing five days a week.\" All the while, for many, running a second shift to help pay the bills. \"I worked at night at a nursing home, and then I would go to the studio,\" says Dean.\u003c/p>\n\u003cp>The technicalities of a songwriter's life don't quite make their way onto \u003cem>Songland\u003c/em>, but there is some jargon: Tedder, working with a contestant, talks about the number of beats, and terms like tempo and pre-chorus work their way into the criticism. Tedder wasn't worried that this type of language might scare people off—after all, plenty have learned what a sous-vide is from watching \u003cem>Iron Chef\u003c/em>. \"We know what kind of knife Jiro [Ono] uses to make his sushi, but we don't know Bernie Taupin wrote the lyrics for Elton John,\" says Tedder.\u003c/p>\n\u003cp>On \u003cem>Iron Chef\u003c/em> and the like, however, the goal is to be as creative as possible, to wow the panel with an inspired use of mushroom here, a savvy twist on ice cream there. On most musical competition shows... perhaps not so much. Original material has long been taboo on programs like \u003cem>American Idol—\u003c/em>it occasionally pops in during the audition phase, but it's generally frowned upon in favor of sport-singing successful hits.\u003c/p>\n\u003cp>Catie Offerman, a Nashville-based singer-songwriter, remembers trying out for \u003cem>American Idol\u003c/em> when she was just 15. For the audition, she performed a song she wrote herself.\u003c/p>\n\u003cp>\"When I finished, the judge looked at me said, 'don't ever come back and f****** sing an original song again,'\" she says. \"Honestly, that put everything into perspective for me.\" Offerman is not on \u003cem>Songland\u003c/em>, but she has run the gamut when it comes to reality programming, making it to Hollywood on \u003cem>Idol\u003c/em> years from that first audition but dropping out before she could get any further.\u003c/p>\n\u003cp>\"Talent goes way beyond how many notes someone can sing,\" she says. \"When I watch \u003cem>Idol\u003c/em>, it doesn't speak to me. I would rather turn on a show and see someone who can't sing but has something to say. And having something to say is way more important than hitting a bunch of octaves.\"\u003c/p>\n\u003cp>Without that vocal showboating, does \u003cem>Songland\u003c/em> actually have anything to stand on? Turns out, the process itself is pretty entertaining—but that owes a lot to the panel themselves, and not just the songwriters. It's impressive to see Legend take a song and instantly shift the mood with a slower melody, or to see McAnally, Dean and Tedder make small but insightful snap suggestions that transform a nice tune into a possible hit. Like with most musical competition shows, the judges are the real stars, which falls pretty closely in line with how being a songwriter usually goes: hand the material over, watch it shine in the hands of another and then sit back and wait for your (inconsequential, in the case of streaming) royalties.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\"You can be fifth place on the \u003cem>Voice\u003c/em> and still be more famous than the most famous songwriter,\" says Tedder. \"It's time for songwriters to have a voice. We will be a lot harder to ignore once we do.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Life+In+%27Songland%27%3A+The+Reality+Behind+NBC%27s+New+Reality+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\"My parents have no idea what I do,\" says Shane McAnally, calling from the airport in Los Angeles as he shuffles between his many duties: as a Grammy-winning songwriter, producer and now co-host of NBC's \u003cem>Songland\u003c/em>, a new musical competition show from the producers of \u003cem>The Voice\u003c/em> that judges songs, not those who sing them. McAnally's mom and dad aren't alone in being a bit confused. The job of a songwriter is likely one of the most important and the least understood in the entire craft of music—and, these days, one of the most proportionately underpaid. All that said, probably not an immediate homerun for compelling TV.\u003c/p>\n\u003cp>But that's exactly why McAnally, who has written with the likes of Kacey Musgraves and Sam Hunt, signed on to \u003cem>Songland\u003c/em> four years ago, without seeing much more than a preliminary concept. Though he's based in Nashville, a town that recognizes the songwriter more than perhaps anywhere on earth, McAnally still was mystified by how low on the totem pole of appreciation they actually are. And in today's climate, where songwriters are now positioned as anonymous faces in the fight for fair compensation against some of the world's most powerful media corporations—Spotify, Google and Amazon, to name a few—McAnally thought that could simply no longer stand.\u003c/p>\n\u003cp>McAnally, Ryan Tedder (lead singer of OneRepublic and Grammy-winning producer for Beyoncé, Adele and Taylor Swift) and Ester Dean (a Grammy-nominated songwriter and producer for Rihanna and Nicki Minaj) comprise the judging panel on \u003cem>Songland\u003c/em>, premiering tonight at 10 p.m. ET. The concept is pretty simple: a songwriter pitches a piece of work they've created to the panel along with a guest artist, from the Jonas Brothers to Meghan Trainor to Kelsea Ballerini, who will then cut and release that song after it's massaged in a workshop setting. On this evening's premiere, piano man John Legend is on deck.\u003c/p>\n\u003cp>Not long into tonight's premiere, Tedder will pose a question to Tebby Burrows, one of the contestants. She's a Bahamian-born songwriter who lives in Miami, and is offering up a message-driven tune called \"We Need Love\" that she hopes Legend will choose. It's a big step up from the usual process of just shuffling a demo tape around—but, again, that's not exactly thrilling television.\u003c/p>\n\u003cp>\"Do you make money as a songwriter?\" Tedder asks her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The answer, like many in her position, is no. Burrows describes herself as \"a little bit like Clark Kent,\" working a marketing job during the day and gigging at night more for passion than profit. She's likely not alone. It's not easy to make a comfortable, or even passable, living as a songwriter. A first deal at an independent publisher, if a writer is lucky enough to snag one, barely equates to minimum wage, leaving \"successful\" songwriters to find a second revenue stream. Therein lies the rub. \"To be successful, it pretty much has to take 100% of your attention,\" says Abe Stoklasa, a songwriter (Chris Lane's \"Fix,\" Charles Kelly's \"The Driver\") who says his first publishing deal was worth $15,000 a year. And that's with no health insurance, either, which isn't customarily offered to songwriters through their publisher or performance rights organization (\"PRO\") such as ASCAP or BMI.\u003c/p>\n\u003cp>Tedder agrees. Though his finances are no longer a worry, he admits on the premiere of \u003cem>Songland\u003c/em> that he used to work at Pottery Barn, back when he couldn't afford furniture himself. He hopes that \u003cem>Songland\u003c/em> helps songwriters in both direct and indirect ways: that the contestants, even if they don't win their respective episode, can use the visibility to score publishing deals or syncs (where a song is used for film or television), and that the public at large—and even some in the industry—might start to value songwriters as more than just a name on the back of a CD. But even if they do snag a publishing deal, is the path lucrative if their songs don't hit \"Old Town Road\" or \"High Hopes\" proportions?\u003c/p>\n\u003cp>\"If a guy working in the mailroom of Sony comes across the next Beyoncé, he gets more notoriety for discovering that artist than the songwriter that writes the song that becomes that artist's hit,\" says Tedder. \"Not only are we on the bottom of the food chain, the way the payment structure is set up, we get paid the least. And with streaming, that income has dropped drastically.\"\u003c/p>\n\u003cp>Indeed, things have gotten a lot more difficult for songwriters of late. It takes a massive hit for a songwriter to substantially profit from streaming services. And in the past two years, songwriters have been engaging in a score of battles, from lobbying to see the songwriter-focused Music Modernization Act signed into law—which it was, \u003ca href=\"https://www.npr.org/2018/09/19/649611777/a-music-industry-peace-treaty-passes-unanimously-through-congress\">unanimously\u003c/a>, last year—to fighting Spotify, Google, Amazon and SiriusXM/Pandora as they attempt to appeal a 2018 ruling that would \u003ca href=\"https://www.npr.org/2019/04/12/712777873/nile-rodgers-streaming-payments-songwriters-letter-spotify\">substantially increase\u003c/a> songwriter and publisher revenue. Both have been a struggle, in part because songwriters aren't generally celebrities, and it's a lot easier to garner support for a cause when there's a recognizable face at the helm.\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/kH9b-tBvbNg'\n title='//www.youtube.com/embed/kH9b-tBvbNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Songwriting used to be a much more lucrative profession before the streaming era, and not just because of royalties. In a singles-centric landscape that is responding to \u003ca href=\"https://www.musicbusinessworldwide.com/us-recorded-music-industry-growth-slowed-in-h1-2018-with-a-dramatic-fall-in-cd-sales/\">rapidly declining\u003c/a> album sales, that means fewer chances for a songwriter to even land a cut to begin with, let alone a radio hit. And with more and more writers collaborating on a track—a Kanye West song can \u003ca href=\"https://www.youtube.com/watch?v=YdA7swZoxks\">have fifteen\u003c/a>—that means a proportionally smaller share of any royalties. \"Back in the day, you could make millions from album cuts, and then just retire to the Bahamas,\" says Tedder. \"You could have the fourth or fifth single on a Maroon 5 record. These days, if you don't have the next single, with a release date in writing, you have nothing. All that to say, it's not an easy time to be a songwriter.\"\u003c/p>\n\u003cp>Dave Stewart of the Eurythmics is one such writer happily (and literally) living in the Bahamas—though retired he is not. Stewart conceived \u003cem>Songland\u003c/em> with Emmy Award-winning producer Audrey Morrissey (\u003cem>The Voice\u003c/em>) and director Ivan Dudynsky, with Maroon 5's Adam Levine as an executive producer. Stewart came up with the seeds of the idea on a trip to Nashville. \"Nashville always stuck to this songwriting thing, and I just thought there should be a show to explore that,\" he says. \"It's not looking behind the curtains. It's like looking behind many curtains.\"\u003c/p>\n\u003cp>Stewart's right—the songwriting world is indeed shrouded in mystery. Truth is, the life of a songwriter is much more regimented than one might imagine, publishing deal or no. \"Most write every day at 11 a.m.,\" says Stoklasa. \"Some do two times a day. When I am super motivated, I am writing five days a week.\" All the while, for many, running a second shift to help pay the bills. \"I worked at night at a nursing home, and then I would go to the studio,\" says Dean.\u003c/p>\n\u003cp>The technicalities of a songwriter's life don't quite make their way onto \u003cem>Songland\u003c/em>, but there is some jargon: Tedder, working with a contestant, talks about the number of beats, and terms like tempo and pre-chorus work their way into the criticism. Tedder wasn't worried that this type of language might scare people off—after all, plenty have learned what a sous-vide is from watching \u003cem>Iron Chef\u003c/em>. \"We know what kind of knife Jiro [Ono] uses to make his sushi, but we don't know Bernie Taupin wrote the lyrics for Elton John,\" says Tedder.\u003c/p>\n\u003cp>On \u003cem>Iron Chef\u003c/em> and the like, however, the goal is to be as creative as possible, to wow the panel with an inspired use of mushroom here, a savvy twist on ice cream there. On most musical competition shows... perhaps not so much. Original material has long been taboo on programs like \u003cem>American Idol—\u003c/em>it occasionally pops in during the audition phase, but it's generally frowned upon in favor of sport-singing successful hits.\u003c/p>\n\u003cp>Catie Offerman, a Nashville-based singer-songwriter, remembers trying out for \u003cem>American Idol\u003c/em> when she was just 15. For the audition, she performed a song she wrote herself.\u003c/p>\n\u003cp>\"When I finished, the judge looked at me said, 'don't ever come back and f****** sing an original song again,'\" she says. \"Honestly, that put everything into perspective for me.\" Offerman is not on \u003cem>Songland\u003c/em>, but she has run the gamut when it comes to reality programming, making it to Hollywood on \u003cem>Idol\u003c/em> years from that first audition but dropping out before she could get any further.\u003c/p>\n\u003cp>\"Talent goes way beyond how many notes someone can sing,\" she says. \"When I watch \u003cem>Idol\u003c/em>, it doesn't speak to me. I would rather turn on a show and see someone who can't sing but has something to say. And having something to say is way more important than hitting a bunch of octaves.\"\u003c/p>\n\u003cp>Without that vocal showboating, does \u003cem>Songland\u003c/em> actually have anything to stand on? Turns out, the process itself is pretty entertaining—but that owes a lot to the panel themselves, and not just the songwriters. It's impressive to see Legend take a song and instantly shift the mood with a slower melody, or to see McAnally, Dean and Tedder make small but insightful snap suggestions that transform a nice tune into a possible hit. Like with most musical competition shows, the judges are the real stars, which falls pretty closely in line with how being a songwriter usually goes: hand the material over, watch it shine in the hands of another and then sit back and wait for your (inconsequential, in the case of streaming) royalties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"You can be fifth place on the \u003cem>Voice\u003c/em> and still be more famous than the most famous songwriter,\" says Tedder. \"It's time for songwriters to have a voice. We will be a lot harder to ignore once we do.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Life+In+%27Songland%27%3A+The+Reality+Behind+NBC%27s+New+Reality+Show&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "That Tyra Banks Meltdown Is Now A (Surprisingly Good) House Track",
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"content": "\u003cp>Remember when Tyra Banks screamed at \u003cem>Top Model\u003c/em> Cycle 4 contestant Tiffany Richardson for not trying hard enough? Of course you do! Because of this:\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-112004 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/rooting-for-you-tyra.gif\" alt=\"\" width=\"320\" height=\"240\">\u003c/p>\n\u003cp>And also this:\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-112003 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/anigif_sub-buzz-5640-1485385077-5.gif\" alt=\"\" width=\"540\" height=\"383\">\u003c/p>\n\u003cp>And also all of these:\u003c/p>\n\u003cfigure id=\"attachment_112005\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112005\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Tyra-Merch-800x800.jpg\" alt=\"Tyra Merch! Pillow: Teepublic.com/ Pin: Red Bubble - Natalie Marsh/ Card: FelizModern.com/ Shirt: Etsy - ThatSparrowBoy\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyra Merch! Pillow: Teepublic.com/ Pin: Red Bubble - Natalie Marsh/ Card: FelizModern.com/ Shirt: Etsy - ThatSparrowBoy\u003c/figcaption>\u003c/figure>\n\u003cp>It's hard to think of another two minutes in televisual history that continues to live on in quite the same way. So it's actually moderately surprising that no one has previously thought to do what singer and producer \u003ca href=\"https://en.wikipedia.org/wiki/King_Princess\">King Princess\u003c/a> just did: turn it into a house track.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most remarkably of all? It's quite good!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/623024121&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the record, these days Tiffany is living life in Miami, raising two children and working full-time. She has no regrets: \"I still didn’t take advantage of the situation like I should’ve,\" she \u003ca href=\"https://www.buzzfeed.com/michaelblackmon/we-were-rooting-for-you-we-were-all-rooting-for-you\">told \u003cem>Buzzfeed\u003c/em>\u003c/a> in 2017, \"but you know, you live and you learn. I can’t regret that, because it made me who I am right now. And I needed all of that.” Tyra Banks, on the other hand, wishes she had a do-over. With hindsight, she \"wouldn't have done it,\" or \"actually, maybe I wouldn’t have aired it...\"\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember when Tyra Banks screamed at \u003cem>Top Model\u003c/em> Cycle 4 contestant Tiffany Richardson for not trying hard enough? Of course you do! Because of this:\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-112004 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/rooting-for-you-tyra.gif\" alt=\"\" width=\"320\" height=\"240\">\u003c/p>\n\u003cp>And also this:\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-112003 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/anigif_sub-buzz-5640-1485385077-5.gif\" alt=\"\" width=\"540\" height=\"383\">\u003c/p>\n\u003cp>And also all of these:\u003c/p>\n\u003cfigure id=\"attachment_112005\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-112005\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/Tyra-Merch-800x800.jpg\" alt=\"Tyra Merch! Pillow: Teepublic.com/ Pin: Red Bubble - Natalie Marsh/ Card: FelizModern.com/ Shirt: Etsy - ThatSparrowBoy\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-1200x1200.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2019/05/Tyra-Merch.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyra Merch! Pillow: Teepublic.com/ Pin: Red Bubble - Natalie Marsh/ Card: FelizModern.com/ Shirt: Etsy - ThatSparrowBoy\u003c/figcaption>\u003c/figure>\n\u003cp>It's hard to think of another two minutes in televisual history that continues to live on in quite the same way. So it's actually moderately surprising that no one has previously thought to do what singer and producer \u003ca href=\"https://en.wikipedia.org/wiki/King_Princess\">King Princess\u003c/a> just did: turn it into a house track.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most remarkably of all? It's quite good!\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/623024121&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For the record, these days Tiffany is living life in Miami, raising two children and working full-time. She has no regrets: \"I still didn’t take advantage of the situation like I should’ve,\" she \u003ca href=\"https://www.buzzfeed.com/michaelblackmon/we-were-rooting-for-you-we-were-all-rooting-for-you\">told \u003cem>Buzzfeed\u003c/em>\u003c/a> in 2017, \"but you know, you live and you learn. I can’t regret that, because it made me who I am right now. And I needed all of that.” Tyra Banks, on the other hand, wishes she had a do-over. With hindsight, she \"wouldn't have done it,\" or \"actually, maybe I wouldn’t have aired it...\"\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "'SNL' Musical Guests, Ranked From No. 1 To Greta Van Fleet",
"title": "'SNL' Musical Guests, Ranked From No. 1 To Greta Van Fleet",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cem>Saturday Night Live\u003c/em>'s 44th season ended over the weekend with the help of host Paul Rudd and musical guest DJ Khaled, who brought with him an all-star cast that included J Balvin, John Legend and SZA. As the season's 21st and final featured musical guest, Khaled joined a wildly mixed bag that included K-pop (BTS), blues-rock (Gary Clark Jr.), country (Thomas Rhett), R&B (Khalid, Ella Mai), hip-hop (Lil Wayne, Travis Scott, et al), neo-classic rock (Greta Van Fleet), old-school-classic folk-pop (Paul Simon) and, of course, a performance in which Kanye West rapped from inside an outfit shaped like a gigantic Perrier bottle.\u003c/p>\n\u003cp>\u003cem>SNL\u003c/em>'s Studio 8H stage is famously unforgiving: The sound can be iffy, the crowd came to see comedy and the energy can be hard to maintain. But, as with previous years, Season 44 unveiled a few gems, as well as a few true head-slappers. It's a fool's errand—a truly cruel and pointless exercise—to attempt a dispassionate rank of 21 vastly different musical performances, especially when they've been spread out over an eight-month-long season.\u003c/p>\n\u003cp>So, \u003ca href=\"https://www.npr.org/sections/allsongs/2018/05/21/612911877/this-season-s-snl-musical-guests-cruelly-ranked\">for the second year in a row\u003c/a>, here goes.\u003c/p>\n\u003cp>\u003cstrong>21. Greta Van Vleet\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?reload=9&v=DqjeLipYpsw\">\u003cstrong>Black Smoke Rising\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=9Wyn-s4Wc4s\">\u003cstrong>You're the One\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DqjeLipYpsw\u003c/p>\n\u003cp>Whichever side of the Greta Van Fleet divide you occupy—whether you herald the Michigan band as a welcome return to classic-rock grandiosity or dismiss it as an unbearably derivative Led Zeppelin clone—it's hard to defend the band's \u003cem>SNL\u003c/em> debut, which somehow sounded both over-the-top and thuddingly lifeless. Swallowed whole by the stage, singer Josh Kiszka shrieked with grating, maximalist pitchiness through \"Black Smoke Rising\" and \"You're the One,\" while clad in what appeared to be either a beaded curtain or a \u003ca href=\"https://www.mybluprint.com/article/yarn-bomb-a-tree-trunk-a-street-sign-a-park-bench-heres-how-to-try-the-knitfiti-trend\">yarn bomb\u003c/a>. The latter song was duller than the former, but each played out like the limpest gag of Adam Sandler's \u003cem>SNL\u003c/em> career.\u003c/p>\n\u003cp>\u003cstrong>20. DJ Khaled\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=TKfAR_owRjg\">\u003cstrong>Jealous\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=TKfAR_owRjg\">\u003cstrong>You Stay\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Just Us\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Weather the Storm\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Higher\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TKfAR_owRjg\u003c/p>\n\u003cp>Imagine a stage full of hip-hop, R&B and pop heavy hitters—the sort of people you might expect to headline \u003cem>SNL\u003c/em> on any given week. Some of them have done just that this season (Meek Mill, Lil Wayne) or last season (SZA) or the season before that (Big Sean), while others could sell out stadiums in their own right. John Legend! J Balvin! All paying tribute to the late lamented Nipsey Hussle! What more do you need?\u003c/p>\n\u003cp>If you answered, \"A man shouting non sequiturs, drowning out every one of those talented artists as they tried to do their thing,\" then we've got some \u003cem>excellent\u003c/em> news for you. DJ Khaled is the most successful Guy Who Screams His Own Name While Other People Perform in the business, and he brought his screaming-his-own-name A game for \u003cem>SNL\u003c/em>'s season finale. Imagine a medley of performers and songs you're interested in hearing, except that medley is punctuated every few seconds by an airhorn, and that airhorn is a man, and that man is shouting, \"SING IT, GIRL!\" at SZA \u003cem>while she's already attempting to sing\u003c/em>. You know who's really great at singing? SZA. You know who does not need to be heard yelling, \"SING IT, GIRL!\" at SZA as she sings? Three guesses, and if you somehow guess wrong the first time, I will appear in the clouds overhead like Mufasa in \u003cem>The Lion King\u003c/em> and bellow \"ANOTHER ONE!\" at you, because that's how the universe works.\u003c/p>\n\u003cp>Finally, neither of these facts is DJ Khaled's fault, but let's just put them out there anyway. Carly Rae Jepsen released a new album precisely one day prior to this performance. Four weeks earlier, Lizzo released \u003cem>Cuz I Love You\u003c/em>. We could have had Carly Rae Jepsen or Lizzo—or even both at the same time. It was the season finale! Anything seemed possible! (This is as good a time as any for a side note: In 21 episodes, \u003cem>five\u003c/em> women got headlining slots as musical guests this season, and one of them was Miley Cyrus, who shared her billing with Mark Ronson. Come \u003cem>on\u003c/em>.)\u003c/p>\n\u003cp>\u003cstrong>19. Kanye West\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=IL_h9m_-HlE\">\u003cstrong>I Love It\u003c/strong>\u003c/a>\u003cstrong>,\" \"We Got Love,\" \"Ghost Town\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IL_h9m_-HlE\u003c/p>\n\u003cp>As the country's rage-spasms grow ever more frequent, it's hard to believe the controversies surrounding \u003ca href=\"https://www.npr.org/2018/09/30/653106815/the-new-kanye-reaffirms-his-love-for-president-trump-on-snl\">Kanye West's \u003cem>SNL\u003c/em> appearance\u003c/a> unfolded a mere eight months ago. But for the purposes of this ranking, let's set aside West's infamous \u003ca href=\"https://twitter.com/frankpallotta/status/1046384066403143680?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1046384066403143680&ref_url=https%3A%2F%2Fwww.cnn.com%2F2018%2F09%2F30%2Fentertainment%2Fkanye-west-trump-saturday-night-live%2Findex.html\">rambling post-credits speech\u003c/a>—in which the enigmatic superstar, clad in a \"Make America Great Again\" cap, defended his support of the president—and focus on the three songs he performed during the season-opening broadcast.\u003c/p>\n\u003cp>Though they vary wildly in tone and set dressing, each performance was a listless disaster. The first played out like cross between a fourth-grade school play and, well, an \u003cem>SNL\u003c/em> sketch: West and rapper Lil Pump performed \"I Love It\" while dressed as a Perrier bottle and a Fiji bottle, respectively, as they clomped around awkwardly and heavily redacted the original lyric.\u003c/p>\n\u003cp>West yielded much of his second song (\"We Got Love\") to protégé Teyana Taylor, whose presence and level of effort dwarfed his—at least, that is, until both had to hold still and wait for a lengthy, song-closing sample to play out. Finally, in lieu of the usual stand-around-and-wave-over-the-credits bit at the end of the telecast, West returned to the stage to play \"Ghost Town\" with Kid Cudi, 070 Shake, Ty Dolla $ign and the Saturday Night Live Band. Together, they gave the energy level a decent boost—thanks in part to the sheer number of participants—but the vocals were, to put it generously, uneven. Fortunately (or \"fortunately\") for West, audiences found other outrages to cling to by the time the next week rolled around, not that that stopped \u003cem>SNL\u003c/em> from skewering the rapper in \u003ca href=\"https://www.youtube.com/watch?v=4sO5-t3iEYY\">the sketch that opened the following episode\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>18. Tame Impala\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=iToe7b_VfWI\">\u003cstrong>Patience\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=hNJOI2dtDZ4\">\u003cstrong>Borderline\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iToe7b_VfWI\u003c/p>\n\u003cp>In recent years, Tame Impala's fame has grown to festival-headliner proportions, even as its sound has shrunk from Technicolor psych-rock to smooth, yacht-rock-inspired soul. Bandleader Kevin Parker is a relentless sonic tinkerer and studio explorer—a genuinely talented and inventive guy—but on the \u003cem>SNL\u003c/em> stage, the Australian's new songs felt washed-out and drained of their life force. Clad in what appeared to be Old Navy button-ups they'd found at the bottom of the hamper, the guys in Tame Impala leaned hard on a flashily dappled light show that couldn't compensate for a lack of verve.\u003c/p>\n\u003cp>\u003cstrong>17. Ella Mai\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Boo'd Up,\" \"Trip\"\u003c/strong>\u003c/p>\n\u003cp>Charming U.K. R&B singer Ella Mai had one of last year's big breakthroughs with the sleekly infectious \"Boo'd Up,\" but her \u003cem>SNL\u003c/em> debut felt uneventful. These straightforward readings of \"Boo'd Up\" and \"Trip\" could have just as easily passed by as afterthoughts on any given late-night network talk show, though \"Trip\" at least gave Ella Mai a chance to perform alongside a stray park bench and a chainlink fence. In case you're keeping score on such matters: As visual palettes go, that's considerably less impressive than Travis Scott's holographic-smoke fantasia (see below) and only a little more impressive than Kanye West pantsing around on a barren stage while dressed as a bottle of sparkling water.\u003c/p>\n\u003cp>\u003cstrong>16. Shawn Mendes\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=kD_sYBsMThs\">\u003cstrong>If I Can't Have You\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=43YP4Ty_yHY\">\u003cstrong>In My Blood\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kD_sYBsMThs\u003c/p>\n\u003cp>Shawn Mendes has superfans just like any pop star, but for those who aren't in their ranks, he has a way of eliciting a \"Wait, \u003cem>who\u003c/em> is this again?\" every time one of his songs pops up on the radio. (Which, friends, is \u003cem>often\u003c/em>.) The young Canadian hitmaker has looks to burn and top-notch collaborators, but his personality rarely transcends sweet-faced amiability onstage, and his \u003cem>SNL\u003c/em> appearance was no different. After chugging through his serviceable but standard-issue single \"If I Can't Have You,\" the former Vine star returned with his best and most noteworthy hit, \"In My Blood.\"\u003c/p>\n\u003cp>Setting aside the observation that Mendes ought to be setting aside some of his royalties for Glen Hansard—Sam Smith \u003ca href=\"https://www.npr.org/2015/02/09/385000766/one-of-sam-smiths-grammys-a-win-for-tom-petty-too\">had to give\u003c/a> Tom Petty a cut of \"Stay With Me,\" after all, and it's hard not to hear the big hook from \"\u003ca href=\"https://www.youtube.com/watch?v=k8mtXwtapX4\">Falling Slowly\u003c/a>\" within \"In My Blood\"—this take on Mendes' smash does move nicely from brooding piano ballad to set-closing, string-swept blowout. But it was also almost immediately upstaged by host Adam Sandler, who took the stage after the commercials to sing a sweet and obviously deeply felt \u003ca href=\"https://www.youtube.com/watch?v=25IOsvWPQGQ\">tribute to Chris Farley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>15. Mark Ronson & Miley Cyrus\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=lH4oos43QUs\">\u003cstrong>Nothing Breaks Like a Heart\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MPlA1Egabj0\">\u003cstrong>Happy Xmas (War Is Over)\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lH4oos43QUs\u003c/p>\n\u003cp>Mark Ronson and Miley Cyrus recently teamed up for \"Nothing Breaks Like a Heart,\" a hit from Ronson's most recent album. That one song wound up spawning its very own \u003cem>SNL\u003c/em> appearance, giving Cyrus a chance to belt out the single with fully committed intensity as Ronson stood silently nearby, strumming an acoustic guitar and otherwise unleashing roughly 0.3 percent of her charisma.\u003c/p>\n\u003cp>Later, in honor of the holidays and the fact that the two only really share the one song, they closed with a cover of John Lennon and Yoko Ono's \"Happy Xmas (War Is Over)\"—backed, appropriately enough, by Sean Ono Lennon. As a vehicle for dispensing holiday sentiment in difficult times, the song choice was a slam dunk, but as a performance it never quite cohered: Lennon was mixed too quietly to provide a counterweight for an unusually shouty Cyrus, who's usually got a better handle on when to modulate.\u003c/p>\n\u003cp>\u003cstrong>14. Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=NBNF4OwtSWQ\">\u003cstrong>Light On\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MrO5GTVdc-Q\">\u003cstrong>Fallingwater\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NBNF4OwtSWQ\u003c/p>\n\u003cp>Maggie Rogers' folk/electro-pop hybrids have made her a favorite of Pharrell, a lovable YouTube sensation and \u003ca href=\"https://www.npr.org/2017/08/07/541948452/maggie-rogers-tiny-desk-concert\">a Tiny Desk veteran\u003c/a>, but the \u003cem>SNL\u003c/em> stage is still a big leap in terms of mainstream exposure. Her nerves pretty clearly got the better of her in the touch-and-go opening moments of \"Light On,\" but \"Fallingwater\" feels more assured in every way, as Rogers—joined by Rostam Batmanglij on piano—lets loose a bit, both vocally and in terms of her dance moves. By the end of the song, when she's strutting around the stage in a flowy red dress like the coolest bridesmaid in the history of weddings, the performance finally starts to feel like the coming-out party it was intended to be.\u003c/p>\n\u003cp>\u003cstrong>13. Khalid\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Talk,\" \"Better\"\u003c/strong>\u003c/p>\n\u003cp>Young R&B star Khalid got his start in high school and has spent the first few years of his career chronicling youthful unease and the crisis of confidence it can engender. But as an \u003cem>SNL\u003c/em> headliner, he exuded a kind of blushing charisma—complete with a high-wattage smile and easygoing style—as he showcased a pair of breezy mid-tempo jams from this spring's \u003cem>Free Spirit\u003c/em>. This \u003cem>SNL\u003c/em> season's musical guests hit intoxicating highs and soul-deadening lows, but Khalid's genially appealing performance aimed squarely for (and landed on) firm, smooth, steady middle ground.\u003c/p>\n\u003cp>\u003cstrong>12. Sara Bareilles\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=3BBuijwvqLk\">\u003cstrong>Fire\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aygNSX1FzTg\">\u003cstrong>Saint Honesty\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3BBuijwvqLk\u003c/p>\n\u003cp>Sara Bareilles is as game-ready as they come, giving her all in a wide range of works that have been nominated for Grammys, Tonys and even an Emmy. To even \u003cem>think\u003c/em> about the 2016 Democratic Convention is to send some of Bareilles' most vibrantly sung words—\"\u003cem>I wanna see you be braaaaaaaaave\u003c/em>\"—hurtling through your brain and across the universe, where they'll persist long after all life is extinguished. But these two immaculately appointed \u003cem>SNL\u003c/em> performances, executed with proficiency bordering on perfection by Bareilles and a large but low-key band, are forgettable enough to make you wish, if only for a second, that she'd dressed up as a Perrier bottle or something.\u003c/p>\n\u003cp>\u003cstrong>11. Mumford & Sons\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zlCVczXWPyI\">\u003cstrong>Guiding Light\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WvS3Iq2iGis\">\u003cstrong>Delta\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WvS3Iq2iGis\u003c/p>\n\u003cp>Mumford & Sons' songs don't dominate radio playlists the way they did in in the months and years leading up to the band's Album of the Year win at the 2013 Grammys. But the group still knows how to whip up anthemic, banjo-flecked rousers like \"Guiding Light,\" which opens Mumford & Sons' third-ever \u003cem>SNL\u003c/em> appearance. Later, the Dave Matthews-esque \"Delta\" benefits from a bit of atmospheric buildup: Singer Marcus Mumford seethes stoically through the song's dimly lit first couple minutes, only to spring to life as the slow burn gives way to a bright, satisfying cataclysm.\u003c/p>\n\u003cp>\u003cstrong>10. Meek Mill\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aaCZlzgQ8Qo\">\u003cstrong>Going Bad\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aaCZlzgQ8Qo\">\u003cstrong>Uptown Vibes\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=nG_nVJKpFW8\">\u003cstrong>Championships\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nG_nVJKpFW8\u003c/p>\n\u003cp>Meek Mill has experienced \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/15/564385830/meek-mill-sentencing-protest-probation-parole-reform\">trials and transformations\u003c/a> in recent years, emerging from a controversial prison stint with his mind fixed squarely on criminal-justice reform. Still, his \u003cem>SNL\u003c/em> debut gave him space for both celebration and reflection. An opening performance of \"Going Bad\" and \"Uptown Vibes\" found the Philly rapper flanked by bodysuit-clad dancers—\"Uptown Vibes\" also featured a guest spot by Fabolous, though \"Going Bad\" had to relegate Drake's verse to a prerecording from the album track—for a fun but unspectacular medley.\u003c/p>\n\u003cp>\"Championships\" took a more serious turn, as Meek Mill summed up his last few difficult years—incarceration and awakening, redemption and triumph—in a heartfelt, periodically gripping bit of storytelling that radiated a renewed sense of purpose.\u003c/p>\n\u003cp>\u003cstrong>9. Thomas Rhett\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Look What God Gave Her,\" \"Don't Threaten Me With A Good Time\"\u003c/strong>\u003c/p>\n\u003cp>For all his dressed-down everyman authenticity, Thomas Rhett can come off as focus-grouped to the hilt, starting with the parade of modern-day bro-country tropes at the heart of \"Look What God Gave Her\" and \"Don't Threaten Me With a Good Time,\" both of which he brought to the \u003cem>SNL\u003c/em> stage.\u003c/p>\n\u003cp>So it's tempting to lump him in with the mass of likeminded (and like-named) country dudes giving endlessly repetitious voice to the Male Gaze, but Rhett is also—to his great credit—more willing than most stars to test the margins of country radio's sound. By the time he and his great big overstuffed band got to the charmingly high-spirited end of \"Don't Threaten Me With a Good Time,\" filling the air with hooky declarations of joy, damned if all that weapons-grade ingratiation hadn't done its job. The guy knows what he's doing.\u003c/p>\n\u003cp>\u003cstrong>8. Gary Clark Jr.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=bGA5u-8Oy8A\">\u003cstrong>Pearl Cadillac\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=XwWQFKKUejk\">\u003cstrong>This Land\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XwWQFKKUejk\u003c/p>\n\u003cp>Gary Clark Jr.'s new album, \u003cem>This Land\u003c/em>, is an incendiary slab of politically charged blues-rock that balances raw-boned treatises on American life with guitar work that's urgent and dazzling, but never pointlessly flashy. On \u003cem>SNL\u003c/em>, Clark fit in several sides of his persona, showcasing the languid ballad \"Pearl Cadillac\"—in which he paid tribute to both his mom's sacrifices and Prince's falsetto—and \"This Land,\" a hard-charging polemic with a ripping guitar solo. The vocals were wobblier than expected here, given how great Clark has sounded in \u003ca href=\"https://www.npr.org/2019/04/11/712350241/gary-clark-jr-tiny-desk-concert\">performances without amplification\u003c/a>, but he was still a commanding presence.\u003c/p>\n\u003cp>\u003cstrong>7. Jonas Brothers\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=F1IHeNtxnGQ\">\u003cstrong>Sucker\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=PDS8tXG21DU\">\u003cstrong>Cool\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=PDS8tXG21DU\">\u003cstrong>Burnin' Up\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F1IHeNtxnGQ\u003c/p>\n\u003cp>Nick, Joe and Kevin Jonas have kept busy since their massively successful brotherly boy band released its last album all the way back in 2009. Joe launched DNCE to great success, scoring an inescapable smash with \"\u003ca href=\"https://www.youtube.com/watch?v=PAzH-YAlFYc\">Cake by the Ocean\u003c/a>,\" while Nick enjoyed solo hits under his own name, beefed up his filmography and married Priyanka Chopra. For his part, Kevin went into private business, starred in an E! reality series and, \u003ca href=\"https://uproxx.com/tv/kevin-jonas-donald-trump-president-celebrity-apprentice/\">it's been fairly convincingly argued\u003c/a>, inadvertently compelled Donald Trump to run for president. It's been an eventful decade since the Jonases split due to reported differences in musical vision.\u003c/p>\n\u003cp>Jonas Brothers will release a long-awaited new album next month, and if the trio's game return to \u003cem>SNL\u003c/em> is any indication, their solution to the aforementioned competing musical directions has been to pursue a bunch of them at once. The chart-topping \"Sucker\" meets at the instantly familiar middle ground between Portugal. The Man's 2017 smash \"\u003ca href=\"https://www.youtube.com/watch?v=pBkHHoOIIn8\">Feel It Still\u003c/a>\" and the complete collected works of Maroon 5, while \"Cool\" could be a country sensation if only the Jonases were from, say, Tennessee instead of New Jersey. On \u003cem>SNL\u003c/em>, both songs sounded as bright and lively as the mass of balloons piled up around the assorted Jonases, who tapped into the night's celebratory atmosphere by tossing in a lively bonus performance of 2008's \"Burnin' Up.\"\u003c/p>\n\u003cp>\u003cstrong>6. Halsey\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=f98Ei9wjWlg\">\u003cstrong>Without Me\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=ySmBqIKZi3E\">\u003cstrong>Eastside\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ySmBqIKZi3E\u003c/p>\n\u003cp>When you look back on your life, you'll want to know that someone loved you as much as \u003cem>SNL\u003c/em> loves booking Halsey. The charismatic young singer was a musical guest in January 2018, a guest-of-a-musical-guest (that'd be Lil Wayne) in November 2018, and the host \u003cem>and\u003c/em> headlining musical guest a mere three months after that. If Paul Simon had appeared on \u003cem>SNL\u003c/em> with that kind of frequency over the past 44 seasons, he might be into triple digits by now.\u003c/p>\n\u003cp>But Halsey is nothing if not multi-talented: She's both an endearing host and a solid singer, albeit one who's learned to simulate Auto-Tune the way a mockingbird comes to \u003ca href=\"https://www.youtube.com/watch?v=_Zd6Iy4JuGk\">appropriate a car alarm\u003c/a>. In fact, Halsey is \u003cem>so\u003c/em> multi-talented, she actually performed the breathy ballad \"Eastside\" while crouching over a giant canvas, completing an impressive painting of a woman's face in the time it took her to finish the song. She is, in other words, gameness personified: 51 percent undeniable talent and possible icon-in-the-making, 49 percent lab-tested try-hard composite sketch of a present-day pop star. (Give or take 2 percent.)\u003c/p>\n\u003cp>\u003cstrong>5. Lil Wayne\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=cvNVRBMmQv8\">\u003cstrong>Can't Be Broken\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=lzRELRUti6w\">\u003cstrong>Uproar\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cvNVRBMmQv8\u003c/p>\n\u003cp>Not many rappers could stand stock still on the \u003cem>SNL\u003c/em> stage in a hoodie and pajama pants and hold focus for an entire song, but Lil Wayne has both the gravitas and the lyrical deftness to pull it off. \"Can't Be Broken\" doesn't get much in the way of set dressing: Lil Wayne and ubiquitous guest vocalist Halsey perform in front of a gigantic screen that resembles a wrinkled white bedsheet, flanked by a drummer and a DJ. But the song casts a spell, building to a nice moment in which the rapper thanks veterans and hugs his band.\u003c/p>\n\u003cp>\"Uproar\" gets a far busier presentation—the bedsheet and spare-but-forceful production remain, but Halsey is replaced by a large throng of dancers and the rowdy encouragement of Swizz Beatz—with similarly compelling results. Once again, Wayne finds himself clad in the most comfortable possible attire, this time wrapped in a robe straight out of the Cruella De Vil collection. But the performance isn't so laidback, as everyone on stage gets a chance to cut loose with playfully pumped-up aggression. (Incidentally, you have to give Lil Wayne a boost in the standings based on his appearance, with fellow rapper Future, in this \u003cem>SNL\u003c/em> episode's fun and funny \u003ca href=\"https://www.youtube.com/watch?v=mAL0wZu4JUg\">video about consent\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>4. Paul Simon with yMusic\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Can't Run But,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=hGDdX-yV3dQ\">\u003cstrong>Bridge Over Troubled Water\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hGDdX-yV3dQ\u003c/p>\n\u003cp>Let's start with the legacy on display here: Just weeks removed from his farewell tour, Paul Simon played \u003cem>SNL\u003c/em> on his 77th birthday. It was the singer's record \u003cem>ninth\u003c/em> appearance as an \u003cem>SNL\u003c/em> musical guest, capping off a history with the show dating back to his gig hosting its second episode all the way back in 1975.\u003c/p>\n\u003cp>So that's the history, as well as the source of the gravitas we're dealing with here. But the performances themselves—a vibrant, shimmery reboot of 1990's \"Can't Run But\" (mirroring the one heard on last year's \u003cem>In the Blue Light\u003c/em>) and a justifiably emotional take on Simon & Garfunkel's eternal \"Bridge Over Troubled Water\"—are knockouts in their own right, buoyed and deepened by the lush arrangements of the chamber ensemble yMusic. Both songs add up to a grand victory lap for a singer who's more than earned one.\u003c/p>\n\u003cp>\u003cstrong>3. BTS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=O4NB73HTlxI\">\u003cstrong>Boy With Luv\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jSFIwS2b-kg\">\u003cstrong>Mic Drop\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O4NB73HTlxI\u003c/p>\n\u003cp>The Studio 8H stage can be a cavernous and unforgiving place. It can make bands seem small and enervated, and it takes effort to fill the space. Some use light shows or props, while others employ an expanded array of backing musicians, but the smart ones know that it helps to bring a little something extra.\u003c/p>\n\u003cp>For the Korean boy-band sensation BTS—not only making its own \u003cem>SNL\u003c/em> debut, but also marking the show's initiation into the world of K-pop—that something extra was motion, and lots of it. The group's seven members sing and rap in multiple languages, but they're also almost comically vibrant dancers, which gives their live TV appearances a welcome jolt of energy, color and joy. Here, the ubiquitous new \"Boy With Luv\" and the older track \"Mic Drop\" unfolded as a giddy swirl of bouncy, joyful stimuli.\u003c/p>\n\u003cp>\u003cstrong>2. Travis Scott\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=5marNlhSeGw\">\u003cstrong>Skeletons/Astrothunder\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pF8Ssdly6wo\">\u003cstrong>Sicko Mode\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pF8Ssdly6wo\u003c/p>\n\u003cp>Travis Scott could have just stood onstage and gone through the hit-regurgitating motions, treating \u003cem>SNL\u003c/em> like any other late-night appearance. Instead, each performance piled extras atop extras, without quite tilting into overkill. For a medley of \"Skeletons\" and \"Astrothunder,\" you got a few grabby visual elements—like a woman brooding astride a rotating carousel horse, or an effect in which Scott appeared to stand on clouds—that momentarily distracted from the stunt casting on display. (Tame Impala's Kevin Parker on bass! John Mayer on guitar!)\u003c/p>\n\u003cp>Later, Scott returned for a full-on feast of eye-popping tricks, starting with an effect in which the late DJ Screw's image was projected onto a curtain of smoke; soon, Scott himself appeared, rapping while appearing to... rotate? On a giant arcade cabinet? There was a \u003cem>lot\u003c/em> going on, all of it gorgeous to look at—and best of all, the visuals worked hand-in-glove with the actual songs, each of which managed an intoxicating mix of wooziness and intensity.\u003c/p>\n\u003cp>\u003cstrong>1. Anderson .Paak\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Tints,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=1bS5sHO8SFg\">\u003cstrong>Who R U?\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1bS5sHO8SFg\u003c/p>\n\u003cp>You read it here first: Anderson .Paak is \u003ca href=\"https://www.npr.org/2016/08/12/489769830/anderson-paak-the-free-nationals-tiny-desk-concert\">really, \u003cem>really\u003c/em> good\u003c/a> at this whole performing-on-stage thing. So it wasn't exactly a huge surprise when .Paak straight-up dominated in an \u003cem>SNL\u003c/em> appearance that found him showcasing two tracks from last year's \u003cem>Oxnard\u003c/em>.\u003c/p>\n\u003cp>Naturally, given the scope of the singer, rapper and multi-instrumentalist's talents, each performance took on a radically different shape. In \"Tints,\" .Paak rapped from behind sunglasses, a drum kit and a radiant smile, keeping time while making it clear he was having the time of his life. Not that anyone could blame him, given that he got to share the stage with both Tayla Parx and, in a nonchalant 40-second pop-in that elicited a few gasps from the crowd, Kendrick Lamar.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>After all that, \"Who R U?\" could have been anticlimactic, but it's a true showstopper: Performing in front of a curtain that silhouetted his band, .Paak commanded center stage with a riveting vocal, then gobbled up about a thousand extra-credit points via some fierce and unrelenting dance moves.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27SNL%27+Musical+Guests%2C+Ranked+From+No.+1+To+Greta+Van+Fleet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "BTS! DJ Khaled! Paul Simon! Kanye West dressed as a bottle of sparkling water! This season of 'Saturday Night Live' had it all, and now all 21 performances have been cruelly ranked for your enjoyment.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Saturday Night Live\u003c/em>'s 44th season ended over the weekend with the help of host Paul Rudd and musical guest DJ Khaled, who brought with him an all-star cast that included J Balvin, John Legend and SZA. As the season's 21st and final featured musical guest, Khaled joined a wildly mixed bag that included K-pop (BTS), blues-rock (Gary Clark Jr.), country (Thomas Rhett), R&B (Khalid, Ella Mai), hip-hop (Lil Wayne, Travis Scott, et al), neo-classic rock (Greta Van Fleet), old-school-classic folk-pop (Paul Simon) and, of course, a performance in which Kanye West rapped from inside an outfit shaped like a gigantic Perrier bottle.\u003c/p>\n\u003cp>\u003cem>SNL\u003c/em>'s Studio 8H stage is famously unforgiving: The sound can be iffy, the crowd came to see comedy and the energy can be hard to maintain. But, as with previous years, Season 44 unveiled a few gems, as well as a few true head-slappers. It's a fool's errand—a truly cruel and pointless exercise—to attempt a dispassionate rank of 21 vastly different musical performances, especially when they've been spread out over an eight-month-long season.\u003c/p>\n\u003cp>So, \u003ca href=\"https://www.npr.org/sections/allsongs/2018/05/21/612911877/this-season-s-snl-musical-guests-cruelly-ranked\">for the second year in a row\u003c/a>, here goes.\u003c/p>\n\u003cp>\u003cstrong>21. Greta Van Vleet\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?reload=9&v=DqjeLipYpsw\">\u003cstrong>Black Smoke Rising\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=9Wyn-s4Wc4s\">\u003cstrong>You're the One\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/DqjeLipYpsw'\n title='//www.youtube.com/embed/DqjeLipYpsw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Whichever side of the Greta Van Fleet divide you occupy—whether you herald the Michigan band as a welcome return to classic-rock grandiosity or dismiss it as an unbearably derivative Led Zeppelin clone—it's hard to defend the band's \u003cem>SNL\u003c/em> debut, which somehow sounded both over-the-top and thuddingly lifeless. Swallowed whole by the stage, singer Josh Kiszka shrieked with grating, maximalist pitchiness through \"Black Smoke Rising\" and \"You're the One,\" while clad in what appeared to be either a beaded curtain or a \u003ca href=\"https://www.mybluprint.com/article/yarn-bomb-a-tree-trunk-a-street-sign-a-park-bench-heres-how-to-try-the-knitfiti-trend\">yarn bomb\u003c/a>. The latter song was duller than the former, but each played out like the limpest gag of Adam Sandler's \u003cem>SNL\u003c/em> career.\u003c/p>\n\u003cp>\u003cstrong>20. DJ Khaled\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=TKfAR_owRjg\">\u003cstrong>Jealous\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=TKfAR_owRjg\">\u003cstrong>You Stay\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Just Us\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Weather the Storm\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=P01sQITCRYE\">\u003cstrong>Higher\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/TKfAR_owRjg'\n title='//www.youtube.com/embed/TKfAR_owRjg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Imagine a stage full of hip-hop, R&B and pop heavy hitters—the sort of people you might expect to headline \u003cem>SNL\u003c/em> on any given week. Some of them have done just that this season (Meek Mill, Lil Wayne) or last season (SZA) or the season before that (Big Sean), while others could sell out stadiums in their own right. John Legend! J Balvin! All paying tribute to the late lamented Nipsey Hussle! What more do you need?\u003c/p>\n\u003cp>If you answered, \"A man shouting non sequiturs, drowning out every one of those talented artists as they tried to do their thing,\" then we've got some \u003cem>excellent\u003c/em> news for you. DJ Khaled is the most successful Guy Who Screams His Own Name While Other People Perform in the business, and he brought his screaming-his-own-name A game for \u003cem>SNL\u003c/em>'s season finale. Imagine a medley of performers and songs you're interested in hearing, except that medley is punctuated every few seconds by an airhorn, and that airhorn is a man, and that man is shouting, \"SING IT, GIRL!\" at SZA \u003cem>while she's already attempting to sing\u003c/em>. You know who's really great at singing? SZA. You know who does not need to be heard yelling, \"SING IT, GIRL!\" at SZA as she sings? Three guesses, and if you somehow guess wrong the first time, I will appear in the clouds overhead like Mufasa in \u003cem>The Lion King\u003c/em> and bellow \"ANOTHER ONE!\" at you, because that's how the universe works.\u003c/p>\n\u003cp>Finally, neither of these facts is DJ Khaled's fault, but let's just put them out there anyway. Carly Rae Jepsen released a new album precisely one day prior to this performance. Four weeks earlier, Lizzo released \u003cem>Cuz I Love You\u003c/em>. We could have had Carly Rae Jepsen or Lizzo—or even both at the same time. It was the season finale! Anything seemed possible! (This is as good a time as any for a side note: In 21 episodes, \u003cem>five\u003c/em> women got headlining slots as musical guests this season, and one of them was Miley Cyrus, who shared her billing with Mark Ronson. Come \u003cem>on\u003c/em>.)\u003c/p>\n\u003cp>\u003cstrong>19. Kanye West\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=IL_h9m_-HlE\">\u003cstrong>I Love It\u003c/strong>\u003c/a>\u003cstrong>,\" \"We Got Love,\" \"Ghost Town\"\u003c/strong>\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/IL_h9m_-HlE'\n title='//www.youtube.com/embed/IL_h9m_-HlE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the country's rage-spasms grow ever more frequent, it's hard to believe the controversies surrounding \u003ca href=\"https://www.npr.org/2018/09/30/653106815/the-new-kanye-reaffirms-his-love-for-president-trump-on-snl\">Kanye West's \u003cem>SNL\u003c/em> appearance\u003c/a> unfolded a mere eight months ago. But for the purposes of this ranking, let's set aside West's infamous \u003ca href=\"https://twitter.com/frankpallotta/status/1046384066403143680?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1046384066403143680&ref_url=https%3A%2F%2Fwww.cnn.com%2F2018%2F09%2F30%2Fentertainment%2Fkanye-west-trump-saturday-night-live%2Findex.html\">rambling post-credits speech\u003c/a>—in which the enigmatic superstar, clad in a \"Make America Great Again\" cap, defended his support of the president—and focus on the three songs he performed during the season-opening broadcast.\u003c/p>\n\u003cp>Though they vary wildly in tone and set dressing, each performance was a listless disaster. The first played out like cross between a fourth-grade school play and, well, an \u003cem>SNL\u003c/em> sketch: West and rapper Lil Pump performed \"I Love It\" while dressed as a Perrier bottle and a Fiji bottle, respectively, as they clomped around awkwardly and heavily redacted the original lyric.\u003c/p>\n\u003cp>West yielded much of his second song (\"We Got Love\") to protégé Teyana Taylor, whose presence and level of effort dwarfed his—at least, that is, until both had to hold still and wait for a lengthy, song-closing sample to play out. Finally, in lieu of the usual stand-around-and-wave-over-the-credits bit at the end of the telecast, West returned to the stage to play \"Ghost Town\" with Kid Cudi, 070 Shake, Ty Dolla $ign and the Saturday Night Live Band. Together, they gave the energy level a decent boost—thanks in part to the sheer number of participants—but the vocals were, to put it generously, uneven. Fortunately (or \"fortunately\") for West, audiences found other outrages to cling to by the time the next week rolled around, not that that stopped \u003cem>SNL\u003c/em> from skewering the rapper in \u003ca href=\"https://www.youtube.com/watch?v=4sO5-t3iEYY\">the sketch that opened the following episode\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>18. Tame Impala\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=iToe7b_VfWI\">\u003cstrong>Patience\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=hNJOI2dtDZ4\">\u003cstrong>Borderline\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/iToe7b_VfWI'\n title='//www.youtube.com/embed/iToe7b_VfWI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In recent years, Tame Impala's fame has grown to festival-headliner proportions, even as its sound has shrunk from Technicolor psych-rock to smooth, yacht-rock-inspired soul. Bandleader Kevin Parker is a relentless sonic tinkerer and studio explorer—a genuinely talented and inventive guy—but on the \u003cem>SNL\u003c/em> stage, the Australian's new songs felt washed-out and drained of their life force. Clad in what appeared to be Old Navy button-ups they'd found at the bottom of the hamper, the guys in Tame Impala leaned hard on a flashily dappled light show that couldn't compensate for a lack of verve.\u003c/p>\n\u003cp>\u003cstrong>17. Ella Mai\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Boo'd Up,\" \"Trip\"\u003c/strong>\u003c/p>\n\u003cp>Charming U.K. R&B singer Ella Mai had one of last year's big breakthroughs with the sleekly infectious \"Boo'd Up,\" but her \u003cem>SNL\u003c/em> debut felt uneventful. These straightforward readings of \"Boo'd Up\" and \"Trip\" could have just as easily passed by as afterthoughts on any given late-night network talk show, though \"Trip\" at least gave Ella Mai a chance to perform alongside a stray park bench and a chainlink fence. In case you're keeping score on such matters: As visual palettes go, that's considerably less impressive than Travis Scott's holographic-smoke fantasia (see below) and only a little more impressive than Kanye West pantsing around on a barren stage while dressed as a bottle of sparkling water.\u003c/p>\n\u003cp>\u003cstrong>16. Shawn Mendes\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=kD_sYBsMThs\">\u003cstrong>If I Can't Have You\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=43YP4Ty_yHY\">\u003cstrong>In My Blood\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/kD_sYBsMThs'\n title='//www.youtube.com/embed/kD_sYBsMThs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shawn Mendes has superfans just like any pop star, but for those who aren't in their ranks, he has a way of eliciting a \"Wait, \u003cem>who\u003c/em> is this again?\" every time one of his songs pops up on the radio. (Which, friends, is \u003cem>often\u003c/em>.) The young Canadian hitmaker has looks to burn and top-notch collaborators, but his personality rarely transcends sweet-faced amiability onstage, and his \u003cem>SNL\u003c/em> appearance was no different. After chugging through his serviceable but standard-issue single \"If I Can't Have You,\" the former Vine star returned with his best and most noteworthy hit, \"In My Blood.\"\u003c/p>\n\u003cp>Setting aside the observation that Mendes ought to be setting aside some of his royalties for Glen Hansard—Sam Smith \u003ca href=\"https://www.npr.org/2015/02/09/385000766/one-of-sam-smiths-grammys-a-win-for-tom-petty-too\">had to give\u003c/a> Tom Petty a cut of \"Stay With Me,\" after all, and it's hard not to hear the big hook from \"\u003ca href=\"https://www.youtube.com/watch?v=k8mtXwtapX4\">Falling Slowly\u003c/a>\" within \"In My Blood\"—this take on Mendes' smash does move nicely from brooding piano ballad to set-closing, string-swept blowout. But it was also almost immediately upstaged by host Adam Sandler, who took the stage after the commercials to sing a sweet and obviously deeply felt \u003ca href=\"https://www.youtube.com/watch?v=25IOsvWPQGQ\">tribute to Chris Farley\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>15. Mark Ronson & Miley Cyrus\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=lH4oos43QUs\">\u003cstrong>Nothing Breaks Like a Heart\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MPlA1Egabj0\">\u003cstrong>Happy Xmas (War Is Over)\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/lH4oos43QUs'\n title='//www.youtube.com/embed/lH4oos43QUs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mark Ronson and Miley Cyrus recently teamed up for \"Nothing Breaks Like a Heart,\" a hit from Ronson's most recent album. That one song wound up spawning its very own \u003cem>SNL\u003c/em> appearance, giving Cyrus a chance to belt out the single with fully committed intensity as Ronson stood silently nearby, strumming an acoustic guitar and otherwise unleashing roughly 0.3 percent of her charisma.\u003c/p>\n\u003cp>Later, in honor of the holidays and the fact that the two only really share the one song, they closed with a cover of John Lennon and Yoko Ono's \"Happy Xmas (War Is Over)\"—backed, appropriately enough, by Sean Ono Lennon. As a vehicle for dispensing holiday sentiment in difficult times, the song choice was a slam dunk, but as a performance it never quite cohered: Lennon was mixed too quietly to provide a counterweight for an unusually shouty Cyrus, who's usually got a better handle on when to modulate.\u003c/p>\n\u003cp>\u003cstrong>14. Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=NBNF4OwtSWQ\">\u003cstrong>Light On\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=MrO5GTVdc-Q\">\u003cstrong>Fallingwater\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/NBNF4OwtSWQ'\n title='//www.youtube.com/embed/NBNF4OwtSWQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Maggie Rogers' folk/electro-pop hybrids have made her a favorite of Pharrell, a lovable YouTube sensation and \u003ca href=\"https://www.npr.org/2017/08/07/541948452/maggie-rogers-tiny-desk-concert\">a Tiny Desk veteran\u003c/a>, but the \u003cem>SNL\u003c/em> stage is still a big leap in terms of mainstream exposure. Her nerves pretty clearly got the better of her in the touch-and-go opening moments of \"Light On,\" but \"Fallingwater\" feels more assured in every way, as Rogers—joined by Rostam Batmanglij on piano—lets loose a bit, both vocally and in terms of her dance moves. By the end of the song, when she's strutting around the stage in a flowy red dress like the coolest bridesmaid in the history of weddings, the performance finally starts to feel like the coming-out party it was intended to be.\u003c/p>\n\u003cp>\u003cstrong>13. Khalid\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Talk,\" \"Better\"\u003c/strong>\u003c/p>\n\u003cp>Young R&B star Khalid got his start in high school and has spent the first few years of his career chronicling youthful unease and the crisis of confidence it can engender. But as an \u003cem>SNL\u003c/em> headliner, he exuded a kind of blushing charisma—complete with a high-wattage smile and easygoing style—as he showcased a pair of breezy mid-tempo jams from this spring's \u003cem>Free Spirit\u003c/em>. This \u003cem>SNL\u003c/em> season's musical guests hit intoxicating highs and soul-deadening lows, but Khalid's genially appealing performance aimed squarely for (and landed on) firm, smooth, steady middle ground.\u003c/p>\n\u003cp>\u003cstrong>12. Sara Bareilles\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=3BBuijwvqLk\">\u003cstrong>Fire\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aygNSX1FzTg\">\u003cstrong>Saint Honesty\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/3BBuijwvqLk'\n title='//www.youtube.com/embed/3BBuijwvqLk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sara Bareilles is as game-ready as they come, giving her all in a wide range of works that have been nominated for Grammys, Tonys and even an Emmy. To even \u003cem>think\u003c/em> about the 2016 Democratic Convention is to send some of Bareilles' most vibrantly sung words—\"\u003cem>I wanna see you be braaaaaaaaave\u003c/em>\"—hurtling through your brain and across the universe, where they'll persist long after all life is extinguished. But these two immaculately appointed \u003cem>SNL\u003c/em> performances, executed with proficiency bordering on perfection by Bareilles and a large but low-key band, are forgettable enough to make you wish, if only for a second, that she'd dressed up as a Perrier bottle or something.\u003c/p>\n\u003cp>\u003cstrong>11. Mumford & Sons\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=zlCVczXWPyI\">\u003cstrong>Guiding Light\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WvS3Iq2iGis\">\u003cstrong>Delta\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/WvS3Iq2iGis'\n title='//www.youtube.com/embed/WvS3Iq2iGis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Mumford & Sons' songs don't dominate radio playlists the way they did in in the months and years leading up to the band's Album of the Year win at the 2013 Grammys. But the group still knows how to whip up anthemic, banjo-flecked rousers like \"Guiding Light,\" which opens Mumford & Sons' third-ever \u003cem>SNL\u003c/em> appearance. Later, the Dave Matthews-esque \"Delta\" benefits from a bit of atmospheric buildup: Singer Marcus Mumford seethes stoically through the song's dimly lit first couple minutes, only to spring to life as the slow burn gives way to a bright, satisfying cataclysm.\u003c/p>\n\u003cp>\u003cstrong>10. Meek Mill\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aaCZlzgQ8Qo\">\u003cstrong>Going Bad\u003c/strong>\u003c/a>\u003cstrong>\"/\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=aaCZlzgQ8Qo\">\u003cstrong>Uptown Vibes\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=nG_nVJKpFW8\">\u003cstrong>Championships\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/nG_nVJKpFW8'\n title='//www.youtube.com/embed/nG_nVJKpFW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Meek Mill has experienced \u003ca href=\"https://www.npr.org/sections/therecord/2017/11/15/564385830/meek-mill-sentencing-protest-probation-parole-reform\">trials and transformations\u003c/a> in recent years, emerging from a controversial prison stint with his mind fixed squarely on criminal-justice reform. Still, his \u003cem>SNL\u003c/em> debut gave him space for both celebration and reflection. An opening performance of \"Going Bad\" and \"Uptown Vibes\" found the Philly rapper flanked by bodysuit-clad dancers—\"Uptown Vibes\" also featured a guest spot by Fabolous, though \"Going Bad\" had to relegate Drake's verse to a prerecording from the album track—for a fun but unspectacular medley.\u003c/p>\n\u003cp>\"Championships\" took a more serious turn, as Meek Mill summed up his last few difficult years—incarceration and awakening, redemption and triumph—in a heartfelt, periodically gripping bit of storytelling that radiated a renewed sense of purpose.\u003c/p>\n\u003cp>\u003cstrong>9. Thomas Rhett\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Look What God Gave Her,\" \"Don't Threaten Me With A Good Time\"\u003c/strong>\u003c/p>\n\u003cp>For all his dressed-down everyman authenticity, Thomas Rhett can come off as focus-grouped to the hilt, starting with the parade of modern-day bro-country tropes at the heart of \"Look What God Gave Her\" and \"Don't Threaten Me With a Good Time,\" both of which he brought to the \u003cem>SNL\u003c/em> stage.\u003c/p>\n\u003cp>So it's tempting to lump him in with the mass of likeminded (and like-named) country dudes giving endlessly repetitious voice to the Male Gaze, but Rhett is also—to his great credit—more willing than most stars to test the margins of country radio's sound. By the time he and his great big overstuffed band got to the charmingly high-spirited end of \"Don't Threaten Me With a Good Time,\" filling the air with hooky declarations of joy, damned if all that weapons-grade ingratiation hadn't done its job. The guy knows what he's doing.\u003c/p>\n\u003cp>\u003cstrong>8. Gary Clark Jr.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=bGA5u-8Oy8A\">\u003cstrong>Pearl Cadillac\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=XwWQFKKUejk\">\u003cstrong>This Land\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/XwWQFKKUejk'\n title='//www.youtube.com/embed/XwWQFKKUejk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gary Clark Jr.'s new album, \u003cem>This Land\u003c/em>, is an incendiary slab of politically charged blues-rock that balances raw-boned treatises on American life with guitar work that's urgent and dazzling, but never pointlessly flashy. On \u003cem>SNL\u003c/em>, Clark fit in several sides of his persona, showcasing the languid ballad \"Pearl Cadillac\"—in which he paid tribute to both his mom's sacrifices and Prince's falsetto—and \"This Land,\" a hard-charging polemic with a ripping guitar solo. The vocals were wobblier than expected here, given how great Clark has sounded in \u003ca href=\"https://www.npr.org/2019/04/11/712350241/gary-clark-jr-tiny-desk-concert\">performances without amplification\u003c/a>, but he was still a commanding presence.\u003c/p>\n\u003cp>\u003cstrong>7. Jonas Brothers\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=F1IHeNtxnGQ\">\u003cstrong>Sucker\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=PDS8tXG21DU\">\u003cstrong>Cool\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=PDS8tXG21DU\">\u003cstrong>Burnin' Up\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/F1IHeNtxnGQ'\n title='//www.youtube.com/embed/F1IHeNtxnGQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nick, Joe and Kevin Jonas have kept busy since their massively successful brotherly boy band released its last album all the way back in 2009. Joe launched DNCE to great success, scoring an inescapable smash with \"\u003ca href=\"https://www.youtube.com/watch?v=PAzH-YAlFYc\">Cake by the Ocean\u003c/a>,\" while Nick enjoyed solo hits under his own name, beefed up his filmography and married Priyanka Chopra. For his part, Kevin went into private business, starred in an E! reality series and, \u003ca href=\"https://uproxx.com/tv/kevin-jonas-donald-trump-president-celebrity-apprentice/\">it's been fairly convincingly argued\u003c/a>, inadvertently compelled Donald Trump to run for president. It's been an eventful decade since the Jonases split due to reported differences in musical vision.\u003c/p>\n\u003cp>Jonas Brothers will release a long-awaited new album next month, and if the trio's game return to \u003cem>SNL\u003c/em> is any indication, their solution to the aforementioned competing musical directions has been to pursue a bunch of them at once. The chart-topping \"Sucker\" meets at the instantly familiar middle ground between Portugal. The Man's 2017 smash \"\u003ca href=\"https://www.youtube.com/watch?v=pBkHHoOIIn8\">Feel It Still\u003c/a>\" and the complete collected works of Maroon 5, while \"Cool\" could be a country sensation if only the Jonases were from, say, Tennessee instead of New Jersey. On \u003cem>SNL\u003c/em>, both songs sounded as bright and lively as the mass of balloons piled up around the assorted Jonases, who tapped into the night's celebratory atmosphere by tossing in a lively bonus performance of 2008's \"Burnin' Up.\"\u003c/p>\n\u003cp>\u003cstrong>6. Halsey\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=f98Ei9wjWlg\">\u003cstrong>Without Me\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=ySmBqIKZi3E\">\u003cstrong>Eastside\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/ySmBqIKZi3E'\n title='//www.youtube.com/embed/ySmBqIKZi3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When you look back on your life, you'll want to know that someone loved you as much as \u003cem>SNL\u003c/em> loves booking Halsey. The charismatic young singer was a musical guest in January 2018, a guest-of-a-musical-guest (that'd be Lil Wayne) in November 2018, and the host \u003cem>and\u003c/em> headlining musical guest a mere three months after that. If Paul Simon had appeared on \u003cem>SNL\u003c/em> with that kind of frequency over the past 44 seasons, he might be into triple digits by now.\u003c/p>\n\u003cp>But Halsey is nothing if not multi-talented: She's both an endearing host and a solid singer, albeit one who's learned to simulate Auto-Tune the way a mockingbird comes to \u003ca href=\"https://www.youtube.com/watch?v=_Zd6Iy4JuGk\">appropriate a car alarm\u003c/a>. In fact, Halsey is \u003cem>so\u003c/em> multi-talented, she actually performed the breathy ballad \"Eastside\" while crouching over a giant canvas, completing an impressive painting of a woman's face in the time it took her to finish the song. She is, in other words, gameness personified: 51 percent undeniable talent and possible icon-in-the-making, 49 percent lab-tested try-hard composite sketch of a present-day pop star. (Give or take 2 percent.)\u003c/p>\n\u003cp>\u003cstrong>5. Lil Wayne\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=cvNVRBMmQv8\">\u003cstrong>Can't Be Broken\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=lzRELRUti6w\">\u003cstrong>Uproar\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/cvNVRBMmQv8'\n title='//www.youtube.com/embed/cvNVRBMmQv8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not many rappers could stand stock still on the \u003cem>SNL\u003c/em> stage in a hoodie and pajama pants and hold focus for an entire song, but Lil Wayne has both the gravitas and the lyrical deftness to pull it off. \"Can't Be Broken\" doesn't get much in the way of set dressing: Lil Wayne and ubiquitous guest vocalist Halsey perform in front of a gigantic screen that resembles a wrinkled white bedsheet, flanked by a drummer and a DJ. But the song casts a spell, building to a nice moment in which the rapper thanks veterans and hugs his band.\u003c/p>\n\u003cp>\"Uproar\" gets a far busier presentation—the bedsheet and spare-but-forceful production remain, but Halsey is replaced by a large throng of dancers and the rowdy encouragement of Swizz Beatz—with similarly compelling results. Once again, Wayne finds himself clad in the most comfortable possible attire, this time wrapped in a robe straight out of the Cruella De Vil collection. But the performance isn't so laidback, as everyone on stage gets a chance to cut loose with playfully pumped-up aggression. (Incidentally, you have to give Lil Wayne a boost in the standings based on his appearance, with fellow rapper Future, in this \u003cem>SNL\u003c/em> episode's fun and funny \u003ca href=\"https://www.youtube.com/watch?v=mAL0wZu4JUg\">video about consent\u003c/a>.)\u003c/p>\n\u003cp>\u003cstrong>4. Paul Simon with yMusic\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Can't Run But,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=hGDdX-yV3dQ\">\u003cstrong>Bridge Over Troubled Water\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/hGDdX-yV3dQ'\n title='//www.youtube.com/embed/hGDdX-yV3dQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Let's start with the legacy on display here: Just weeks removed from his farewell tour, Paul Simon played \u003cem>SNL\u003c/em> on his 77th birthday. It was the singer's record \u003cem>ninth\u003c/em> appearance as an \u003cem>SNL\u003c/em> musical guest, capping off a history with the show dating back to his gig hosting its second episode all the way back in 1975.\u003c/p>\n\u003cp>So that's the history, as well as the source of the gravitas we're dealing with here. But the performances themselves—a vibrant, shimmery reboot of 1990's \"Can't Run But\" (mirroring the one heard on last year's \u003cem>In the Blue Light\u003c/em>) and a justifiably emotional take on Simon & Garfunkel's eternal \"Bridge Over Troubled Water\"—are knockouts in their own right, buoyed and deepened by the lush arrangements of the chamber ensemble yMusic. Both songs add up to a grand victory lap for a singer who's more than earned one.\u003c/p>\n\u003cp>\u003cstrong>3. BTS\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=O4NB73HTlxI\">\u003cstrong>Boy With Luv\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=jSFIwS2b-kg\">\u003cstrong>Mic Drop\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/O4NB73HTlxI'\n title='//www.youtube.com/embed/O4NB73HTlxI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Studio 8H stage can be a cavernous and unforgiving place. It can make bands seem small and enervated, and it takes effort to fill the space. Some use light shows or props, while others employ an expanded array of backing musicians, but the smart ones know that it helps to bring a little something extra.\u003c/p>\n\u003cp>For the Korean boy-band sensation BTS—not only making its own \u003cem>SNL\u003c/em> debut, but also marking the show's initiation into the world of K-pop—that something extra was motion, and lots of it. The group's seven members sing and rap in multiple languages, but they're also almost comically vibrant dancers, which gives their live TV appearances a welcome jolt of energy, color and joy. Here, the ubiquitous new \"Boy With Luv\" and the older track \"Mic Drop\" unfolded as a giddy swirl of bouncy, joyful stimuli.\u003c/p>\n\u003cp>\u003cstrong>2. Travis Scott\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=5marNlhSeGw\">\u003cstrong>Skeletons/Astrothunder\u003c/strong>\u003c/a>\u003cstrong>,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=pF8Ssdly6wo\">\u003cstrong>Sicko Mode\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/pF8Ssdly6wo'\n title='//www.youtube.com/embed/pF8Ssdly6wo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Travis Scott could have just stood onstage and gone through the hit-regurgitating motions, treating \u003cem>SNL\u003c/em> like any other late-night appearance. Instead, each performance piled extras atop extras, without quite tilting into overkill. For a medley of \"Skeletons\" and \"Astrothunder,\" you got a few grabby visual elements—like a woman brooding astride a rotating carousel horse, or an effect in which Scott appeared to stand on clouds—that momentarily distracted from the stunt casting on display. (Tame Impala's Kevin Parker on bass! John Mayer on guitar!)\u003c/p>\n\u003cp>Later, Scott returned for a full-on feast of eye-popping tricks, starting with an effect in which the late DJ Screw's image was projected onto a curtain of smoke; soon, Scott himself appeared, rapping while appearing to... rotate? On a giant arcade cabinet? There was a \u003cem>lot\u003c/em> going on, all of it gorgeous to look at—and best of all, the visuals worked hand-in-glove with the actual songs, each of which managed an intoxicating mix of wooziness and intensity.\u003c/p>\n\u003cp>\u003cstrong>1. Anderson .Paak\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\"Tints,\" \"\u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=1bS5sHO8SFg\">\u003cstrong>Who R U?\u003c/strong>\u003c/a>\u003cstrong>\"\u003c/strong>\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/1bS5sHO8SFg'\n title='//www.youtube.com/embed/1bS5sHO8SFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You read it here first: Anderson .Paak is \u003ca href=\"https://www.npr.org/2016/08/12/489769830/anderson-paak-the-free-nationals-tiny-desk-concert\">really, \u003cem>really\u003c/em> good\u003c/a> at this whole performing-on-stage thing. So it wasn't exactly a huge surprise when .Paak straight-up dominated in an \u003cem>SNL\u003c/em> appearance that found him showcasing two tracks from last year's \u003cem>Oxnard\u003c/em>.\u003c/p>\n\u003cp>Naturally, given the scope of the singer, rapper and multi-instrumentalist's talents, each performance took on a radically different shape. In \"Tints,\" .Paak rapped from behind sunglasses, a drum kit and a radiant smile, keeping time while making it clear he was having the time of his life. Not that anyone could blame him, given that he got to share the stage with both Tayla Parx and, in a nonchalant 40-second pop-in that elicited a few gasps from the crowd, Kendrick Lamar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After all that, \"Who R U?\" could have been anticlimactic, but it's a true showstopper: Performing in front of a curtain that silhouetted his band, .Paak commanded center stage with a riveting vocal, then gobbled up about a thousand extra-credit points via some fierce and unrelenting dance moves.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27SNL%27+Musical+Guests%2C+Ranked+From+No.+1+To+Greta+Van+Fleet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "A Crash Course in Eurovision, the Olympics of Pop Music",
"title": "A Crash Course in Eurovision, the Olympics of Pop Music",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Ask an American what comes to mind when they hear the word \"Eurovision,\" and the answer will most likely be \"Um, nothing?\" or a recreation of Mariah Carey's infamous \"I don't know her\" gif.\u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-20648\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/mariah-carey-i-dont-know-her.gif\" alt=\"\" width=\"245\" height=\"165\">\u003c/p>\n\u003cp>If you're one of these people, Eurovision is an annual international music competition, essentially the Olympics of pop music.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How it works:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">Each participating country holds a contest to see who they will volunteer as tribute for Eurovision. \u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">Songs must be 3 minutes or less.\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">No lip-syncing allowed (sorry, Justin Bieber!). \u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">The public can't vote for their own country's song to keep things fair. \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">Viewership of Logo's airing of the 2018 show was so low—only 0.02% of Americans between the ages of 18 and 49 watched—that the channel is not even bothering airing it this year. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, outside of the U.S., between 100 and 600 million people obsessively tune in.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Which begs the question: why hasn't Eurovision fever caught on stateside? \u003cspan style=\"font-weight: 400\">One reason might be that we Americans are too egotistical to care about something that doesn’t involve us (*shamefully raises hand*). Another reason might be that we are less versed in enjoying campy fun than our European friends (this year's Met Gala revealed that some of us don't even know what camp is). Or maybe American indifference is a product of Eurovision's reputation of being a D-List talent show.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What if I told you that Celine Dion got her big break on Eurovision in 1988?\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w6b7BHGkKQA\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">And that ABBA won the contest in 1974 with \"Waterloo\"?\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3FsVeMz1F5c\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Olivia Newton-John performed that same year.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zhi6VlTRnvU\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Our favorite pretend-lesbian Russian duo, t,.A.T.u., competed in 2003.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=94FYrYJF16E\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Even Riverdance (the twerk of the '90s!) jigged it up on the Eurovision stage between songs in 1994.\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qriw7kGPZrY\u003c/p>\n\u003cp>And, sure, these monsters from Finland aren't as famous as Celine and ABBA after winning in 2006, but they absolutely should be.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gAh9NRGNhUU\u003c/p>\n\u003cp>Same goes for this Austrian bearded drag queen who won in 2014.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8fvLtTRzdHw\u003c/p>\n\u003cp>So this idea that Eurovision doesn't showcase actual talent is a myth.\u003c/p>\n\u003cp>Still not sold on Eurovision? Maybe a little history lesson will get you in the mood to care:\u003c/p>\n\u003cp>Picture it. It's the 1950s. Europe is war-torn as hell and most people are feeling like Mary J. Blige when she yells, \"NO! MORE! DRAMA! I'M TIRED OF ALL THE DRAMA!\" in her 2002 fed-up anthem.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=em328ua_Lo8\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">A group called the European Broadcasting Union decides a good antidote to all the drama is to unite the continent by hosting a friendly music contest. Bops, not bombs!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Seven countries liked this \"Keep Calm and Bop Along\" idea and participated in the first Eurovision in 1956. Since then, Eurovision has become one of the world’s longest-running TV programs ever and one of the most watched non-sporting events of all time!\u003c/span>\u003c/p>\n\u003cp>This year, 41 countries are participating. Not all entries are worth commenting on, but there are a few that deserve your attention.\u003c/p>\n\u003cp>Like Iceland's pick, Hatari, a band that specialized in\u003cspan style=\"font-weight: 400\"> BDSM bondage techno screamo performance art music with an anti-capitalist message (got all that?). Here’s what the combination of all those influences sounds like this:\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UGrRhIj4FRw\u003c/p>\n\u003cp>Blood! Bondage! Screaming! What's not to love? A writer for \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/features/hatari-interview-eurovision-2019-iceland-song-israel-tel-aviv-boycott-a8818626.html\">\u003cem>The Independent\u003c/em>\u003c/a> likened their sound to a cross between \u003cem>Teaches of Peaches\u003c/em> and the soundtrack for the \u003cem>Mortal Kombat\u003c/em> movie. The references check out and we stan.\u003c/p>\n\u003cp>Israel, the host country this year, wanted to ban Hatari from the contest because of the possibility that they might be punk enough to mention the plight of Palestinians in front of millions of viewers. That ban was \u003ca href=\"https://www.icelandreview.com/news/no-reason-to-deny-hatari-entry-to-israel-says-eurovision-official/\">shot down\u003c/a> by Eurovision officials, so we'll get the chance to watch Hatari let their freak flags fly and speak their truth.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This isn’s the first time there’s been drama around Iceland’s Eurovision pick. In 2006, an artist called Silvia Night performed as Iceland's representative but failed to take home the trophy. She didn’t handle that well:\u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uacyuJ_7noE\u003c/p>\n\u003cp>Some think she's a self-absorbed lunatic. Others think her meltdown was performance art. You decide.\u003c/p>\n\u003cp>Next up: does the name Darude ring a bell? Well, it should. He's the Finnish DJ behind \"\u003ca href=\"https://www.youtube.com/watch?v=y6120QOlsfU\">Sandstorm\u003c/a>\" (or as some call it \"that doot doot doot doot song from the '90s\"). He's back in action this year with a track called \"Look Away\":\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d4DPGAJhSac\u003c/p>\n\u003cp>Yeah, I know. That song isn't very good. I'll make it up to you with \"Replay\", a certified bop from Tamta of Cyprus:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WPFUZswe_zw\u003c/p>\n\u003cp>I don't go to the gym, but you better believe I'm making a gym playlist just to put this song on it. And can we take a beat to honor those outfits and visuals? Crown her already!\u003c/p>\n\u003cp>Okay, maybe I'm getting ahead of myself here. There are other great songs in this year's batch. Like \"Soldi\" from Italian hottie Mahmood:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tEwvUu1dBTs\u003c/p>\n\u003cp>I don't know about you, but I'm completely sold on \"Soldi.\" Both of my buttocks moved: the mark of a banger.\u003c/p>\n\u003cp>Speaking of moving your body, Switzerland's Luca Hänni is offering up \"She Got Me,\" an ode to dirty dancing:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6PxoMWtAC7M\u003c/p>\n\u003cp>Hats off to him for embodying an entire boy band in singular form.\u003c/p>\n\u003cp>If \u003cem>Wicked\u003c/em>'s \"Defying Gravity\" was injected with a dose of opera, it might sound like \"Zero Gravity\" from \u003cdel>Queen Elsa\u003c/del> Australia's Kate Miller-Heidke:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VlpBPO9_L4E\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Australia’s stylistic choice is equally as random as their country even being included in this European contest, to begin with, but we love a musician who does the absolute most.\u003c/span>\u003c/p>\n\u003cp>Not all Eurovision songs are created equal though. Let's briefly touch on some of this year's worst songs. Like \"Keep On Going\" from Georgia's Oto Nemsadze, which sounds like a very angry collection of monks impersonating Russell Crowe's struggle singing from 2012's \u003cem>Les Miserables\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Blvo_Ol4Bzc\u003c/p>\n\u003cp>Or this cheerful abomination from Montenegro that even S Club 7 would have rejected:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EXmXfHhLBoQ\u003c/p>\n\u003cp>Or this so-bad-it-might-actually-be-good song from San Marino's Serhat.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l5arNtTYK1s\u003c/p>\n\u003cp>I could go on, but I'll leave you to explore \u003ca href=\"https://www.youtube.com/watch?v=WdLQtXHWpNQ\">the other 32 songs\u003c/a> on your own. Now that you've been schooled and converted into someone who cares about Eurovision, go weird out your friends with Icelandic BDSM rockers or the memory of Darude.\u003c/p>\n\u003cp>\u003cem>Eurovision kicks off on May 14 and ends on May 18, 2019.\u003c/em>\u003c/p>\n\u003cp>\u003cem>This post was inspired by a segment of \u003ca href=\"https://podcasts.apple.com/us/podcast/the-cooler/id1041117499\">The Cooler\u003c/a>, KQED's weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/thecooler/2019/05/Eurovision.mp3\" title=\"Eurovision Is The Campy Fun We Need Right Now\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/GettyImages-57667289-1020x679.jpg\"]\u003c/p>\n\n",
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"excerpt": "Hundreds of millions tune into the international music competition every year. It's about time Americans got hooked.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Ask an American what comes to mind when they hear the word \"Eurovision,\" and the answer will most likely be \"Um, nothing?\" or a recreation of Mariah Carey's infamous \"I don't know her\" gif.\u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-20648\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/mariah-carey-i-dont-know-her.gif\" alt=\"\" width=\"245\" height=\"165\">\u003c/p>\n\u003cp>If you're one of these people, Eurovision is an annual international music competition, essentially the Olympics of pop music.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">How it works:\u003c/span>\u003c/p>\n\u003cul>\n\u003cli>\u003cspan style=\"font-weight: 400\">Each participating country holds a contest to see who they will volunteer as tribute for Eurovision. \u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">Songs must be 3 minutes or less.\u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">No lip-syncing allowed (sorry, Justin Bieber!). \u003c/span>\u003c/li>\n\u003cli>\u003cspan style=\"font-weight: 400\">The public can't vote for their own country's song to keep things fair. \u003c/span>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cspan style=\"font-weight: 400\">Viewership of Logo's airing of the 2018 show was so low—only 0.02% of Americans between the ages of 18 and 49 watched—that the channel is not even bothering airing it this year. \u003c/span>\u003cspan style=\"font-weight: 400\">Meanwhile, outside of the U.S., between 100 and 600 million people obsessively tune in.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Which begs the question: why hasn't Eurovision fever caught on stateside? \u003cspan style=\"font-weight: 400\">One reason might be that we Americans are too egotistical to care about something that doesn’t involve us (*shamefully raises hand*). Another reason might be that we are less versed in enjoying campy fun than our European friends (this year's Met Gala revealed that some of us don't even know what camp is). Or maybe American indifference is a product of Eurovision's reputation of being a D-List talent show.\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">What if I told you that Celine Dion got her big break on Eurovision in 1988?\u003c/span>\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/w6b7BHGkKQA'\n title='//www.youtube.com/embed/w6b7BHGkKQA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">And that ABBA won the contest in 1974 with \"Waterloo\"?\u003c/span>\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/3FsVeMz1F5c'\n title='//www.youtube.com/embed/3FsVeMz1F5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Olivia Newton-John performed that same year.\u003c/span>\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/zhi6VlTRnvU'\n title='//www.youtube.com/embed/zhi6VlTRnvU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Our favorite pretend-lesbian Russian duo, t,.A.T.u., competed in 2003.\u003c/span>\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/94FYrYJF16E'\n title='//www.youtube.com/embed/94FYrYJF16E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Even Riverdance (the twerk of the '90s!) jigged it up on the Eurovision stage between songs in 1994.\u003c/span>\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/qriw7kGPZrY'\n title='//www.youtube.com/embed/qriw7kGPZrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And, sure, these monsters from Finland aren't as famous as Celine and ABBA after winning in 2006, but they absolutely should be.\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/gAh9NRGNhUU'\n title='//www.youtube.com/embed/gAh9NRGNhUU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Same goes for this Austrian bearded drag queen who won in 2014.\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/8fvLtTRzdHw'\n title='//www.youtube.com/embed/8fvLtTRzdHw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So this idea that Eurovision doesn't showcase actual talent is a myth.\u003c/p>\n\u003cp>Still not sold on Eurovision? Maybe a little history lesson will get you in the mood to care:\u003c/p>\n\u003cp>Picture it. It's the 1950s. Europe is war-torn as hell and most people are feeling like Mary J. Blige when she yells, \"NO! MORE! DRAMA! I'M TIRED OF ALL THE DRAMA!\" in her 2002 fed-up anthem.\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/em328ua_Lo8'\n title='//www.youtube.com/embed/em328ua_Lo8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">A group called the European Broadcasting Union decides a good antidote to all the drama is to unite the continent by hosting a friendly music contest. Bops, not bombs!\u003c/span>\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Seven countries liked this \"Keep Calm and Bop Along\" idea and participated in the first Eurovision in 1956. Since then, Eurovision has become one of the world’s longest-running TV programs ever and one of the most watched non-sporting events of all time!\u003c/span>\u003c/p>\n\u003cp>This year, 41 countries are participating. Not all entries are worth commenting on, but there are a few that deserve your attention.\u003c/p>\n\u003cp>Like Iceland's pick, Hatari, a band that specialized in\u003cspan style=\"font-weight: 400\"> BDSM bondage techno screamo performance art music with an anti-capitalist message (got all that?). Here’s what the combination of all those influences sounds like this:\u003c/span>\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/UGrRhIj4FRw'\n title='//www.youtube.com/embed/UGrRhIj4FRw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blood! Bondage! Screaming! What's not to love? A writer for \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/features/hatari-interview-eurovision-2019-iceland-song-israel-tel-aviv-boycott-a8818626.html\">\u003cem>The Independent\u003c/em>\u003c/a> likened their sound to a cross between \u003cem>Teaches of Peaches\u003c/em> and the soundtrack for the \u003cem>Mortal Kombat\u003c/em> movie. The references check out and we stan.\u003c/p>\n\u003cp>Israel, the host country this year, wanted to ban Hatari from the contest because of the possibility that they might be punk enough to mention the plight of Palestinians in front of millions of viewers. That ban was \u003ca href=\"https://www.icelandreview.com/news/no-reason-to-deny-hatari-entry-to-israel-says-eurovision-official/\">shot down\u003c/a> by Eurovision officials, so we'll get the chance to watch Hatari let their freak flags fly and speak their truth.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">This isn’s the first time there’s been drama around Iceland’s Eurovision pick. In 2006, an artist called Silvia Night performed as Iceland's representative but failed to take home the trophy. She didn’t handle that well:\u003c/span>\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/uacyuJ_7noE'\n title='//www.youtube.com/embed/uacyuJ_7noE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some think she's a self-absorbed lunatic. Others think her meltdown was performance art. You decide.\u003c/p>\n\u003cp>Next up: does the name Darude ring a bell? Well, it should. He's the Finnish DJ behind \"\u003ca href=\"https://www.youtube.com/watch?v=y6120QOlsfU\">Sandstorm\u003c/a>\" (or as some call it \"that doot doot doot doot song from the '90s\"). He's back in action this year with a track called \"Look Away\":\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/d4DPGAJhSac'\n title='//www.youtube.com/embed/d4DPGAJhSac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yeah, I know. That song isn't very good. I'll make it up to you with \"Replay\", a certified bop from Tamta of Cyprus:\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/WPFUZswe_zw'\n title='//www.youtube.com/embed/WPFUZswe_zw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I don't go to the gym, but you better believe I'm making a gym playlist just to put this song on it. And can we take a beat to honor those outfits and visuals? Crown her already!\u003c/p>\n\u003cp>Okay, maybe I'm getting ahead of myself here. There are other great songs in this year's batch. Like \"Soldi\" from Italian hottie Mahmood:\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/tEwvUu1dBTs'\n title='//www.youtube.com/embed/tEwvUu1dBTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I don't know about you, but I'm completely sold on \"Soldi.\" Both of my buttocks moved: the mark of a banger.\u003c/p>\n\u003cp>Speaking of moving your body, Switzerland's Luca Hänni is offering up \"She Got Me,\" an ode to dirty dancing:\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/6PxoMWtAC7M'\n title='//www.youtube.com/embed/6PxoMWtAC7M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hats off to him for embodying an entire boy band in singular form.\u003c/p>\n\u003cp>If \u003cem>Wicked\u003c/em>'s \"Defying Gravity\" was injected with a dose of opera, it might sound like \"Zero Gravity\" from \u003cdel>Queen Elsa\u003c/del> Australia's Kate Miller-Heidke:\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/VlpBPO9_L4E'\n title='//www.youtube.com/embed/VlpBPO9_L4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"font-weight: 400\">Australia’s stylistic choice is equally as random as their country even being included in this European contest, to begin with, but we love a musician who does the absolute most.\u003c/span>\u003c/p>\n\u003cp>Not all Eurovision songs are created equal though. Let's briefly touch on some of this year's worst songs. Like \"Keep On Going\" from Georgia's Oto Nemsadze, which sounds like a very angry collection of monks impersonating Russell Crowe's struggle singing from 2012's \u003cem>Les Miserables\u003c/em>.\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/Blvo_Ol4Bzc'\n title='//www.youtube.com/embed/Blvo_Ol4Bzc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Or this cheerful abomination from Montenegro that even S Club 7 would have rejected:\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/EXmXfHhLBoQ'\n title='//www.youtube.com/embed/EXmXfHhLBoQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Or this so-bad-it-might-actually-be-good song from San Marino's Serhat.\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/l5arNtTYK1s'\n title='//www.youtube.com/embed/l5arNtTYK1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I could go on, but I'll leave you to explore \u003ca href=\"https://www.youtube.com/watch?v=WdLQtXHWpNQ\">the other 32 songs\u003c/a> on your own. 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"content": "\u003cp>Already a bold trendsetter on the pop stage, Rihanna is also breaking barriers in the makeup and fashion industries.\u003c/p>\n\u003cp>The 31-year-old Barbadian singer has partnered with the historic LVMH Moët Hennessy Louis Vuitton fashion house, becoming the first woman of color to have a label under LVMH and the first woman to start an original brand for the world's largest luxury group.\u003c/p>\n\u003cp>The new label is named Fenty, after the last name of the singer (born Robyn Rihanna Fenty). It's an expansion of her \u003ca href=\"https://www.kqed.org/pop/106683/lets-unpack-all-the-wtf-ness-of-rihannas-new-savage-x-fenty-campaign\">cosmetics empire\u003c/a> of the same name, launched in a 2017 partnership with LVMH.\u003c/p>\n\u003cp>The Paris-based Fenty line, which will include ready-to-wear clothing, shoes and accessories, will launch this spring 2019 season as the first house established by the group since Christian Lacroix in 1987, joining legacy brands like Dior, Givenchy and Fendi.\u003c/p>\n\u003cp>\"Designing a line like this with LVMH is an incredibly special moment for us,\" Rihanna \u003ca href=\"https://www.lvmh.com/news-documents/press-releases/lvmh-announces-the-fast-approaching-launch-of-a-new-luxury-maison-developed-by-robyn-rihanna-fenty/\">said in a statement\u003c/a> from the LVMH group on Friday. \"Mr. [Bernard] Arnault has given me a unique opportunity to develop a fashion house in the luxury sector, with no artistic limits.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It's a big moment for the exclusive world of luxury fashion says Tanisha Ford, an associate professor of Africana studies at the University of Delaware.\u003c/p>\n\u003cp>Ford, who writes about fashion and black identity, says, \"We see a woman of color with this much creative control in a luxury market where typically European men have dominated.\"\u003c/p>\n\u003cp>For centuries, luxury fashion has reflected a lifestyle enjoyed by very few people, she says, \"so by nature it wasn't in a market that was designed for everyday people of color to participate in it.\"\u003c/p>\n\u003cp>Even as African Americans hold a buying power of up to $1.2 trillion, fashion critics and consumers have slammed luxury brands for what many say is a diversity problem within the industry. In recent years, big luxury players have been accused of cultural appropriation and selling \u003ca href=\"https://www.kqed.org/pop/109548/racist-imagery-sneaking-into-fashion-is-no-accident\">products viewed as racist\u003c/a>.\u003c/p>\n\u003cp>But it's that particular consumer market that's helped put those brands on the map, Ford says. It's a message the black community has been trying to send to the high-fashion industry for years, she says, \"especially the hip-hop generations who have rapped about Gucci and Louis Vuitton and Givenchy, and all these designer brands.\u003c/p>\n\u003cp>\"I'd like to also see the end of this notion that luxury is not for people of color,\" Ford says. \"It means that black and brown people are highly susceptible to racial profiling and hyper-policing when they do go into luxury stores to buy these goods.\"\u003c/p>\n\u003cp>LVMH has been taking steps to address the need for diversity in recent years. Last year, the group tapped the DJ and entrepreneur Virgil Abloh as the first African American artistic director for Louis Vuitton's men's wear.\u003c/p>\n\u003cp>Ford calls the new deal a positive first step in what she hopes will become a larger movement toward inclusion.\u003c/p>\n\u003cp>\"I would love for Rihanna to not be the only [face of luxury],\" she says. \"I would love to see this be a model that other luxury brands and other, more well-priced pointed brands accept as well.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR's Monika Evstatieva produced this story for broadcast and Barrie Hardymon edited.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Rihanna+Disrupts+Luxury+Fashion+World%2C+Joining+LVMH+With+%27Fenty%27+Brand&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">This week, we're giving a crash course in Eurovision, the wildly popular international music competition, and ranking the 2019 entries, including Icelandic BDSM anti-capitalist scream rock, Australian popera and an Italian song that’ll make your booty bounce.\u003c/span>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111692\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/booty-bounce.gif\" alt=\"\" width=\"500\" height=\"500\">\u003c/p>\n\u003cp>Spoiler alert! We'll also be talking about spoiler culture and handing out tips for how to avoid info you don't want and how not to be a spoilsport.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111693\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/spoiler-got.gif\" alt=\"\" width=\"500\" height=\"281\">\u003c/p>\n\u003cp>And, despite some anti-royalist feelings, we'll be celebrating Prince Harry and Meghan Markle's new baby!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111694\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/dancing-new-years-baby-ally-mcbeal.gif\" alt=\"\" width=\"220\" height=\"200\">\u003c/p>\n\u003cp>Listen to hear all about it!\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/thecooler/2019/05/Eurovision.mp3\" title=\"Eurovision Is The Campy Fun We Need Right Now\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/05/GettyImages-681919028.jpg\"]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\" rel=\"noopener\">Subscribe and rate us five stars in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Until next week! \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\" rel=\"noopener\">Subscribe and rate us five stars in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On April 26, at the second show of Bikini Kill's much-anticipated reunion tour, one of the most immediately noticeable things was just how many children were gleefully running around. They were overwhelmingly female, visibly thrilled to be there, and a lot of them already knew the songs.\u003c/p>\n\u003cp>One little girl, roughly seven or eight years old, sat atop a man's shoulders in the middle of the pit, waving her arms and headbanging. Another, nine or ten, watching from a balcony above the stage, grabbed her dad's hand whenever her favorite songs came on and used him as leverage to jump up and down, roughly shaking her head from side-to-side.\u003c/p>\n\u003cp>After Bikini Kill was done with their opening song (\"This is Not a Test\"), frontwoman Kathleen Hanna stopped to check on some little girls in the front row, concerned they might be getting hurt. (They were fine, apparently.) \"It looks like you're doing a really good job of Girls To The Front,\" Hanna quipped. \"I don't even have to say anything...\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=It0LB6OZuEo\u003c/p>\n\u003cp>On one hand, it makes perfect sense. Original Bikini Kill fans are now of an age where having young children is to be expected. But when the quartet first emerged in the early '90s, the content of their songs was considered pretty shocking, even for a teen audience. \"Suck My Left One\" features familial sexual abuse; \"Carnival\" starts with the line \"This is a song about 16-year-old girls giving carnies head for free rides and hits of pot\"; and \"I Like F**king\" embraces unapologetically assertive female sexuality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, the number of kids in attendance at the Hollywood Palladium in Los Angeles seemed planned for by the band. While Bikini Kill's first night featured support from sexagenarian punk icon Alice Bag, the second night's opener was The Linda Lindas—four pre-teen girls specializing in rock 'n' roll covers, including Kim Wilde, The Runaways and Le Tigre. The band wasn't just proficient, their music sounded like it was the work of professional adults, despite having a drummer who looked about three-feet-tall and a vocalist who literally cartwheeled off the stage. The crowd reception was warm and, during Bikini Kill's set, Kathleen Hanna made no less than three references to The Linda Lindas. \"I'm going to keep talking about them,\" she said, apologizing for not apologizing.\u003c/p>\n\u003cp>Here are the Linda Lindas backstage with Bikini Kill, on a night that will no doubt be impossible to describe to their middle school teachers.\u003c/p>\n\u003cp>https://www.instagram.com/p/BwxR7Smhste/\u003c/p>\n\u003cp>Bikini Kill's original audience was mostly comprised of feminist teenage girls sick of being lied to by grown-ups and furious about the lack of space afforded to female rock musicians. Back then, both band and fans embraced the traditional aesthetics of girl children—cute little shift dresses and barrettes—as a means to reclaim childhoods corrupted by societal sexualization that occurred far too early.\u003c/p>\n\u003cp>These days, the new generation embracing Bikini Kill are kids with cool parents, who no longer need to fight for space and have an inherent understanding of their rightful place in the room. Kids that are more sophisticated because of technology, and simultaneously more sheltered because of it. It's probable that the youngest of these children aren't paying much attention to lyrical details; it's enough to see a bunch of women making all of this glorious, freeing noise.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This particular Bikini Kill show was full of signifiers of the social progress made in the quarter century since the band originally split—the number of men and gender non-conforming people in the room represents another shift—but it was the kids who made it feel like the band's dream is actually finally being realized. These days, Revolution Girl Style Now is looking less like a future ideal and more like a reality.\u003c/p>\n\n",
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"disqusTitle": "The Best GIFs From Taylor Swift's \"ME!\" Music Video",
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"content": "\u003cp>After weeks of clues and a 13-day countdown, \u003ca href=\"https://www.kqed.org/pop/111352/taylor-swifts-comeback-single-me-features-lots-of-self-love-and-brendon-urie\">Taylor Swift's comeback single \"ME!\"\u003c/a> has officially dropped. Here are the music video's best moments in animated gif form because I care about you:\u003c/p>\n\u003cp>\u003cstrong>0:05 \u003c/strong>— Are you sick of the snake motif from Taylor's \u003cem>Reputation\u003c/em> era? Well, so is she. Bye bye, Slytherin aesthetics. Hello, cozy Hufflepuff vibes.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111364\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/taylor-swift-snake-butterflies.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>0:31\u003c/strong> — Fight scene with Panic! At The Disco's Brendon Urie, randomly in French? Mais oui! Meredith and Olivia cameos? Absolument! (And they said I would never put my French minor to use.)\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111365\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/meredith-taylor-me-music-video.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>0:37\u003c/strong> — We've all been this hangry.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111366\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/i-am-calm-taylor-swift-me.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>0:45\u003c/strong> — The feeling when you're having a terrible day and someone asks how you are.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111367\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/taylor-sad-happy-me-swift.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>0:57\u003c/strong> — Taylor sings, \"And there's a lot of cool chicks out there\" and the camera pans to paintings of baby chicks wearing shades and a portrait of the MF-ing Dixie Chicks! I gay gasped. America owes them an apology for being blacklisted during Dubya's reign, but that's a subject for another article.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111368\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/cool-chicks-taylor-swift.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>1:09\u003c/strong> — I am here for this Jordan almond cosplay.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111369\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/taylor-swift-me-pastels.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>1:53\u003c/strong> — Somewhere out there, Lisa Frank just jumped in her car and is zooming to the courthouse to sue Taylor for stealing her folder vibe. (Unrelated but related: I wonder if that waterfall dress comes in my size.)\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111375\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/taylor-waterfall-dress-me.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>02:03\u003c/strong> — The bottom dude's face will be haunting my dreams tonight, for sure.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111374\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/cool-guys-taylor-swift-me.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>02:06\u003c/strong> — Flowers: too typical. A marriage proposal: hard pass. A kitten: GIMME.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111373\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/cats-taylor-swift-me.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>2:22\u003c/strong> — Brendon Urie took Mystikal's encouragement to \"shake ya ass\" seriously.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111372\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/brendon-urie-taylor-swift.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>2:42\u003c/strong> — Taylor is coming for Barney's gig. And letting us Millennials know we are no longer her target demo. 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Vote below to have your voice heard (before Putin manipulates the results).\u003c/em>\u003c/p>\n\u003cp>https://twitter.com/KQEDPop/status/1121630667714908162\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>0:37\u003c/strong> — We've all been this hangry.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111366\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/i-am-calm-taylor-swift-me.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>0:45\u003c/strong> — The feeling when you're having a terrible day and someone asks how you are.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111367\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/taylor-sad-happy-me-swift.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>0:57\u003c/strong> — Taylor sings, \"And there's a lot of cool chicks out there\" and the camera pans to paintings of baby chicks wearing shades and a portrait of the MF-ing Dixie Chicks! I gay gasped. America owes them an apology for being blacklisted during Dubya's reign, but that's a subject for another article.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111368\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/cool-chicks-taylor-swift.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>1:09\u003c/strong> — I am here for this Jordan almond cosplay.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111369\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/taylor-swift-me-pastels.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>1:53\u003c/strong> — Somewhere out there, Lisa Frank just jumped in her car and is zooming to the courthouse to sue Taylor for stealing her folder vibe. (Unrelated but related: I wonder if that waterfall dress comes in my size.)\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111375\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/taylor-waterfall-dress-me.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>02:03\u003c/strong> — The bottom dude's face will be haunting my dreams tonight, for sure.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111374\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/cool-guys-taylor-swift-me.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>02:06\u003c/strong> — Flowers: too typical. A marriage proposal: hard pass. A kitten: GIMME.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111373\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/cats-taylor-swift-me.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>2:22\u003c/strong> — Brendon Urie took Mystikal's encouragement to \"shake ya ass\" seriously.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111372\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/brendon-urie-taylor-swift.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>2:42\u003c/strong> — Taylor is coming for Barney's gig. And letting us Millennials know we are no longer her target demo. The parents of every child between the ages of one and twelve aren't ready for how many times they will be forced to listen to this song.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111371\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/taylor-swift-spelling-is-fun.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cstrong>03:53\u003c/strong> — All of a sudden, I'm nostalgic for \u003ca href=\"https://www.youtube.com/watch?v=_iDALjY4QnY\">Gak\u003c/a> (and that time I may or may not have done LSD in college).\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-111370\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/paint-dress-taylor-swift.gif\" alt=\"\" width=\"480\" height=\"272\">\u003c/p>\n\u003cp>\u003cem>What do you think of the song? Vote below to have your voice heard (before Putin manipulates the results).\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Back in 2013, I wrote an article called \"\u003ca href=\"https://www.kqed.org/pop/2230/the-debate-of-our-times-taylor-swift\">The Debate of Our Times: Taylor Swift\u003c/a>,\" which started like this: \"Certain things get people really riled up. Bad grammar, toilet rolls that face in, Goop.com. But nothing is as divisive as Taylor Swift.\"\u003c/p>\n\u003cp>Six years later, that statement is truer than ever. One set of people has been salivating over the little rainbow-tinged \u003ca href=\"https://www.thecut.com/2019/04/taylor-swift-instagram-april-26-new-music.html\">clues\u003c/a> Taylor has been dropping for weeks, while another set is wincing at the thought of surviving another TS era. Wherever you fall on the spectrum, you won't be able to escape her comeback single, \"ME!\" (a Taylor Swift title if there ever was one), featuring Panic! At The Disco's Brendon Urie, so might as well jump right in. (Let us know what you think of the song in our poll below!)\u003c/p>\n\u003cp>https://youtu.be/FuXNumBwDOM\u003c/p>\n\u003cp>https://twitter.com/KQEDPop/status/1121630667714908162\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Where were you when Britney Spears shaved her head?\u003c/p>\n\u003cp>It wasn't exactly a world-changing event, but for many of us, it was certainly memorable. I happened to be in San Francisco's Bill Graham auditorium, interviewing bands at the Taste of Chaos festival. I remember because Britney's new 'do was all anyone—bands, fans, roadies—could talk about. Which is pretty weird for an emo-rock festival, but a solid indicator of just how obsessed everyone was with her meltdown.\u003c/p>\n\u003cp>Twelve years ago, there was a ferocity attached to how Britney's mental health issues were consumed by the world that is disturbing to look back on. Photos of Brit in hollow-eyed crisis—in the barber shop, with the umbrella, handcuffed to that gurney—were splashed across tabloids and newspapers for our entertainment. \u003ca href=\"https://www.youtube.com/watch?v=sFF_DUvGP4w\" target=\"_blank\" rel=\"noopener noreferrer\">Footage of her leaving her home\u003c/a> in an ambulance, escorted by a number of police vehicles, is nothing short of grotesque—a sea of photographers, busy-bodies and fans blocking the street as emergency services attempt to get her to hospital.\u003c/p>\n\u003cp>We laughed at him at the time (\u003ca href=\"https://www.google.com/search?biw=1240&bih=528&tbm=isch&sa=1&ei=r5O_XOjeAoqt0PEPjv-pkAw&q=leave+alone+meme&oq=leave+alone+meme&gs_l=img.3..0j0i7i30l9.27752.28828..29451...0.0..0.72.476.8....3..1....1..gws-wiz-img.......0i8i7i30.ZIh4VqEj4Oc\" target=\"_blank\" rel=\"noopener noreferrer\">some people still do\u003c/a>, actually) but before his infamous \u003ca href=\"https://www.youtube.com/watch?v=WqSTXuJeTks\" target=\"_blank\" rel=\"noopener noreferrer\">\"Leave Britney alone!\"\u003c/a> meltdown, superfan Chris Crocker made a lot more sense than you probably remember. \"I know it's hard to see Britney Spears as a human being,\" he said, \"but, trust me, she is. She is a person, just like you or I... What really bothers me is thinking of those people out there who don't see her as a person.\"\u003c/p>\n\u003cp>Fast forward to the present day and Britney has been in a mental health facility for most of this month, purportedly to help her cope emotionally with the ailing health of her father, who has been her conservator since 2007. Brit has been seen in public only once since, photographed leaving a Beverley Hills hotel looking more disheveled than we are accustomed to these days. While the snaps made it onto gossip websites, and TMZ claimed that a new \u003ca href=\"https://www.tmz.com/2019/04/23/britney-spears-meds-mental-health-crisis-dad/\" target=\"_blank\" rel=\"noopener noreferrer\">\"cocktail\"\u003c/a> of prescription drugs prompted her new fragile state, for the most part, coverage—or lack thereof—is in stark contrast to how Britney was treated the first time around.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arguably, the shift from then to now has a lot to do with how we consume our media. These days, we are less reliant on sensational tabloids to get our celeb info; social media enables us to feel closer to our favorite stars than ever before. Interacting with them online makes them less abstract and more human than they used to be. What's more, it's much harder to make fun of celebrity nervous breakdowns when we can see the likes of Jim Carrey and Ariana Grande on Twitter, publicly \u003ca href=\"https://twitter.com/JimCarrey/status/1120141695893377024\" target=\"_blank\" rel=\"noopener noreferrer\">exchanging strategies\u003c/a> to handle depression.\u003c/p>\n\u003cp>Compounding this shift is the knock-on effect of a spate of tragic celebrity deaths. We recently lost Alexander McQueen, Robin Williams, Chester Bennington, Anthony Bourdain, Kate Spade, Chris Cornell, Keith Flint, Margot Kidder and Mindy McCready to suicide. We also lost Prince, Heath Ledger, Whitney Houston, Tom Petty, Mac Miller, Lil Peep and Britney Murphy to self-medication. All those tragedies have left an indelible mark on the culture, and left the general public in a heightened state of sensitivity.\u003c/p>\n\u003cp>In addition to all that, Generation Z is the \u003ca href=\"https://medium.com/@erharve/the-super-empathy-of-generation-z-how-weve-all-been-wrong-11280562bc67\" target=\"_blank\" rel=\"noopener noreferrer\">most empathetic\u003c/a> in history thanks to growing up online, being the most diverse generation ever, and facing down increasing economic, environmental and political doom. The American Psychological Association has reported that \"\u003ca href=\"https://www.apa.org/news/press/releases/stress/2018/stress-gen-z.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">68%\u003c/a> of Gen Z adults feel very or somewhat significantly stressed about our nation’s future.\" Gen Z has neither the time nor the inclination to make fun of famous humans experiencing crisis, and that is helping set the tone for the culture at large.\u003c/p>\n\u003cp>In prior decades, Demi Lovato would have been hunted by the press and chewed up by the public after her 2018 overdose. Kanye West would be relentlessly mocked for his mental health-related hospitalization, not greeted with a \u003ca href=\"https://www.kqed.org/pop/49104/why-do-we-pray-for-kanye-and-wish-ill-on-kim\" target=\"_blank\" rel=\"noopener noreferrer\">#PrayForKanye\u003c/a> hashtag. Even after a litany of terrible behavior, the public was quick to \u003ca href=\"https://www.kqed.org/pop/21225/forgiving-justin-bieber\" target=\"_blank\" rel=\"noopener noreferrer\">forgive Justin Bieber\u003c/a>, understanding the pressures fame can wreak on child stars.\u003c/p>\n\u003cp>America has become less inclined to revel in the misery of celebrities and more inclined to offer support. In 2017, when Katy Perry publicly made \u003ca href=\"https://www.usmagazine.com/entertainment/news/katy-perry-slammed-for-britney-spears-head-shaving-grammys-comment-w466592/\" target=\"_blank\" rel=\"noopener noreferrer\">multiple digs\u003c/a> at Britney's head-shaving moment—a perfectly acceptable joke ten years prior—the public perceived Perry as an insensitive bully and quickly rushed to Brit's defense. #KatyPerryIsOverParty started trending on Twitter almost immediately.\u003c/p>\n\u003cp>With hindsight, it's possible that the 2007 crucifixion of Britney prompted the first steps America took away from making fun of troubled stars. In the throes of her breakdown, as other late-night hosts made jokes at her expense, Craig Ferguson used his \u003ca href=\"https://www.youtube.com/watch?v=yGLzpt3caHw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Late Late Show\u003c/em> monologue\u003c/a> to share a Britney-related revelation. Initially, his studio audience didn't quite get it. \"She clearly needs help,\" he said, eliciting laughs from the crowd. \"It's not funny,\" he emphasized. \"You can embarrass someone to death.\"\u003c/p>\n\u003cp>It's remarkable how much Ferguson got right that night. \"I’m starting to feel uncomfortable making fun of these people,\" he said. \"For me, comedy should have a certain amount of joy in it. It should be about us attacking the powerful people, the politicians, and the Trumps, and the blowhards. We shouldn’t be attacking the vulnerable people.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thankfully, in 2019, far fewer people are.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Where were you when Britney Spears shaved her head?\u003c/p>\n\u003cp>It wasn't exactly a world-changing event, but for many of us, it was certainly memorable. I happened to be in San Francisco's Bill Graham auditorium, interviewing bands at the Taste of Chaos festival. I remember because Britney's new 'do was all anyone—bands, fans, roadies—could talk about. Which is pretty weird for an emo-rock festival, but a solid indicator of just how obsessed everyone was with her meltdown.\u003c/p>\n\u003cp>Twelve years ago, there was a ferocity attached to how Britney's mental health issues were consumed by the world that is disturbing to look back on. Photos of Brit in hollow-eyed crisis—in the barber shop, with the umbrella, handcuffed to that gurney—were splashed across tabloids and newspapers for our entertainment. \u003ca href=\"https://www.youtube.com/watch?v=sFF_DUvGP4w\" target=\"_blank\" rel=\"noopener noreferrer\">Footage of her leaving her home\u003c/a> in an ambulance, escorted by a number of police vehicles, is nothing short of grotesque—a sea of photographers, busy-bodies and fans blocking the street as emergency services attempt to get her to hospital.\u003c/p>\n\u003cp>We laughed at him at the time (\u003ca href=\"https://www.google.com/search?biw=1240&bih=528&tbm=isch&sa=1&ei=r5O_XOjeAoqt0PEPjv-pkAw&q=leave+alone+meme&oq=leave+alone+meme&gs_l=img.3..0j0i7i30l9.27752.28828..29451...0.0..0.72.476.8....3..1....1..gws-wiz-img.......0i8i7i30.ZIh4VqEj4Oc\" target=\"_blank\" rel=\"noopener noreferrer\">some people still do\u003c/a>, actually) but before his infamous \u003ca href=\"https://www.youtube.com/watch?v=WqSTXuJeTks\" target=\"_blank\" rel=\"noopener noreferrer\">\"Leave Britney alone!\"\u003c/a> meltdown, superfan Chris Crocker made a lot more sense than you probably remember. \"I know it's hard to see Britney Spears as a human being,\" he said, \"but, trust me, she is. She is a person, just like you or I... What really bothers me is thinking of those people out there who don't see her as a person.\"\u003c/p>\n\u003cp>Fast forward to the present day and Britney has been in a mental health facility for most of this month, purportedly to help her cope emotionally with the ailing health of her father, who has been her conservator since 2007. Brit has been seen in public only once since, photographed leaving a Beverley Hills hotel looking more disheveled than we are accustomed to these days. While the snaps made it onto gossip websites, and TMZ claimed that a new \u003ca href=\"https://www.tmz.com/2019/04/23/britney-spears-meds-mental-health-crisis-dad/\" target=\"_blank\" rel=\"noopener noreferrer\">\"cocktail\"\u003c/a> of prescription drugs prompted her new fragile state, for the most part, coverage—or lack thereof—is in stark contrast to how Britney was treated the first time around.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arguably, the shift from then to now has a lot to do with how we consume our media. These days, we are less reliant on sensational tabloids to get our celeb info; social media enables us to feel closer to our favorite stars than ever before. Interacting with them online makes them less abstract and more human than they used to be. What's more, it's much harder to make fun of celebrity nervous breakdowns when we can see the likes of Jim Carrey and Ariana Grande on Twitter, publicly \u003ca href=\"https://twitter.com/JimCarrey/status/1120141695893377024\" target=\"_blank\" rel=\"noopener noreferrer\">exchanging strategies\u003c/a> to handle depression.\u003c/p>\n\u003cp>Compounding this shift is the knock-on effect of a spate of tragic celebrity deaths. We recently lost Alexander McQueen, Robin Williams, Chester Bennington, Anthony Bourdain, Kate Spade, Chris Cornell, Keith Flint, Margot Kidder and Mindy McCready to suicide. We also lost Prince, Heath Ledger, Whitney Houston, Tom Petty, Mac Miller, Lil Peep and Britney Murphy to self-medication. All those tragedies have left an indelible mark on the culture, and left the general public in a heightened state of sensitivity.\u003c/p>\n\u003cp>In addition to all that, Generation Z is the \u003ca href=\"https://medium.com/@erharve/the-super-empathy-of-generation-z-how-weve-all-been-wrong-11280562bc67\" target=\"_blank\" rel=\"noopener noreferrer\">most empathetic\u003c/a> in history thanks to growing up online, being the most diverse generation ever, and facing down increasing economic, environmental and political doom. The American Psychological Association has reported that \"\u003ca href=\"https://www.apa.org/news/press/releases/stress/2018/stress-gen-z.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">68%\u003c/a> of Gen Z adults feel very or somewhat significantly stressed about our nation’s future.\" Gen Z has neither the time nor the inclination to make fun of famous humans experiencing crisis, and that is helping set the tone for the culture at large.\u003c/p>\n\u003cp>In prior decades, Demi Lovato would have been hunted by the press and chewed up by the public after her 2018 overdose. Kanye West would be relentlessly mocked for his mental health-related hospitalization, not greeted with a \u003ca href=\"https://www.kqed.org/pop/49104/why-do-we-pray-for-kanye-and-wish-ill-on-kim\" target=\"_blank\" rel=\"noopener noreferrer\">#PrayForKanye\u003c/a> hashtag. Even after a litany of terrible behavior, the public was quick to \u003ca href=\"https://www.kqed.org/pop/21225/forgiving-justin-bieber\" target=\"_blank\" rel=\"noopener noreferrer\">forgive Justin Bieber\u003c/a>, understanding the pressures fame can wreak on child stars.\u003c/p>\n\u003cp>America has become less inclined to revel in the misery of celebrities and more inclined to offer support. In 2017, when Katy Perry publicly made \u003ca href=\"https://www.usmagazine.com/entertainment/news/katy-perry-slammed-for-britney-spears-head-shaving-grammys-comment-w466592/\" target=\"_blank\" rel=\"noopener noreferrer\">multiple digs\u003c/a> at Britney's head-shaving moment—a perfectly acceptable joke ten years prior—the public perceived Perry as an insensitive bully and quickly rushed to Brit's defense. #KatyPerryIsOverParty started trending on Twitter almost immediately.\u003c/p>\n\u003cp>With hindsight, it's possible that the 2007 crucifixion of Britney prompted the first steps America took away from making fun of troubled stars. In the throes of her breakdown, as other late-night hosts made jokes at her expense, Craig Ferguson used his \u003ca href=\"https://www.youtube.com/watch?v=yGLzpt3caHw\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Late Late Show\u003c/em> monologue\u003c/a> to share a Britney-related revelation. Initially, his studio audience didn't quite get it. \"She clearly needs help,\" he said, eliciting laughs from the crowd. \"It's not funny,\" he emphasized. \"You can embarrass someone to death.\"\u003c/p>\n\u003cp>It's remarkable how much Ferguson got right that night. \"I’m starting to feel uncomfortable making fun of these people,\" he said. \"For me, comedy should have a certain amount of joy in it. It should be about us attacking the powerful people, the politicians, and the Trumps, and the blowhards. We shouldn’t be attacking the vulnerable people.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thankfully, in 2019, far fewer people are.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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"info": "",
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