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"content": "\u003cp>Nine (very long!) years after her last solo tour, Robyn is back in the Bay Area to play two sold-out shows at Oakland's Fox Theater. Here's a play-by-play of what the opening night was like.\u003c/p>\n\u003cp>\u003cstrong>6:30 pm:\u003c/strong> On the BART ride over, you think about how you almost didn't make it, thanks to Sun Country (the Fyre Festival of airlines) delaying your flight numerous times earlier in the day. But you never worried too much. The universe wouldn't let you stand up Robyn.\u003c/p>\n\u003cp>\u003cstrong>6:35 pm:\u003c/strong> You also think about the first time you saw Robyn in concert. It was \u003ca href=\"https://www.youtube.com/watch?v=UVy7kDx69g0\">2008 at Bimbo's\u003c/a> in North Beach. You were front row, right under Robyn's nostrils, because the fanbase was much smaller back then. Fast forward to 2019, when Robyn sells out a huge venue so quickly, she is forced to add a second night to accommodate her adoring public.\u003c/p>\n\u003cp>\u003cstrong>6:45 pm: \u003c/strong>That's not the only thing that's changed since 2008. In a full-circle moment, your Bimbo's date is also your date tonight. Back then, both of you were basically babies. Now, you find your friend breastfeeding her own baby in the backseat of her car, which you promptly christen The Lactation Mobile™.\u003c/p>\n\u003cp>\u003cstrong>6:48 pm:\u003c/strong> Her husband zooms off with the little one because mommy and her friend have some serious dancing to do.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>7 - 8 pm: \u003c/strong>Redacted conversations about starting a cult, work-life balance and strippers named Billy and Silk.\u003c/p>\n\u003cp>\u003cstrong>8:25 pm:\u003c/strong> In the security line, you start to get nervous about something you're trying to smuggle in. No, nothing illicit. That's more of a 2008 move. This time, it's all about mini pickles and salted almonds. Hey, don't knock it 'til you've tried it! Sometimes, you need a bit of protein and sodium mid booty bounce!\u003c/p>\n\u003cp>\u003cstrong>8:35 pm:\u003c/strong> You celebrate successfully sneaking your snacks in, as well as finding a view unobstructed by tall people. You realize you are that tall person for someone else. You slouch a little as penance.\u003c/p>\n\u003cp>\u003cstrong>9:10 pm:\u003c/strong> The stage glows to reveal what heaven would look like if a Swedish person designed it. Gossamer pieces of white organza float over a minimal and serene scene, which includes a random sculpture of two hands holding a foot (or maybe it's a piece of bleached coral to raise awareness around rising sea temperatures?). Hard to say, but there's no time to figure it out because the music is starting!\u003c/p>\n\u003cp>\u003cstrong>9:11 pm:\u003c/strong> A sparkly chime and throbbing synth introduce the night's first song, \"Send to Robyn Immediately.\" You think it's an odd kick-off choice, but has Robyn ever led you astray? Never once! She knows best. You decide to just enjoy the ride.\u003c/p>\n\u003cp>\u003cstrong>9:12 pm:\u003c/strong> Robyn's disembodied voice pleads with you, \"Baby forgive me....\" as if apologizing for taking such a long hiatus between albums. Based on how everyone in the room instantly transforms into screaming Beatles fans circa 1964, the consensus is that all is forgiven, and then some.\u003c/p>\n\u003cp>\u003cstrong>9:14 pm:\u003c/strong> Halfway through the song, Robyn is still not on stage. You ask your friend, \"What if she never comes out and just sings from backstage for two hours?\" You both decide she would be able to get away with something like that.\u003c/p>\n\u003cp>\u003cstrong>9:15 pm:\u003c/strong> Finally, there's movement in Swedish Heaven! Robyn walks to the center of the stage and stands there for a long time, silent, allowing us to bask in her silhouette. She is the epitome of extra and you wouldn't have her any other way.\u003c/p>\n\u003cp>\u003cstrong>9:16 pm:\u003c/strong> The spotlight hits Robyn to reveal a Fembot-esque look—silver knee-high boots and a matching dress with dark sequined nipples. #FreeTheNipple! #Nipplegate2019! \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\">#JusticeForJanet!\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>9:17 pm:\u003c/strong> Everything takes a golden hue and Robyn instructs, \"Baby, I have what you want. Come get your honey.\" Your feelings are best expressed via these visuals of Winnie the Pooh sticking his entire head inside a honey pot.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-109698\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/d314a5189b3f7d3e36f47629471fea16.jpg\" alt=\"\" width=\"600\" height=\"460\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/02/d314a5189b3f7d3e36f47629471fea16.jpg 635w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/d314a5189b3f7d3e36f47629471fea16-160x123.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-109699\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-1020x615.jpg\" alt=\"\" width=\"600\" height=\"362\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-1020x615.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-800x482.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-768x463.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-1200x723.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot.jpg 1792w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>9:19 pm:\u003c/strong> Robyn's voice sounds as clear as it did back in the '90s. You think about how your love for her music has outlasted so many other loves in your life. You feel grateful.\u003c/p>\n\u003cp>\u003cstrong>9:22 pm:\u003c/strong> It's time to travel back in time to 2010 with \u003cem>Body Talk \u003c/em>one-two punch \"Indestructible\" and \"Hang With Me.\" The crowd is starting to get their groove on. Someone accidentally steps on you. Another person spills something on your shoe. But it's impossible to get mad with this much love in the air. It's like we're all in a polyamorous relationship with Robyn. We share her and never get jealous.\u003c/p>\n\u003cp>\u003cstrong>9:34 pm: \u003c/strong>Time for more time-travel! This time, we skip forward to 2020 with \"Beach2k20,\" a song that you initially hated because it reminded you of the video game music that plays while you're selecting a Mario Kart character (#YoshiOrPeachForTheWin!). But you've grown to love living inside the song's spare, after-hours samba fantasy.\u003c/p>\n\u003cp>\u003cstrong>9:39 pm:\u003c/strong> While it took some time for \"Beach2k20\" to grow on you, \"Ever Again\" spread like that rash you got from a hostel in Prague that one time. Everyone shouts \"Never gonna be brokenhearted! Ever again!\" with the knowledge that the incantation will probably not hold true, but in this moment, you're willing it to be true and that's enough.\u003c/p>\n\u003cp>\u003cstrong>9:46 pm:\u003c/strong> You notice that a lot of people around you don't know the words to \"Be Mine!\" off of Robyn's 2005 self-titled album. So maybe that's why they didn't let out a huge gasp when Robyn yanked down a hanging piece of fabric while singing, \"You had your arm around what's-her-name. She had on that scarf I gave you!\"\u003c/p>\n\u003cp>\u003cstrong>9:53 pm:\u003c/strong> Robyn disappears and a gorgeous male dancer takes her place, contorting, gliding, back-bending all over the stage. You and pretty much everyone else appreciates it because you all are either artsy or gay or both.\u003c/p>\n\u003cp>\u003cstrong>09:58 pm:\u003c/strong> You remember your cup full of smuggled mini pickles and almonds! You and your friend proceed to gobble them all up.\u003c/p>\n\u003cp>\u003cstrong>10:01 pm:\u003c/strong> Robyn returns wearing a black lace number with a large bow in her hair, its ribbon ends falling down her back. The power that this accessory has cannot be overstated. More and more, it seems as though Robyn has one singular mission with this tour and everything else she's ever done and ever will do:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-109708\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/tenor-5.gif\" alt=\"\" width=\"498\" height=\"280\">\u003c/p>\n\u003cp>\u003cstrong>10:08 pm:\u003c/strong> Some fans have had trouble falling in love with the less anthemic, more chilled out side of \u003cem>Honey\u003c/em>. But one look at how much fun Robyn has performing songs like \"Because It's In The Music\" and \"Between the Lines\" is enough to get everyone on board.\u003c/p>\n\u003cp>\u003cstrong>10:13 pm:\u003c/strong> Your friend leans over and says, \"I don't do drugs, but Robyn makes me want to start.\"\u003c/p>\n\u003cp>\u003cstrong>10:14 pm:\u003c/strong> You lean over and say, \"It's like we're all individual brain cells in Robyn's mind after she's taken a hit of molly.\"\u003c/p>\n\u003cp>\u003cb>10:15 pm: \u003c/b>Continuing the trend of stoner thoughts, you plead the case that Robyn's method approach to performances makes her the Daniel Day-Lewis of pop music. Your friend goes along with your theory because she's kind.\u003c/p>\n\u003cp>\u003cstrong>10:24 pm: \u003c/strong>During non-album track \"\u003ca href=\"https://www.youtube.com/watch?v=xOGFdCWC5ls\">Love Is Free\u003c/a>,\" Robyn holds her hands over the crowd as if she's a rave priestess compelling us all to exorcise our demons through manic dancing. We obey.\u003c/p>\n\u003cp>\u003cstrong>10:31 pm:\u003c/strong> The moment everyone has been waiting for arrives! It's time to dance on our own! You're in a happy relationship, but tap into your lonely, yet self-sufficient past self.\u003c/p>\n\u003cp>\u003cstrong>10:33 pm:\u003c/strong> After one verse, Robyn pauses, as if to give us space to consider all we've been through since we first fell in love with this song and to marvel at how much we've all grown.\u003c/p>\n\u003cp>\u003cstrong>10:34 pm:\u003c/strong> You and the others fill the silence by singing the pained chorus:\u003cem> I'm in the corner, watching you kiss her, ohhhhh! I'm right over here, why can't you see me, ohhhhh! \u003c/em>It's a magical moment and you fight back tears because you're already the dude holding a cup of mini pickles; you don't want to be the \u003cem>crying\u003c/em> dude holding a cup of mini pickles.\u003c/p>\n\u003cp>\u003cstrong>10:36 pm:\u003c/strong> You barely catch your breath before Robyn wallops you with another banger, \"Missing U.\" And just when you think things can't get any more euphoric, Robyn throws \"Call Your Girlfriend\" in your face. You think back to the time you pulled your back out while attempting the choreography from the music video, unofficially entering the Guinness Book of World Records for Gayest Injury Ever. You wonder if Robyn is going to pull out those dance moves tonight.\u003c/p>\n\u003cp>\u003cstrong>10:41 pm:\u003c/strong> SHE DOES! FULL-ON BACK ROLL INTO A FLOOR HUMP! EVERYONE LOSES IT!\u003c/p>\n\u003cp>\u003cstrong>10:43 pm:\u003c/strong> There is so much love floating around, it feels like the entire theater is inside a Care Bear Stare.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-16937\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/06/CareBearLove.gif\" alt=\"\" width=\"495\" height=\"220\">\u003c/p>\n\u003cp>\u003cstrong>10:44 pm:\u003c/strong> You can tell Robyn feels it too when she flashes heart hands during \"With Every Heartbeat.\" You felt cheesy when you did this at \u003ca href=\"https://www.kqed.org/pop/103547/taylor-swifts-reputation-tour-this-timeline-will-make-you-feel-like-you-were-there\">that Taylor Swift concert\u003c/a>, but there is zero shame here.\u003c/p>\n\u003cp>\u003cstrong>10:45 pm:\u003c/strong> You think of the time you described Robyn's music as \"a scab falling off.\" You still believe it.\u003c/p>\n\u003cp>\u003cstrong>10:46 pm:\u003c/strong> Polka-dot-covered balloons appear out of nowhere because Robyn is trying to drown you to death with flood after flood of endorphins.\u003c/p>\n\u003cp>\u003cstrong>10:47 pm:\u003c/strong> You and your friend make a pact to be each other's dates to every Robyn concert from now until the end of time. You imagine this will be one of the easiest promises to keep.\u003c/p>\n\u003cp>\u003cstrong>10:48 pm:\u003c/strong> During the final song of the night—a cover of Kindness' \"Who Do You Love?\"—Robyn asks, \"Who do you love, Oakland?\" The answer is obvious.\u003c/p>\n\u003cp>\u003cstrong>10:49 pm:\u003c/strong> You think about how you've loved this woman and her art since the '90s and how some loves are forever. Robyn is that person you can't remember not knowing, the one you might not always be in touch with, but can fall back in a groove with like no time has passed. That anchoring kind of love.\u003c/p>\n\u003cp>\u003cstrong>10:50 pm:\u003c/strong> You realize that, when you share these thoughts in a blog post tomorrow, people will mistakenly believe that you were on something. The reality is less scandalous:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-109713\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/i-just-have-a-lot-of-feelings-mean-girls.gif\" alt=\"\" width=\"700\" height=\"394\">\u003c/p>\n\u003cp>\u003cstrong>10:59 pm:\u003c/strong> On your way out of the theater, you consider buying some merch, but decide the memory is enough. You think to yourself, \u003cem>Until next time, Robyn!\u003c/em> and start making your way back home. Everything is wonderful and nothing hurts.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Honey Tour Set List\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\"Send to Robyn Immediately\"\u003cbr>\n\"Honey\"\u003cbr>\n\"Indestructible\"\u003cbr>\n\"Hang With Me\"\u003cbr>\n\"Beach2k20\"\u003cbr>\n\"Ever Again\"\u003cbr>\n\"Be Mine!\"\u003cbr>\n\"Because It’s In The Music\"\u003cbr>\n\"Between the Lines\"\u003cbr>\n\"Love Is Free\"\u003cbr>\n\"Dancing on My Own\"\u003cbr>\n\"Missing U\"\u003cbr>\n\"Call Your Girlfriend\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Encore:\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp style=\"text-align: center\">\"Human Being\"\u003cbr>\n\"With Every Heartbeat\"\u003cbr>\n\"Who Do You Love?\"\u003c/p>\n\n",
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"excerpt": "Robyn played two sold-out shows in the Bay Area this week. Here's a play-by-play of what it was like.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nine (very long!) years after her last solo tour, Robyn is back in the Bay Area to play two sold-out shows at Oakland's Fox Theater. Here's a play-by-play of what the opening night was like.\u003c/p>\n\u003cp>\u003cstrong>6:30 pm:\u003c/strong> On the BART ride over, you think about how you almost didn't make it, thanks to Sun Country (the Fyre Festival of airlines) delaying your flight numerous times earlier in the day. But you never worried too much. The universe wouldn't let you stand up Robyn.\u003c/p>\n\u003cp>\u003cstrong>6:35 pm:\u003c/strong> You also think about the first time you saw Robyn in concert. It was \u003ca href=\"https://www.youtube.com/watch?v=UVy7kDx69g0\">2008 at Bimbo's\u003c/a> in North Beach. You were front row, right under Robyn's nostrils, because the fanbase was much smaller back then. Fast forward to 2019, when Robyn sells out a huge venue so quickly, she is forced to add a second night to accommodate her adoring public.\u003c/p>\n\u003cp>\u003cstrong>6:45 pm: \u003c/strong>That's not the only thing that's changed since 2008. In a full-circle moment, your Bimbo's date is also your date tonight. Back then, both of you were basically babies. Now, you find your friend breastfeeding her own baby in the backseat of her car, which you promptly christen The Lactation Mobile™.\u003c/p>\n\u003cp>\u003cstrong>6:48 pm:\u003c/strong> Her husband zooms off with the little one because mommy and her friend have some serious dancing to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>7 - 8 pm: \u003c/strong>Redacted conversations about starting a cult, work-life balance and strippers named Billy and Silk.\u003c/p>\n\u003cp>\u003cstrong>8:25 pm:\u003c/strong> In the security line, you start to get nervous about something you're trying to smuggle in. No, nothing illicit. That's more of a 2008 move. This time, it's all about mini pickles and salted almonds. Hey, don't knock it 'til you've tried it! Sometimes, you need a bit of protein and sodium mid booty bounce!\u003c/p>\n\u003cp>\u003cstrong>8:35 pm:\u003c/strong> You celebrate successfully sneaking your snacks in, as well as finding a view unobstructed by tall people. You realize you are that tall person for someone else. You slouch a little as penance.\u003c/p>\n\u003cp>\u003cstrong>9:10 pm:\u003c/strong> The stage glows to reveal what heaven would look like if a Swedish person designed it. Gossamer pieces of white organza float over a minimal and serene scene, which includes a random sculpture of two hands holding a foot (or maybe it's a piece of bleached coral to raise awareness around rising sea temperatures?). Hard to say, but there's no time to figure it out because the music is starting!\u003c/p>\n\u003cp>\u003cstrong>9:11 pm:\u003c/strong> A sparkly chime and throbbing synth introduce the night's first song, \"Send to Robyn Immediately.\" You think it's an odd kick-off choice, but has Robyn ever led you astray? Never once! She knows best. You decide to just enjoy the ride.\u003c/p>\n\u003cp>\u003cstrong>9:12 pm:\u003c/strong> Robyn's disembodied voice pleads with you, \"Baby forgive me....\" as if apologizing for taking such a long hiatus between albums. Based on how everyone in the room instantly transforms into screaming Beatles fans circa 1964, the consensus is that all is forgiven, and then some.\u003c/p>\n\u003cp>\u003cstrong>9:14 pm:\u003c/strong> Halfway through the song, Robyn is still not on stage. You ask your friend, \"What if she never comes out and just sings from backstage for two hours?\" You both decide she would be able to get away with something like that.\u003c/p>\n\u003cp>\u003cstrong>9:15 pm:\u003c/strong> Finally, there's movement in Swedish Heaven! Robyn walks to the center of the stage and stands there for a long time, silent, allowing us to bask in her silhouette. She is the epitome of extra and you wouldn't have her any other way.\u003c/p>\n\u003cp>\u003cstrong>9:16 pm:\u003c/strong> The spotlight hits Robyn to reveal a Fembot-esque look—silver knee-high boots and a matching dress with dark sequined nipples. #FreeTheNipple! #Nipplegate2019! \u003ca href=\"https://www.kqed.org/pop/20175/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology\">#JusticeForJanet!\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>9:17 pm:\u003c/strong> Everything takes a golden hue and Robyn instructs, \"Baby, I have what you want. Come get your honey.\" Your feelings are best expressed via these visuals of Winnie the Pooh sticking his entire head inside a honey pot.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-109698\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/d314a5189b3f7d3e36f47629471fea16.jpg\" alt=\"\" width=\"600\" height=\"460\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/02/d314a5189b3f7d3e36f47629471fea16.jpg 635w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/d314a5189b3f7d3e36f47629471fea16-160x123.jpg 160w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter wp-image-109699\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-1020x615.jpg\" alt=\"\" width=\"600\" height=\"362\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-1020x615.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-160x96.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-800x482.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-768x463.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot-1200x723.jpg 1200w, https://ww2.kqed.org/app/uploads/sites/12/2019/02/Winnie_the_Pooh_has_his_head_stuck_in_his_honey_pot.jpg 1792w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>\u003cstrong>9:19 pm:\u003c/strong> Robyn's voice sounds as clear as it did back in the '90s. You think about how your love for her music has outlasted so many other loves in your life. You feel grateful.\u003c/p>\n\u003cp>\u003cstrong>9:22 pm:\u003c/strong> It's time to travel back in time to 2010 with \u003cem>Body Talk \u003c/em>one-two punch \"Indestructible\" and \"Hang With Me.\" The crowd is starting to get their groove on. Someone accidentally steps on you. Another person spills something on your shoe. But it's impossible to get mad with this much love in the air. It's like we're all in a polyamorous relationship with Robyn. We share her and never get jealous.\u003c/p>\n\u003cp>\u003cstrong>9:34 pm: \u003c/strong>Time for more time-travel! This time, we skip forward to 2020 with \"Beach2k20,\" a song that you initially hated because it reminded you of the video game music that plays while you're selecting a Mario Kart character (#YoshiOrPeachForTheWin!). But you've grown to love living inside the song's spare, after-hours samba fantasy.\u003c/p>\n\u003cp>\u003cstrong>9:39 pm:\u003c/strong> While it took some time for \"Beach2k20\" to grow on you, \"Ever Again\" spread like that rash you got from a hostel in Prague that one time. Everyone shouts \"Never gonna be brokenhearted! Ever again!\" with the knowledge that the incantation will probably not hold true, but in this moment, you're willing it to be true and that's enough.\u003c/p>\n\u003cp>\u003cstrong>9:46 pm:\u003c/strong> You notice that a lot of people around you don't know the words to \"Be Mine!\" off of Robyn's 2005 self-titled album. So maybe that's why they didn't let out a huge gasp when Robyn yanked down a hanging piece of fabric while singing, \"You had your arm around what's-her-name. She had on that scarf I gave you!\"\u003c/p>\n\u003cp>\u003cstrong>9:53 pm:\u003c/strong> Robyn disappears and a gorgeous male dancer takes her place, contorting, gliding, back-bending all over the stage. You and pretty much everyone else appreciates it because you all are either artsy or gay or both.\u003c/p>\n\u003cp>\u003cstrong>09:58 pm:\u003c/strong> You remember your cup full of smuggled mini pickles and almonds! You and your friend proceed to gobble them all up.\u003c/p>\n\u003cp>\u003cstrong>10:01 pm:\u003c/strong> Robyn returns wearing a black lace number with a large bow in her hair, its ribbon ends falling down her back. The power that this accessory has cannot be overstated. More and more, it seems as though Robyn has one singular mission with this tour and everything else she's ever done and ever will do:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-109708\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/tenor-5.gif\" alt=\"\" width=\"498\" height=\"280\">\u003c/p>\n\u003cp>\u003cstrong>10:08 pm:\u003c/strong> Some fans have had trouble falling in love with the less anthemic, more chilled out side of \u003cem>Honey\u003c/em>. But one look at how much fun Robyn has performing songs like \"Because It's In The Music\" and \"Between the Lines\" is enough to get everyone on board.\u003c/p>\n\u003cp>\u003cstrong>10:13 pm:\u003c/strong> Your friend leans over and says, \"I don't do drugs, but Robyn makes me want to start.\"\u003c/p>\n\u003cp>\u003cstrong>10:14 pm:\u003c/strong> You lean over and say, \"It's like we're all individual brain cells in Robyn's mind after she's taken a hit of molly.\"\u003c/p>\n\u003cp>\u003cb>10:15 pm: \u003c/b>Continuing the trend of stoner thoughts, you plead the case that Robyn's method approach to performances makes her the Daniel Day-Lewis of pop music. Your friend goes along with your theory because she's kind.\u003c/p>\n\u003cp>\u003cstrong>10:24 pm: \u003c/strong>During non-album track \"\u003ca href=\"https://www.youtube.com/watch?v=xOGFdCWC5ls\">Love Is Free\u003c/a>,\" Robyn holds her hands over the crowd as if she's a rave priestess compelling us all to exorcise our demons through manic dancing. We obey.\u003c/p>\n\u003cp>\u003cstrong>10:31 pm:\u003c/strong> The moment everyone has been waiting for arrives! It's time to dance on our own! You're in a happy relationship, but tap into your lonely, yet self-sufficient past self.\u003c/p>\n\u003cp>\u003cstrong>10:33 pm:\u003c/strong> After one verse, Robyn pauses, as if to give us space to consider all we've been through since we first fell in love with this song and to marvel at how much we've all grown.\u003c/p>\n\u003cp>\u003cstrong>10:34 pm:\u003c/strong> You and the others fill the silence by singing the pained chorus:\u003cem> I'm in the corner, watching you kiss her, ohhhhh! I'm right over here, why can't you see me, ohhhhh! \u003c/em>It's a magical moment and you fight back tears because you're already the dude holding a cup of mini pickles; you don't want to be the \u003cem>crying\u003c/em> dude holding a cup of mini pickles.\u003c/p>\n\u003cp>\u003cstrong>10:36 pm:\u003c/strong> You barely catch your breath before Robyn wallops you with another banger, \"Missing U.\" And just when you think things can't get any more euphoric, Robyn throws \"Call Your Girlfriend\" in your face. You think back to the time you pulled your back out while attempting the choreography from the music video, unofficially entering the Guinness Book of World Records for Gayest Injury Ever. You wonder if Robyn is going to pull out those dance moves tonight.\u003c/p>\n\u003cp>\u003cstrong>10:41 pm:\u003c/strong> SHE DOES! FULL-ON BACK ROLL INTO A FLOOR HUMP! EVERYONE LOSES IT!\u003c/p>\n\u003cp>\u003cstrong>10:43 pm:\u003c/strong> There is so much love floating around, it feels like the entire theater is inside a Care Bear Stare.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-16937\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/06/CareBearLove.gif\" alt=\"\" width=\"495\" height=\"220\">\u003c/p>\n\u003cp>\u003cstrong>10:44 pm:\u003c/strong> You can tell Robyn feels it too when she flashes heart hands during \"With Every Heartbeat.\" You felt cheesy when you did this at \u003ca href=\"https://www.kqed.org/pop/103547/taylor-swifts-reputation-tour-this-timeline-will-make-you-feel-like-you-were-there\">that Taylor Swift concert\u003c/a>, but there is zero shame here.\u003c/p>\n\u003cp>\u003cstrong>10:45 pm:\u003c/strong> You think of the time you described Robyn's music as \"a scab falling off.\" You still believe it.\u003c/p>\n\u003cp>\u003cstrong>10:46 pm:\u003c/strong> Polka-dot-covered balloons appear out of nowhere because Robyn is trying to drown you to death with flood after flood of endorphins.\u003c/p>\n\u003cp>\u003cstrong>10:47 pm:\u003c/strong> You and your friend make a pact to be each other's dates to every Robyn concert from now until the end of time. You imagine this will be one of the easiest promises to keep.\u003c/p>\n\u003cp>\u003cstrong>10:48 pm:\u003c/strong> During the final song of the night—a cover of Kindness' \"Who Do You Love?\"—Robyn asks, \"Who do you love, Oakland?\" The answer is obvious.\u003c/p>\n\u003cp>\u003cstrong>10:49 pm:\u003c/strong> You think about how you've loved this woman and her art since the '90s and how some loves are forever. Robyn is that person you can't remember not knowing, the one you might not always be in touch with, but can fall back in a groove with like no time has passed. That anchoring kind of love.\u003c/p>\n\u003cp>\u003cstrong>10:50 pm:\u003c/strong> You realize that, when you share these thoughts in a blog post tomorrow, people will mistakenly believe that you were on something. The reality is less scandalous:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-109713\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/i-just-have-a-lot-of-feelings-mean-girls.gif\" alt=\"\" width=\"700\" height=\"394\">\u003c/p>\n\u003cp>\u003cstrong>10:59 pm:\u003c/strong> On your way out of the theater, you consider buying some merch, but decide the memory is enough. You think to yourself, \u003cem>Until next time, Robyn!\u003c/em> and start making your way back home. Everything is wonderful and nothing hurts.\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Honey Tour Set List\u003cbr>\n\u003c/em>\u003c/p>\n\u003cp style=\"text-align: center\">\"Send to Robyn Immediately\"\u003cbr>\n\"Honey\"\u003cbr>\n\"Indestructible\"\u003cbr>\n\"Hang With Me\"\u003cbr>\n\"Beach2k20\"\u003cbr>\n\"Ever Again\"\u003cbr>\n\"Be Mine!\"\u003cbr>\n\"Because It’s In The Music\"\u003cbr>\n\"Between the Lines\"\u003cbr>\n\"Love Is Free\"\u003cbr>\n\"Dancing on My Own\"\u003cbr>\n\"Missing U\"\u003cbr>\n\"Call Your Girlfriend\"\u003c/p>\n\u003cp style=\"text-align: center\">\u003cem>Encore:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 11:36 p.m. EST\u003c/strong>\u003c/p>\n\u003cp>Director Peter Farrelly's \u003cem>Green Book\u003c/em>, about a black musician (played by Mahershala Ali) touring the segregated South with a white chauffeur (Viggo Mortensen), won the 2019 Oscar for best picture. The film also won for supporting actor (Ali) and original screenplay.\u003c/p>\n\u003cp>Below is the full list of Academy Award winners, marked in bold.\u003c/p>\n\u003cp>\u003cstrong>Best picture\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003cbr>\nBlack Panther\u003cbr>\nBohemian Rhapsody\u003cbr>\nThe Favourite\u003cbr>\n\u003c/em>\u003cstrong>\u003cem>*Green Book\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nRoma\u003cbr>\nA Star Is Born\u003cbr>\nVice\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Directing\u003c/strong>\u003c/p>\n\u003cp>Spike Lee (\u003cem>BlacKkKlansman\u003c/em>)\u003cbr>\nPaweł Pawlikowski (\u003cem>Cold War\u003c/em>)\u003cbr>\nYorgos Lanthimos (\u003cem>The Favourite\u003c/em>)\u003cbr>\n*\u003cstrong>Alfonso Cuarón (\u003c/strong>\u003cstrong>\u003cem>Roma\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nAdam McKay (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a leading role\u003c/strong>\u003c/p>\n\u003cp>Yalitza Aparicio (\u003cem>Roma\u003c/em>)\u003cbr>\nGlenn Close (\u003cem>The Wife\u003c/em>)\u003cbr>\n\u003cstrong>*Olivia Colman (\u003c/strong>\u003cstrong>\u003cem>The Favourite\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nLady Gaga (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nMelissa McCarthy (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a leading role\u003c/strong>\u003c/p>\n\u003cp>Christian Bale (\u003cem>Vice\u003c/em>)\u003cbr>\nBradley Cooper (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nWillem Dafoe (\u003cem>At Eternity's Gate\u003c/em>)\u003cbr>\n\u003cstrong>*Rami Malek (\u003c/strong>\u003cstrong>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nViggo Mortensen (\u003cem>Green Book\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actress in a supporting role\u003c/strong>\u003c/p>\n\u003cp>Amy Adams (\u003cem>Vice\u003c/em>)\u003cbr>\nMarina de Tavira (\u003cem>Roma\u003c/em>)\u003cbr>\n*\u003cstrong>Regina King (\u003c/strong>\u003cstrong>\u003cem>If Beale Street Could Talk\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nEmma Stone (\u003cem>The Favourite\u003c/em>)\u003cbr>\nRachel Weisz (\u003cem>The Favourite\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Actor in a supporting role\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>*Mahershala Ali (\u003c/strong>\u003cstrong>\u003cem>Green Book\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nAdam Driver (\u003cem>BlacKkKlansman\u003c/em>)\u003cbr>\nSam Elliott (\u003cem>A Star Is Born\u003c/em>)\u003cbr>\nRichard E. Grant (\u003cem>Can You Ever Forgive Me?\u003c/em>)\u003cbr>\nSam Rockwell (\u003cem>Vice\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Animated feature film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Incredibles 2\u003cbr>\nIsle Of Dogs\u003cbr>\nMirai\u003cbr>\nRalph Breaks The Internet\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Spider-Man: Into The Spider-Verse\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Cinematography\u003c/strong>\u003c/p>\n\u003cp>Łukasz Żal (\u003cem>Cold War\u003c/em>)\u003cbr>\nRobbie Ryan (\u003cem>The Favourite\u003c/em>)\u003cbr>\nCaleb Deschanel \u003cem>(Never Look Away)\u003cbr>\n*\u003c/em>\u003cstrong>Alfonso Cuarón\u003c/strong>\u003cstrong>\u003cem> (Roma)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Matthew Libatique \u003cem>(A Star Is Born)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Costume design\u003c/strong>\u003c/p>\n\u003cp>Mary Zophres \u003cem>(The Ballad Of Buster Scruggs)\u003cbr>\n*\u003c/em>\u003cstrong>Ruth Carter (\u003c/strong>\u003cstrong>\u003cem>Black Panther\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003cbr>\nSandy Powell (\u003cem>The Favourite\u003c/em>)\u003cbr>\nSandy Powell (\u003cem>Mary Poppins Returns\u003c/em>)\u003cbr>\nAlexandra Byrne \u003cem>(Mary Queen Of Scots)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (feature)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>*Free Solo\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nHale County This Morning, This Evening\u003cbr>\nMinding The Gap\u003cbr>\nOf Fathers And Sons\u003cbr>\nRBG\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Documentary (short subject)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Sheep\u003cbr>\nEnd Game\u003cbr>\nLifeboat\u003cbr>\nA Night At The Garden\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Period. End of Sentence.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Film editing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>BlacKkKlansman\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nThe Favourite\u003cbr>\nGreen Book\u003cbr>\nVice\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Foreign language film\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Capernaum \u003c/em>(Lebanon)\u003cbr>\n\u003cem>Cold War\u003c/em> (Poland)\u003cbr>\n\u003cem>Never Look Away\u003c/em> (Germany)\u003cbr>\n*\u003cstrong>\u003cem>Roma \u003c/em>\u003c/strong>\u003cstrong>(Mexico)\u003c/strong>\u003cbr>\n\u003cem>Shoplifters \u003c/em>(Japan)\u003c/p>\n\u003cp>\u003cstrong>Makeup and hairstyling\u003c/strong>\u003c/p>\n\u003cp>Göran Lundström and Pamela Goldammer\u003cem> (Border)\u003cbr>\n\u003c/em>Jenny Shircore, Marc Pilcher, and Jessica Brooks (\u003cem>Mary Queen Of Scots\u003c/em>)\u003cbr>\n*\u003cstrong>Greg Cannom, Kate Biscoe, and Patricia DeHaney (\u003c/strong>\u003cstrong>\u003cem>Vice\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Music (original score)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>*Ludwig Göransson (\u003c/strong>\u003cstrong>\u003cem>Black Panther)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Terence Blanchard\u003cem> (BlacKkKlansman)\u003cbr>\n\u003c/em>Nicholas Britell \u003cem>(If Beale Street Could Talk)\u003cbr>\n\u003c/em>Alexandre Desplat\u003cem> (Isle of Dogs)\u003cbr>\n\u003c/em>Marc Shaiman \u003cem>(Mary Poppins Returns)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Music (original song)\u003c/strong>\u003c/p>\n\u003cp>\"When A Cowboy Trades His Spurs For Wings\" by David Rawlings and Gillian Welch (\u003cem>The Ballad Of Buster Scruggs\u003c/em>)\u003cbr>\n\"All The Stars\" by Mark Spears (aka Sounwave), Kendrick Lamar Duckworth and Anthony Tiffith, Anthony Tiffith and Solana Rowe (aka SZA) (\u003cem>Black Panther\u003c/em>)\u003cbr>\n\"The Place Where Lost Things Go\" by Marc Shaiman and Scott Wittman (\u003cem>Mary Poppins Returns\u003c/em>)\u003cbr>\n\"I'll Fight\" by Diane Warren (\u003cem>RBG\u003c/em>)\u003cbr>\n\u003cstrong>*\"Shallow\" by Lady Gaga, Mark Ronson, Anthony Rossomando and Andrew Wyatt (\u003c/strong>\u003cstrong>\u003cem>A Star Is Born\u003c/em>\u003c/strong>\u003cstrong>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Production design\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>*Hannah Beachler and Jay Hart \u003c/strong>\u003cstrong>\u003cem>(Black Panther)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Fiona Crombie and Alice Felton \u003cem>(The Favourite)\u003cbr>\n\u003c/em>Nathan Crowley and Kathy Lucas \u003cem>(First Man)\u003cbr>\n\u003c/em>John Myhre and Gordon Sim \u003cem>(Mary Poppins Returns)\u003cbr>\n\u003c/em>Eugenio Caballero and Bárbara Enríquez \u003cem>(Roma)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (animated)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Animal Behaviour\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nLate Afternoon\u003cbr>\nOne Small Step\u003cbr>\nWeekends\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Short film (live action)\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Detainment\u003cbr>\nFauve\u003cbr>\nMarguerite\u003cbr>\nMother\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Skin\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sound editing\u003c/strong>\u003c/p>\n\u003cp>Ai-Ling Lee and Mildred Iatrou Morgan \u003cem>(First Man)\u003cbr>\n\u003c/em>Benjamin Burtt and Steve Boeddeker \u003cem>(Black Panther)\u003cbr>\n*\u003c/em>\u003cstrong>John Warhurst and Nina Hartstone \u003c/strong>\u003cstrong>\u003cem>(Bohemian Rhapsody)\u003c/em>\u003c/strong>\u003cem>\u003cbr>\n\u003c/em>Ethan Van der Ryn and Erik Aadahl \u003cem>(A Quiet Place)\u003cbr>\n\u003c/em>Sergio Díaz and Skip Lievsay \u003cem>(Roma)\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Sound mixing\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Black Panther\u003cbr>\n*\u003c/em>\u003cstrong>\u003cem>Bohemian Rhapsody\u003c/em>\u003c/strong>\u003cem>\u003cbr>\nFirst Man\u003cbr>\nRoma\u003cbr>\nA Star Is Born\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Visual effects\u003c/strong>\u003c/p>\n\u003cp>Dan DeLeeuw, Kelly Port, Russell Earl and Daniel Sudick\u003cem> (Avengers: Infinity War)\u003cbr>\n\u003c/em>Christopher Lawrence, Michael Eames, Theo Jones and Chris Corbould \u003cem>(Christopher Robin)\u003cbr>\n*\u003c/em>\u003cstrong>Paul Lambert, Ian Hunter, Tristan Myles and J.D. 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"excerpt": "'Green Book' took home the award for best picture at the 91st Academy Awards. See the complete list of winners, including the recipients for directing, best actor and best actress.",
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"disqusTitle": "'Surviving R. Kelly' Producer Dream Hampton Takes on Ecosystem That Supported the Star",
"title": "'Surviving R. Kelly' Producer Dream Hampton Takes on Ecosystem That Supported the Star",
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"content": "\u003cp>Last week, reports surfaced of a \u003ca href=\"https://www.cnn.com/2019/02/18/entertainment/r-kelly-grand-jury-seated/index.html\">new videotape\u003c/a> showing singer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\">R. Kelly\u003c/a> engaging in sex acts with an underage girl. This is not the first time the R&B superstar has been accused of sexual abuse. Allegations have circled Kelly for decades; in 2002, a videotape surfaced that purportedly showed Kelly engaging in sexual acts with a teenage girl.\u003c/p>\n\u003cp>Until recently, the accusations did not seem to significantly impact Kelly's career. Though Kelly was indicted in 2002 on \u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history#indictment\">21 counts of child pornography\u003c/a>, a Chicago jury later acquitted him of all charges in 2008.\u003c/p>\n\u003cp>But activist, filmmaker and writer dream hampton isn't about to let Kelly off the hook. hampton executive produced \u003cem>Surviving R. Kelly\u003c/em>, a six-part docuseries focusing on Kelly's alleged victims and their family members. hampton says the series, which first premiered on Lifetime on Jan. 3, is currently streaming on \u003ca href=\"https://www.mylifetime.com/\">Lifetime's website \u003c/a>and will re-air on Feb. 25, is about \"centering the women.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MrJvDouqb_s\u003c/p>\n\u003cp>hampton describes an \"ecosystem\" that has supported and enabled Kelly over the years—at the expense of black women. \"There's a record industry that continued to do business with him in small and big ways,\" she says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But hampton hopes that the tide is finally turning. She notes that the grassroots \u003ca href=\"https://www.npr.org/2019/01/16/685912752/the-muterkelly-movement-takes-its-protest-to-the-steps-of-his-record-label\">#muterkelly \u003c/a>movement has raised awareness in the music industry and helped limit the radio play of Kelly's songs. Since the series aired, \u003ca href=\"https://www.npr.org/2019/01/18/686641970/r-kelly-has-been-dropped-by-rca-records-billboard-reports\">Sony Music dropped\u003c/a> Kelly and Spotify downgraded him. Still, hampton says, \"we've seen five million streams of his music happen directly after the docuseries aired, and we saw two of his songs re-chart.\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/695083431/696326012\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On allegations against R. Kelly being well-known in his hometown of Chicago\u003c/strong>\u003c/p>\n\u003cp>It's really well-known in Chicago, for generations ... He would cruise McDonald's near high schools and have someone from his team go up to a girl, get her number and she didn't have to be anything. She didn't have to have long hair or short hair. [She could] be light skinned or dark skinned and have a great body or a bad one. All she had to be was young. And so, we have lots of evidence of him cruising not only McDonald's, but then also his old high school, Kenwood Academy, which was a kind of school that was renowned for its excellent music program and choir. Sometimes as a guest sometimes just as a drop-in, he would cruise girls at his high school.\u003c/p>\n\u003cp>\u003cstrong>On the videotape that allegedly showed Kelly sexually abusing a teenage girl\u003c/strong>\u003c/p>\n\u003cp>I didn't watch it until I began making this docuseries. ... I avoided it because I thought it to be child porn just from the descriptions. But when I actually saw it, it had nothing to do with sex. It was all about barking commands at and humiliating and degrading this young, young girl.\u003c/p>\n\u003cp>She appears to be prepubescent, but we later learned that she was Sparkle's niece, and there was whole trial about that case. Sparkle was an R&B singer who lived in the studio. She was being mentored by R. Kelly. He was producing and writing her album. So, he met that victim because her aunt lived in the studio, as one does when one's recording an album, and her family, who were a family of musicians, would come by. He met her, Sparkle says, as early as 12.\u003c/p>\n\u003cp>\u003cstrong>On criticism that the survivors didn't go to the police \u003c/strong>\u003c/p>\n\u003cp>That confounds me, especially coming from black people. I really didn't know until I started reading these tweets directed at me and some of the survivors that we had some fantasy about there being some vice squad dedicated to kind of busting down doors for black girls and to save black girls.\u003c/p>\n\u003cp>We also have testimony ... about the Chicago Police Department giving R. Kelly a heads up when one of the parents, for instance, had convinced the police to do a wellness check on their daughter. At this point, she was over 18. They couldn't really make a claim, but they begged the police to at least check on their daughter and make sure that she was okay.\u003c/p>\n\u003cp>Someone in the Chicago Police Department—likely someone who worked security on their off-duty hours—called him, and told him it was happening. And they got the studio ready and got the girls out of the studio before the police arrived.\u003c/p>\n\u003cp>\u003cstrong>On a pattern in the black community of protecting black men at the expense of black women \u003c/strong>\u003c/p>\n\u003cp>We know that this system is unfair to black people—not just black men, but black people. We often rhetorically talk about black men being targeted and treated unfairly and abused in the criminal justice system—but it's black people.\u003c/p>\n\u003cp>We know what this system does to us, right? So to turn to that system for justice is itself an oxymoron. But at the same time, we have a knee-jerk reaction to protect black men, always at the expense of black women. People like bell hooks and black feminists before me have written about this and talked about this and done scholarship about this, but nothing has changed about this. ...\u003c/p>\n\u003cp>So this is something that we see generation after generation, and R. Kelly has a particular kind of love, which acts as a currency in the black community. He is singularly an R&B artist. He makes black music for black people ... and he has used that love as a cover.\u003c/p>\n\u003cp>\u003cstrong>On R. Kelly being sexually abused himself as a child \u003c/strong>\u003c/p>\n\u003cp>What R. Kelly was as a child was raped and molested. He uses the word \"molested.\" ... So he has some kind of understanding. ... [People on his team] knew that he was abused. Many of them there were Chicago-based people who knew that family members had been abusing him as a child. That's deep trauma that needs real healing.\u003c/p>\n\u003cp>I'm not saying that at 52, which is the age R. Kelly is right now, when he has two very young women living with him, whose parents are looking for them, that there's some magical age when you are supposed to have a healing, because many people don't heal their entire lifetimes. I have childhood trauma that I'm still trying to heal and I'm five years younger than R. Kelly. ...\u003c/p>\n\u003cp>It's cliché to say, but almost all abusers have been abused, but not all people who have been abused become abusers. So there comes a time when R. Kelly is absolutely responsible for the harm that he's caused.\u003c/p>\n\u003cp>\u003cstrong>On why she wants to do this work \u003c/strong>\u003c/p>\n\u003cp>When I started writing about hip-hop as a 19-year-old film student in New York, I was calling out the misogyny and the violence against women. And I'm sad to say I don't feel that there's been too much progress made.\u003c/p>\n\u003cp>I come from all-black Detroit city and I live and breathe in black spaces. And I want them to be safe not just for my daughter and me, but [also for] black women who don't want that safety for themselves, who've internalized the misogyny and don't \u003cem>think\u003c/em> that they deserve the safety and justice that they deserve.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Surviving+R.+Kelly%27+Producer+Dream+Hampton+Takes+On+Ecosystem+That+Supported+The+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, reports surfaced of a \u003ca href=\"https://www.cnn.com/2019/02/18/entertainment/r-kelly-grand-jury-seated/index.html\">new videotape\u003c/a> showing singer \u003ca href=\"https://www.npr.org/artists/156679430/r-kelly\">R. Kelly\u003c/a> engaging in sex acts with an underage girl. This is not the first time the R&B superstar has been accused of sexual abuse. Allegations have circled Kelly for decades; in 2002, a videotape surfaced that purportedly showed Kelly engaging in sexual acts with a teenage girl.\u003c/p>\n\u003cp>Until recently, the accusations did not seem to significantly impact Kelly's career. Though Kelly was indicted in 2002 on \u003ca href=\"https://www.npr.org/2019/01/11/683936629/r-kelly-allegations-an-abridged-history#indictment\">21 counts of child pornography\u003c/a>, a Chicago jury later acquitted him of all charges in 2008.\u003c/p>\n\u003cp>But activist, filmmaker and writer dream hampton isn't about to let Kelly off the hook. hampton executive produced \u003cem>Surviving R. Kelly\u003c/em>, a six-part docuseries focusing on Kelly's alleged victims and their family members. hampton says the series, which first premiered on Lifetime on Jan. 3, is currently streaming on \u003ca href=\"https://www.mylifetime.com/\">Lifetime's website \u003c/a>and will re-air on Feb. 25, is about \"centering the women.\"\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/MrJvDouqb_s'\n title='//www.youtube.com/embed/MrJvDouqb_s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>hampton describes an \"ecosystem\" that has supported and enabled Kelly over the years—at the expense of black women. \"There's a record industry that continued to do business with him in small and big ways,\" she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But hampton hopes that the tide is finally turning. She notes that the grassroots \u003ca href=\"https://www.npr.org/2019/01/16/685912752/the-muterkelly-movement-takes-its-protest-to-the-steps-of-his-record-label\">#muterkelly \u003c/a>movement has raised awareness in the music industry and helped limit the radio play of Kelly's songs. Since the series aired, \u003ca href=\"https://www.npr.org/2019/01/18/686641970/r-kelly-has-been-dropped-by-rca-records-billboard-reports\">Sony Music dropped\u003c/a> Kelly and Spotify downgraded him. Still, hampton says, \"we've seen five million streams of his music happen directly after the docuseries aired, and we saw two of his songs re-chart.\"\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://www.npr.org/player/embed/695083431/696326012\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On allegations against R. Kelly being well-known in his hometown of Chicago\u003c/strong>\u003c/p>\n\u003cp>It's really well-known in Chicago, for generations ... He would cruise McDonald's near high schools and have someone from his team go up to a girl, get her number and she didn't have to be anything. She didn't have to have long hair or short hair. [She could] be light skinned or dark skinned and have a great body or a bad one. All she had to be was young. And so, we have lots of evidence of him cruising not only McDonald's, but then also his old high school, Kenwood Academy, which was a kind of school that was renowned for its excellent music program and choir. Sometimes as a guest sometimes just as a drop-in, he would cruise girls at his high school.\u003c/p>\n\u003cp>\u003cstrong>On the videotape that allegedly showed Kelly sexually abusing a teenage girl\u003c/strong>\u003c/p>\n\u003cp>I didn't watch it until I began making this docuseries. ... I avoided it because I thought it to be child porn just from the descriptions. But when I actually saw it, it had nothing to do with sex. It was all about barking commands at and humiliating and degrading this young, young girl.\u003c/p>\n\u003cp>She appears to be prepubescent, but we later learned that she was Sparkle's niece, and there was whole trial about that case. Sparkle was an R&B singer who lived in the studio. She was being mentored by R. Kelly. He was producing and writing her album. So, he met that victim because her aunt lived in the studio, as one does when one's recording an album, and her family, who were a family of musicians, would come by. He met her, Sparkle says, as early as 12.\u003c/p>\n\u003cp>\u003cstrong>On criticism that the survivors didn't go to the police \u003c/strong>\u003c/p>\n\u003cp>That confounds me, especially coming from black people. I really didn't know until I started reading these tweets directed at me and some of the survivors that we had some fantasy about there being some vice squad dedicated to kind of busting down doors for black girls and to save black girls.\u003c/p>\n\u003cp>We also have testimony ... about the Chicago Police Department giving R. Kelly a heads up when one of the parents, for instance, had convinced the police to do a wellness check on their daughter. At this point, she was over 18. They couldn't really make a claim, but they begged the police to at least check on their daughter and make sure that she was okay.\u003c/p>\n\u003cp>Someone in the Chicago Police Department—likely someone who worked security on their off-duty hours—called him, and told him it was happening. And they got the studio ready and got the girls out of the studio before the police arrived.\u003c/p>\n\u003cp>\u003cstrong>On a pattern in the black community of protecting black men at the expense of black women \u003c/strong>\u003c/p>\n\u003cp>We know that this system is unfair to black people—not just black men, but black people. We often rhetorically talk about black men being targeted and treated unfairly and abused in the criminal justice system—but it's black people.\u003c/p>\n\u003cp>We know what this system does to us, right? So to turn to that system for justice is itself an oxymoron. But at the same time, we have a knee-jerk reaction to protect black men, always at the expense of black women. People like bell hooks and black feminists before me have written about this and talked about this and done scholarship about this, but nothing has changed about this. ...\u003c/p>\n\u003cp>So this is something that we see generation after generation, and R. Kelly has a particular kind of love, which acts as a currency in the black community. He is singularly an R&B artist. He makes black music for black people ... and he has used that love as a cover.\u003c/p>\n\u003cp>\u003cstrong>On R. Kelly being sexually abused himself as a child \u003c/strong>\u003c/p>\n\u003cp>What R. Kelly was as a child was raped and molested. He uses the word \"molested.\" ... So he has some kind of understanding. ... [People on his team] knew that he was abused. Many of them there were Chicago-based people who knew that family members had been abusing him as a child. That's deep trauma that needs real healing.\u003c/p>\n\u003cp>I'm not saying that at 52, which is the age R. Kelly is right now, when he has two very young women living with him, whose parents are looking for them, that there's some magical age when you are supposed to have a healing, because many people don't heal their entire lifetimes. I have childhood trauma that I'm still trying to heal and I'm five years younger than R. Kelly. ...\u003c/p>\n\u003cp>It's cliché to say, but almost all abusers have been abused, but not all people who have been abused become abusers. So there comes a time when R. Kelly is absolutely responsible for the harm that he's caused.\u003c/p>\n\u003cp>\u003cstrong>On why she wants to do this work \u003c/strong>\u003c/p>\n\u003cp>When I started writing about hip-hop as a 19-year-old film student in New York, I was calling out the misogyny and the violence against women. And I'm sad to say I don't feel that there's been too much progress made.\u003c/p>\n\u003cp>I come from all-black Detroit city and I live and breathe in black spaces. And I want them to be safe not just for my daughter and me, but [also for] black women who don't want that safety for themselves, who've internalized the misogyny and don't \u003cem>think\u003c/em> that they deserve the safety and justice that they deserve.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Thea Chaloner produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Surviving+R.+Kelly%27+Producer+Dream+Hampton+Takes+On+Ecosystem+That+Supported+The+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>With the release of her collaboration with Avril Lavigne this week, it's starting to feel like Nicki Minaj will record with just about anyone. In classic Lavigne style, \"Dumb Blonde\" is a cliché-ridden pseudo-anthem, dressed up as empowering but scrubbed so clean it's ultimately devoid of passion, power or personality. Minaj's inclusion is an after-thought; a few bars tacked onto the end of the song in what feels like a flailing bid by Lavigne to grab some street cred.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0GI2by7BMPc\u003c/p>\n\u003cp>What the hell is Minaj even doing here? Well, she says she's a Lavigne fan. Let's just hope she got paid handsomely for her 27 seconds.\u003c/p>\n\u003cp>https://twitter.com/NICKIMINAJ/status/1095080944120156160\u003c/p>\n\u003cp>\"Dumb Blonde\" is not the first time Minaj has done a collab that felt like she was phoning it in for an artist desperately trying to ride her coattails. Lest we forget she graced MySpace personality Jeffree Star's uncomfortably explicit \"Lollipop Luxury\" single back in 2009. This track was so bad, it's a miracle anyone got far enough into it to even hear Nicki robotically recite: \u003cem>\"I'm really hot, really pretty / I'm into lickin' lollipops 'til they're sticky.\" \u003c/em>Maybe that was the point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XsNZnhV7u2I\u003c/p>\n\u003cp>It just doesn't seem to take a lot to talk Minaj into showing up. Consider the fact that Robin Thicke somehow persuaded her to collaborate with him in the direct aftermath of three of his biggest professional disasters (the \"Blurred Lines\" consent controversy, the copyright infringement lawsuit and his \u003cem>Paula \u003c/em>album, which bombed all over the world, as the public realized it definitely didn't want to listen to him publicly harassing his recently estranged wife). Despite the mess he was in, mere months later, Nicki showed up to rhyme on \u003ca href=\"https://www.youtube.com/watch?v=iOgpyMzdjBM\" target=\"_blank\" rel=\"noopener noreferrer\">\"Shaking It For Daddy\"\u003c/a> (a track that didn't exactly help Thicke shed his creepy image) and \"Back Together,\" on which Minaj went to all of the trouble of rhyming the words \"\u003cem>Ring, a ring ring\u003c/em>,\" with \"\u003cem>Ding da ding ding\u003c/em>.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xqtUuHFAtzg\u003c/p>\n\u003cp>It's not the first time she's sounded like she was putting in minimal effort for a paycheck. Her guest verse on \u003ca href=\"https://www.youtube.com/watch?v=fSOpiZo1BAA\" target=\"_blank\" rel=\"noopener noreferrer\">\"Woman Like Me\"\u003c/a> by Little Mix is so lackluster, the first half barely even sounds like her. It's most fitting then, that for the accompanying video, Minaj adopted a position where she literally blends into the background; part of the furniture, not the main show, and perfectly fine with it.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fSOpiZo1BAA\u003c/p>\n\u003cp>One gets the sense that it was probably the easiest thing for everyone involved, especially when you consider what happens when Minaj's featured verses make the artist look mediocre by comparison. Nowhere has this been more obvious than on Bebe Rexha's \"No More Broken Hearts,\" a plodding, snooze-fest of a song that slaps you awake only when Minaj arrives, almost three minutes in.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XoiEkEuCWog\u003c/p>\n\u003cp>Even worse than that are the occasions when it feels like Minaj is invited for her name, not her style. By the time David Guetta's \u003ca href=\"https://www.youtube.com/watch?v=YVw7eJ0vGfM\" target=\"_blank\" rel=\"noopener noreferrer\">\"Turn Me On\"\u003c/a> was released, it had been wiped (save for that one crackin' line about chiropractors) of every single thing that actually makes Nicki Minaj special. Which begs the question: why bother?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YVw7eJ0vGfM\u003c/p>\n\u003cp>It's true that Minaj has the power to show up for seconds on pop tracks and immediately elevate them, as she did so well on Justin Bieber's \u003ca href=\"https://www.youtube.com/watch?v=Ys7-6_t7OEQ\" target=\"_blank\" rel=\"noopener noreferrer\">\"Beauty and the Beat,\"\u003c/a> Madonna's \u003ca href=\"https://www.youtube.com/watch?v=7hPMmzKs62w\" target=\"_blank\" rel=\"noopener noreferrer\">\"Bitch, I'm Madonna\"\u003c/a> and even on Fergie's \u003ca href=\"https://www.youtube.com/watch?v=-Ifnaxi2LQg\" target=\"_blank\" rel=\"noopener noreferrer\">\"You Already Know.\"\u003c/a> But for every one of her great collabs, there's a track where she has a verse tacked on for reasons that make zero creative sense for anyone involved. Take, for example, her part on Joe Jonas's \u003cem>Fifty Shades\u003c/em> soundtrack contribution, \"Bom Bidi Bom.\" Who does this help exactly?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J6MApmi0qdQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>No one is disputing Nicki Minaj's essential place in hip-hop or her extraordinary talent. But if she keeps up the non-stop featured spots on other people's tracks, whether she fits the bill or not, Nicki Minaj is increasingly at risk of becoming the human equivalent of the \u003ca href=\"https://www.kqed.org/pop/94015/product-placement-in-music-videos-is-so-out-of-hand-we-dont-know-whats-real-anymore\" target=\"_blank\" rel=\"noopener noreferrer\">Beats Pill\u003c/a>, popping up so often and so randomly in music videos, it ceases to mean anything. Making money while you're at the top of your game is one thing. Doing things for a quick buck that might knock you off your pedestal is quite another. It's high time Nicki Minaj started focusing on quality over ubiquity.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>With the release of her collaboration with Avril Lavigne this week, it's starting to feel like Nicki Minaj will record with just about anyone. In classic Lavigne style, \"Dumb Blonde\" is a cliché-ridden pseudo-anthem, dressed up as empowering but scrubbed so clean it's ultimately devoid of passion, power or personality. Minaj's inclusion is an after-thought; a few bars tacked onto the end of the song in what feels like a flailing bid by Lavigne to grab some street cred.\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/0GI2by7BMPc'\n title='//www.youtube.com/embed/0GI2by7BMPc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What the hell is Minaj even doing here? Well, she says she's a Lavigne fan. Let's just hope she got paid handsomely for her 27 seconds.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\"Dumb Blonde\" is not the first time Minaj has done a collab that felt like she was phoning it in for an artist desperately trying to ride her coattails. Lest we forget she graced MySpace personality Jeffree Star's uncomfortably explicit \"Lollipop Luxury\" single back in 2009. This track was so bad, it's a miracle anyone got far enough into it to even hear Nicki robotically recite: \u003cem>\"I'm really hot, really pretty / I'm into lickin' lollipops 'til they're sticky.\" \u003c/em>Maybe that was the point.\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/XsNZnhV7u2I'\n title='//www.youtube.com/embed/XsNZnhV7u2I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It just doesn't seem to take a lot to talk Minaj into showing up. Consider the fact that Robin Thicke somehow persuaded her to collaborate with him in the direct aftermath of three of his biggest professional disasters (the \"Blurred Lines\" consent controversy, the copyright infringement lawsuit and his \u003cem>Paula \u003c/em>album, which bombed all over the world, as the public realized it definitely didn't want to listen to him publicly harassing his recently estranged wife). Despite the mess he was in, mere months later, Nicki showed up to rhyme on \u003ca href=\"https://www.youtube.com/watch?v=iOgpyMzdjBM\" target=\"_blank\" rel=\"noopener noreferrer\">\"Shaking It For Daddy\"\u003c/a> (a track that didn't exactly help Thicke shed his creepy image) and \"Back Together,\" on which Minaj went to all of the trouble of rhyming the words \"\u003cem>Ring, a ring ring\u003c/em>,\" with \"\u003cem>Ding da ding ding\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/xqtUuHFAtzg'\n title='//www.youtube.com/embed/xqtUuHFAtzg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's not the first time she's sounded like she was putting in minimal effort for a paycheck. Her guest verse on \u003ca href=\"https://www.youtube.com/watch?v=fSOpiZo1BAA\" target=\"_blank\" rel=\"noopener noreferrer\">\"Woman Like Me\"\u003c/a> by Little Mix is so lackluster, the first half barely even sounds like her. It's most fitting then, that for the accompanying video, Minaj adopted a position where she literally blends into the background; part of the furniture, not the main show, and perfectly fine with it.\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/fSOpiZo1BAA'\n title='//www.youtube.com/embed/fSOpiZo1BAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One gets the sense that it was probably the easiest thing for everyone involved, especially when you consider what happens when Minaj's featured verses make the artist look mediocre by comparison. Nowhere has this been more obvious than on Bebe Rexha's \"No More Broken Hearts,\" a plodding, snooze-fest of a song that slaps you awake only when Minaj arrives, almost three minutes in.\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/XoiEkEuCWog'\n title='//www.youtube.com/embed/XoiEkEuCWog'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even worse than that are the occasions when it feels like Minaj is invited for her name, not her style. By the time David Guetta's \u003ca href=\"https://www.youtube.com/watch?v=YVw7eJ0vGfM\" target=\"_blank\" rel=\"noopener noreferrer\">\"Turn Me On\"\u003c/a> was released, it had been wiped (save for that one crackin' line about chiropractors) of every single thing that actually makes Nicki Minaj special. Which begs the question: why bother?\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/YVw7eJ0vGfM'\n title='//www.youtube.com/embed/YVw7eJ0vGfM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's true that Minaj has the power to show up for seconds on pop tracks and immediately elevate them, as she did so well on Justin Bieber's \u003ca href=\"https://www.youtube.com/watch?v=Ys7-6_t7OEQ\" target=\"_blank\" rel=\"noopener noreferrer\">\"Beauty and the Beat,\"\u003c/a> Madonna's \u003ca href=\"https://www.youtube.com/watch?v=7hPMmzKs62w\" target=\"_blank\" rel=\"noopener noreferrer\">\"Bitch, I'm Madonna\"\u003c/a> and even on Fergie's \u003ca href=\"https://www.youtube.com/watch?v=-Ifnaxi2LQg\" target=\"_blank\" rel=\"noopener noreferrer\">\"You Already Know.\"\u003c/a> But for every one of her great collabs, there's a track where she has a verse tacked on for reasons that make zero creative sense for anyone involved. Take, for example, her part on Joe Jonas's \u003cem>Fifty Shades\u003c/em> soundtrack contribution, \"Bom Bidi Bom.\" Who does this help exactly?\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/J6MApmi0qdQ'\n title='//www.youtube.com/embed/J6MApmi0qdQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>No one is disputing Nicki Minaj's essential place in hip-hop or her extraordinary talent. But if she keeps up the non-stop featured spots on other people's tracks, whether she fits the bill or not, Nicki Minaj is increasingly at risk of becoming the human equivalent of the \u003ca href=\"https://www.kqed.org/pop/94015/product-placement-in-music-videos-is-so-out-of-hand-we-dont-know-whats-real-anymore\" target=\"_blank\" rel=\"noopener noreferrer\">Beats Pill\u003c/a>, popping up so often and so randomly in music videos, it ceases to mean anything. Making money while you're at the top of your game is one thing. Doing things for a quick buck that might knock you off your pedestal is quite another. It's high time Nicki Minaj started focusing on quality over ubiquity.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Grammys Don't Have a Hip-Hop Problem. The Grammys Have a Grammy Problem",
"title": "The Grammys Don't Have a Hip-Hop Problem. The Grammys Have a Grammy Problem",
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"content": "\u003cp>Hip-hop pulled a Marlo on the Grammys this year.\u003c/p>\n\u003cp>In a classic scene from season 4 of \u003cem>The Wire\u003c/em>, the HBO crime drama that used one city's drug epidemic to expose the institutional collapse of America, Marlo Stanfield, a young, ambitious kingpin disrupting the natural order of things, provokes a two-bit security officer to anger by stealing candy from the convenience store he's charged with guarding. When the officer steps to the young man, frustrated beyond belief that he would make such a boldfaced move in the officer's presence, Marlo stares him dead in the eye.\u003c/p>\n\u003cp>\"You want it to be one way,\" \u003ca href=\"https://www.youtube.com/watch?v=409Pjtq7jzY\">he tells\u003c/a> the rent-a-cop. \"But it's the other way.\"\u003c/p>\n\u003cp>The week before the Grammy Awards telecast, show producer Ken Ehrlich blamed the Grammys' ongoing loss of cultural relevance on a lack of diversity within the industry. \"The fact of the matter is, we continue to have a problem in the hip-hop world,\" \u003ca href=\"https://www.nytimes.com/2019/02/07/arts/music/grammy-awards-diversity.html\">he told\u003c/a> \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>Not even close. While Ehrlich acknowledges that something is broken, his diagnosis still centers the Grammys as the industry's dominant purveyor of culture. This isn't merely a problem of competing worldviews. The Grammys don't have a hip-hop problem; the Grammys \u003cem>are \u003c/em>the problem. If last year was \u003ca href=\"https://www.npr.org/sections/therecord/2018/01/29/581529319/same-old-rap-the-grammys-race-toward-irrelevance\">the tipping point\u003c/a>, this year the final shoe dropped: With Nielsen numbers to boot, hip-hop has proven it needs the Grammys less than the Grammys need it. Three of the genre's most impactful artists of the last year—Drake, Kendrick Lamar and Childish Gambino—all declined the invitation to perform. And it's going to take more than one night of mild course correction to fix the decades-old disconnect of an institution mired in America's racial and cultural politics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Recording Academy knows this. It's evident in the genuine but ultimately ineffectual markers of progress that highlight the Academy's attempt to address its systemic issues: Cardi B becoming the first woman to win best rap album; the most popular artist of the decade, Drake, getting to accept his Grammy during the actual telecast instead of off-air per the usual for winners of best rap song; \"This Is America\" becoming the first rap song to snag song of the year and record of the year recognition.\u003c/p>\n\u003cp>Yet, everything happening on stage exists in an alternate reality from the universe hip-hop occupies. Travis Scott, who created a meticulous work of grand scope and vision in his album and tour \u003cem>Astroworld\u003c/em>, was literally caged during his Grammy performance. The Grammy problem, as it should be labeled, is a deeper divide to cross than handing out a few key awards or performance invites can bridge. Forget those classically contrived Grammy Moments, in which the telecast pairs together acts of varying genres or generations. Let's look, instead, at two major moments during the telecast that the Grammys tried desperately to avoid. Both illustrate how far the Academy has to go to retain any semblance of relevance in this new world order, and both find opposing figures on rap's spectrum of success—Childish Gambino and Drake—embodying the Marlo effect.\u003c/p>\n\u003cp>Despite scoring unprecedented Grammy wins with his potent hit \"This Is America,\" Gambino's conspicuous absence delivered a bigger message Sunday night. In a night full of messaging—like the carefully crafted theme of women's empowerment sewn throughout the show to redress Academy president Neil Portnow's gender-biased comments from last year—corporate America had a better finger on the pulse of pop culture. Hip-hop was better represented during commercials than it was on the actual Grammy stage. (Childish Gambino, Cardi B, 2 Chainz and others pitched ads for the likes of Google's Pixel 3 Playmoji, Expensify and Pepsi.)\u003c/p>\n\u003cp>Despite all the awards \"This Is America\" won (including the only one it truly deserved: Best Music Video), it's clear that the Academy (and much of America) still hasn't deciphered its meaning. It's a song about how black bodies are treated as commodities in this country, how black trauma is violently exploited, how black culture is co-opted as a distraction from and an abstraction of America's anti-blackness. For Childish Gambino to show up to \"music's biggest night\" and accept an award—or perform the song on the Grammy stage, complete with shirtless choreography—would have totally compromised the message and intent of \"This Is America.\"\u003c/p>\n\u003cp>When Childish Gambino's producer and long-time collaborator, Ludwig Göransson, accepted the record of the year award in Gambino's absence, Göransson said, \"['This Is America'] calls out injustice, celebrates life and reunites us all at the same time.\" He then thanked the many rappers featured on the song, including 21 Savage, whose detainment one week ago by ICE helped highlight how another broken institution—the nation's immigration system—plagues predominantly on people of color.\u003c/p>\n\u003cp>Institutions like the Grammys are the essence of America that Childish Gambino is critiquing. After 40 years of denying hip-hop its just due—the same four decades during which Ehrlich has been producing the show—it's going to take more than one year of incrementalism to do away with the structural forces that got us here.\u003c/p>\n\u003cp>Overall, hip-hop's no-show was less a protest than the culture collectively looking an institution that has historically ignored its impact dead in the face while stealing its candy. That message came loudest from the unlikeliest of messengers: \"I definitely did not think I was winning anything,\" Drake said, surprising viewers by accepting his award in person before giving a speech that spoke directly to his peers and the huge gap separating institutions like the Grammys and hip-hop's annual class. \"This is a business where sometimes it's up to a bunch of people who might not understand what a mixed race kid from Canada has to say\"—he said, referring to himself—\"or a fly Spanish girl from New York or anybody else\"—nodding to Cardi B—\"or a brother from Houston right there, my brother Travis [Scott].\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=57AqIJLId-0\u003c/p>\n\u003cp>\"You've already won if you have people singing your songs word for word, if you're a hero in your hometown,\" he continued. \"Look, if there's people who have regular jobs who are coming out in the rain, in the snow, spending their hard earned money to buy tickets to come to your shows, you don't need this right here. I promise you, you already won.\" It's a speech that the Academy and many watching at home needed to hear. Instead, show producers cut Drake off without even the benefit of wrap-up music.\u003c/p>\n\u003cp>The thing that connects these two responses—Gambino's no-show and Drake's show-out—is that both are inspired by the same dominant will, something few black artists have had the freedom to express without recoiling from industry backlash over the past century. For most of its existence, the Grammys has occupied the prejudicial throne of determining what art and culture and music best sounds like. Artists on the margins had to learn to code switch to get in where they fit. Now that hip-hop artists—and other historically marginalized voices—have flipped the script on all that hegemony, it's past time for the Academy to learn a new language.\u003c/p>\n\u003cp>While the award show has never existed as a bubble unto itself, it blew up this year at a moment in which ideas around white supremacy, \u003ca href=\"https://www.npr.org/2019/02/06/691989587/virginia-ag-says-he-dressed-as-a-rapper-and-wore-brown-makeup-at-a-1980-party\">the unmasking of blackface\u003c/a>, conversations on cultural appropriation and the rights to exploit particular forms of music have all resurfaced with a vengeance. For Gambino's sake, coming to the Grammys would have netted him nothing. He crafted a song and starred in a video that exposed how much America cares about black people when they're making art but how little America cares about black people when they're dying. Then there's Drake, a pop phenomenon whose star power is only possible as a result of his conscious effort to choose profitability over politics.\u003c/p>\n\u003cp>In either case, they're both profound examples of the world hip-hop has created of its own accord. The Academy shouldn't take these no-shows or show-outs personally; even if it did what purpose would it serve? What happened on Sunday night was not a protest in the tradition of what occurred exactly 30 years ago, when artists nominated in rap's first-ever Grammy recognition \u003ca href=\"https://www.nytimes.com/2016/02/11/arts/music/the-boycott-before-rap-and-resentment-at-the-1989-grammys.html\">boycotted the event\u003c/a> because the revolution wasn't televised. It wasn't even the spirited middle finger for which hip-hop is so notorious. This was hip-hop's message in a bottle, acknowledging that the dynamic has shifted, the tables have turned, the throne has been abdicated and the culture is too busy ruling its own domain to be bothered to show up for the annual retirement party.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The Grammys want it to be one way, but it's the other way. This is hip-hop's show now. Whether hip-hop shows up or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"http://www.npr.org\">NPR.org\u003c/a>\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hip-hop pulled a Marlo on the Grammys this year.\u003c/p>\n\u003cp>In a classic scene from season 4 of \u003cem>The Wire\u003c/em>, the HBO crime drama that used one city's drug epidemic to expose the institutional collapse of America, Marlo Stanfield, a young, ambitious kingpin disrupting the natural order of things, provokes a two-bit security officer to anger by stealing candy from the convenience store he's charged with guarding. When the officer steps to the young man, frustrated beyond belief that he would make such a boldfaced move in the officer's presence, Marlo stares him dead in the eye.\u003c/p>\n\u003cp>\"You want it to be one way,\" \u003ca href=\"https://www.youtube.com/watch?v=409Pjtq7jzY\">he tells\u003c/a> the rent-a-cop. \"But it's the other way.\"\u003c/p>\n\u003cp>The week before the Grammy Awards telecast, show producer Ken Ehrlich blamed the Grammys' ongoing loss of cultural relevance on a lack of diversity within the industry. \"The fact of the matter is, we continue to have a problem in the hip-hop world,\" \u003ca href=\"https://www.nytimes.com/2019/02/07/arts/music/grammy-awards-diversity.html\">he told\u003c/a> \u003cem>The New York Times\u003c/em>.\u003c/p>\n\u003cp>Not even close. While Ehrlich acknowledges that something is broken, his diagnosis still centers the Grammys as the industry's dominant purveyor of culture. This isn't merely a problem of competing worldviews. The Grammys don't have a hip-hop problem; the Grammys \u003cem>are \u003c/em>the problem. If last year was \u003ca href=\"https://www.npr.org/sections/therecord/2018/01/29/581529319/same-old-rap-the-grammys-race-toward-irrelevance\">the tipping point\u003c/a>, this year the final shoe dropped: With Nielsen numbers to boot, hip-hop has proven it needs the Grammys less than the Grammys need it. Three of the genre's most impactful artists of the last year—Drake, Kendrick Lamar and Childish Gambino—all declined the invitation to perform. And it's going to take more than one night of mild course correction to fix the decades-old disconnect of an institution mired in America's racial and cultural politics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Recording Academy knows this. It's evident in the genuine but ultimately ineffectual markers of progress that highlight the Academy's attempt to address its systemic issues: Cardi B becoming the first woman to win best rap album; the most popular artist of the decade, Drake, getting to accept his Grammy during the actual telecast instead of off-air per the usual for winners of best rap song; \"This Is America\" becoming the first rap song to snag song of the year and record of the year recognition.\u003c/p>\n\u003cp>Yet, everything happening on stage exists in an alternate reality from the universe hip-hop occupies. Travis Scott, who created a meticulous work of grand scope and vision in his album and tour \u003cem>Astroworld\u003c/em>, was literally caged during his Grammy performance. The Grammy problem, as it should be labeled, is a deeper divide to cross than handing out a few key awards or performance invites can bridge. Forget those classically contrived Grammy Moments, in which the telecast pairs together acts of varying genres or generations. Let's look, instead, at two major moments during the telecast that the Grammys tried desperately to avoid. Both illustrate how far the Academy has to go to retain any semblance of relevance in this new world order, and both find opposing figures on rap's spectrum of success—Childish Gambino and Drake—embodying the Marlo effect.\u003c/p>\n\u003cp>Despite scoring unprecedented Grammy wins with his potent hit \"This Is America,\" Gambino's conspicuous absence delivered a bigger message Sunday night. In a night full of messaging—like the carefully crafted theme of women's empowerment sewn throughout the show to redress Academy president Neil Portnow's gender-biased comments from last year—corporate America had a better finger on the pulse of pop culture. Hip-hop was better represented during commercials than it was on the actual Grammy stage. (Childish Gambino, Cardi B, 2 Chainz and others pitched ads for the likes of Google's Pixel 3 Playmoji, Expensify and Pepsi.)\u003c/p>\n\u003cp>Despite all the awards \"This Is America\" won (including the only one it truly deserved: Best Music Video), it's clear that the Academy (and much of America) still hasn't deciphered its meaning. It's a song about how black bodies are treated as commodities in this country, how black trauma is violently exploited, how black culture is co-opted as a distraction from and an abstraction of America's anti-blackness. For Childish Gambino to show up to \"music's biggest night\" and accept an award—or perform the song on the Grammy stage, complete with shirtless choreography—would have totally compromised the message and intent of \"This Is America.\"\u003c/p>\n\u003cp>When Childish Gambino's producer and long-time collaborator, Ludwig Göransson, accepted the record of the year award in Gambino's absence, Göransson said, \"['This Is America'] calls out injustice, celebrates life and reunites us all at the same time.\" He then thanked the many rappers featured on the song, including 21 Savage, whose detainment one week ago by ICE helped highlight how another broken institution—the nation's immigration system—plagues predominantly on people of color.\u003c/p>\n\u003cp>Institutions like the Grammys are the essence of America that Childish Gambino is critiquing. After 40 years of denying hip-hop its just due—the same four decades during which Ehrlich has been producing the show—it's going to take more than one year of incrementalism to do away with the structural forces that got us here.\u003c/p>\n\u003cp>Overall, hip-hop's no-show was less a protest than the culture collectively looking an institution that has historically ignored its impact dead in the face while stealing its candy. That message came loudest from the unlikeliest of messengers: \"I definitely did not think I was winning anything,\" Drake said, surprising viewers by accepting his award in person before giving a speech that spoke directly to his peers and the huge gap separating institutions like the Grammys and hip-hop's annual class. \"This is a business where sometimes it's up to a bunch of people who might not understand what a mixed race kid from Canada has to say\"—he said, referring to himself—\"or a fly Spanish girl from New York or anybody else\"—nodding to Cardi B—\"or a brother from Houston right there, my brother Travis [Scott].\"\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/57AqIJLId-0'\n title='//www.youtube.com/embed/57AqIJLId-0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"You've already won if you have people singing your songs word for word, if you're a hero in your hometown,\" he continued. \"Look, if there's people who have regular jobs who are coming out in the rain, in the snow, spending their hard earned money to buy tickets to come to your shows, you don't need this right here. I promise you, you already won.\" It's a speech that the Academy and many watching at home needed to hear. Instead, show producers cut Drake off without even the benefit of wrap-up music.\u003c/p>\n\u003cp>The thing that connects these two responses—Gambino's no-show and Drake's show-out—is that both are inspired by the same dominant will, something few black artists have had the freedom to express without recoiling from industry backlash over the past century. For most of its existence, the Grammys has occupied the prejudicial throne of determining what art and culture and music best sounds like. Artists on the margins had to learn to code switch to get in where they fit. Now that hip-hop artists—and other historically marginalized voices—have flipped the script on all that hegemony, it's past time for the Academy to learn a new language.\u003c/p>\n\u003cp>While the award show has never existed as a bubble unto itself, it blew up this year at a moment in which ideas around white supremacy, \u003ca href=\"https://www.npr.org/2019/02/06/691989587/virginia-ag-says-he-dressed-as-a-rapper-and-wore-brown-makeup-at-a-1980-party\">the unmasking of blackface\u003c/a>, conversations on cultural appropriation and the rights to exploit particular forms of music have all resurfaced with a vengeance. For Gambino's sake, coming to the Grammys would have netted him nothing. He crafted a song and starred in a video that exposed how much America cares about black people when they're making art but how little America cares about black people when they're dying. Then there's Drake, a pop phenomenon whose star power is only possible as a result of his conscious effort to choose profitability over politics.\u003c/p>\n\u003cp>In either case, they're both profound examples of the world hip-hop has created of its own accord. The Academy shouldn't take these no-shows or show-outs personally; even if it did what purpose would it serve? What happened on Sunday night was not a protest in the tradition of what occurred exactly 30 years ago, when artists nominated in rap's first-ever Grammy recognition \u003ca href=\"https://www.nytimes.com/2016/02/11/arts/music/the-boycott-before-rap-and-resentment-at-the-1989-grammys.html\">boycotted the event\u003c/a> because the revolution wasn't televised. It wasn't even the spirited middle finger for which hip-hop is so notorious. This was hip-hop's message in a bottle, acknowledging that the dynamic has shifted, the tables have turned, the throne has been abdicated and the culture is too busy ruling its own domain to be bothered to show up for the annual retirement party.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Grammys want it to be one way, but it's the other way. This is hip-hop's show now. Whether hip-hop shows up or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"http://www.npr.org\">NPR.org\u003c/a>\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Why the New Michael Jackson Documentary Won’t Have the Impact ‘Surviving R. Kelly’ Did",
"headTitle": "Why the New Michael Jackson Documentary Won’t Have the Impact ‘Surviving R. Kelly’ Did | KQED",
"content": "\u003cp>If anyone ever needed a reminder of the awesome power of documentaries, \u003cem>Surviving R. Kelly\u003c/em> provided a particularly impactful one. Since the docuseries aired, Kelly has been \u003ca href=\"https://www.nytimes.com/2019/01/18/arts/music/r-kelly-rca-sony.html?smid=fb-nytimes&smtyp=cur&fbclid=IwAR36M8K7oo1nozw-gfuI7s5cfThQVjSgfWng_CeHaIm82a11_RhtBKY1z5Q\">dropped\u003c/a> by RCA, \u003ca href=\"https://www.kqed.org/pop/108417/lady-gaga-needs-to-talk-about-r-kelly\">denounced\u003c/a> by former collaborators, become the focus of one investigation in Georgia, another into his studio in Chicago, seen his ex-manager served with an arrest warrant, and had his music banned by at least two radio stations. After years of dodged bullets, \u003cem>Surviving R. Kelly\u003c/em> brought about a major shift in how the world views the R&B star.\u003c/p>\n\u003cp>[aside postid=arts_13938155]A new documentary about Michael Jackson, titled \u003ca href=\"https://www.sundance.org/projects/leaving-neverland\">\u003cem>Leaving Neverland\u003c/em>\u003c/a>, is hoping to prompt a similar change, by exploring the stories of two men who say Jackson sexually abused them. “Through gut-wrenching interviews with the now-adult men and their families,” the film’s press release states, “\u003cem>Leaving Neverland\u003c/em> crafts a portrait of sustained exploitation and deception, documenting the power of celebrity that allowed a revered figure to infiltrate the lives of starstruck children and their parents.”\u003c/p>\n\u003cp>The two-part, four-hour film by director \u003ca href=\"https://www.imdb.com/name/nm0715371/\">Dan Reed\u003c/a>, premiered at Sundance over the weekend and will air on HBO in the spring. Weeks ago, news that it even existed was greeted with strong condemnation by Jackson’s estate, which said: “This is yet another lurid production in an outrageous and pathetic attempt to exploit and cash in on Michael Jackson.”\u003c/p>\n\u003cp>Jackson’s nephew Taj spoke out on Twitter:\u003c/p>\n\u003cp>https://twitter.com/tajjackson3/status/1083465977587654657?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1083465977587654657&ref_url=https%3A%2F%2Fmadamenoire.com%2F1055879%2Ffinding-neverland%2F\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jackson supporters were also quick to respond. “I’m absolutely sick of it,” says British fan, Charlotte Childs. “The man was found innocent! I didn’t blindly accept that; I did my research and read the court transcripts. There’s a lot of stuff going on in the fan community right now—petitions and rebuttal videos are in the works.”\u003c/p>\n\u003cp>A couple of them surfaced before the film did. One accused \u003cem>Leaving Neverland\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=yuba-G87YMo\">of defamation\u003c/a>. Another—\u003ca href=\"https://www.youtube.com/watch?v=o6kHPJhA1kk\">a movie trailer parody\u003c/a>—called Jackson’s prior accusers “blatant liars.” Pressure was so great on Sundance that, weeks in advance, the festival was forced to release a statement to confirm it \u003ca href=\"https://www.indiewire.com/2019/01/sundance-michael-jackson-child-abuse-doc-leaving-neverland-fan-protests-1202035204/\">would not be removing\u003c/a> the documentary from its lineup. It also provided an increased police presence at the first screening, in anticipation of protesters.\u003c/p>\n\u003cp>[aside postid=pop_109856]Jackson fans have a history of leaping to his defense fiercely and fast. And there are a lot of them. You’d be hard pressed to find a musician whose work is as universally loved as Michael Jackson’s. His impact was so enormous, it’s fairly difficult to find anyone between the ages of 25 and 75 who doesn’t, in some way, have an emotional connection to his music. In the end, if the rumors about him are proven true—and some viewers at \u003cem>Leaving Neverland\u003c/em>‘s premiere were \u003ca href=\"https://twitter.com/AmyKinLA/status/1088949957195776000\">definitely leaning in that direction\u003c/a>—it will be a pop culture loss the likes of which we’ve never seen before.\u003c/p>\n\u003cp>Jackson cuts a more sympathetic figure than most famous men who’ve come under the #MeToo microscope, in part because he is no longer alive, and because, when he was, he was frequently viewed as a vulnerable victim of both press and circumstance. Two musicians I interviewed about \u003cem>Leaving Neverland\u003c/em> before its release both separately used the phrase “easy target” in relation to Jackson and the accusations made against him.\u003c/p>\n\u003cp>And while Jackson and R. Kelly both suffered difficult, abusive childhoods, in adulthood, Jackson made sure we never stopped thinking about his. He cultivated an image of a man-child; isolated, sensitive and given neither the opportunity to reach adulthood on his own terms nor a chance to grow into a truly independent, free person.\u003c/p>\n\u003cp>The publication of his 1988 autobiography, \u003cem>Moon Walk\u003c/em>, established an ever-present pain in Jackson’s persona and subsequently left behind a residue of public guilt. If he hadn’t spent his childhood over-worked and on tour, the story went, he wouldn’t need an amusement park and a zoo at his house as an adult. The implication is that the fault of his eccentric behavior and habits lies, at least partially, with a public who adored him too much.\u003c/p>\n\u003cp>[aside postid=pop_16314]Some of the elements of Jackson’s persona were specifically designed to elicit this response in fans. In a recent \u003ca href=\"https://www.vanityfair.com/culture/2009/09/michael-jackson200909\">\u003cem>Vanity Fair\u003c/em> story\u003c/a>, journalist and longtime friend Lisa Robinson talks of Jackson’s “two voices he could produce at will.” One was the gentle squeak he used for public appearances, the other was, in Robinson’s words “lower,” “more ‘normal’,” and reserved for private conversations.\u003c/p>\n\u003cp>Interestingly, Robinson’s story reflects exactly how the public most likes to think about Jackson. It focuses on a catalogue of interviews that she conducted with him between 1972 and 1989 (four years before the first child molestation trial). What happened in Jackson’s life after those interviews is summed up in a single paragraph:\u003c/p>\n\u003cblockquote>\u003cp>“Before the onstage crotch grabbing, before the disfiguring plastic surgeries, before the peculiar disguises, before the suspect marriages, before the mysteriously conceived children, before the rumored drug addictions and insomnia, and even before…the hospital stays, the alleged family estrangements, the profligate spending, the grotesque tchotchke hoarding, the over-the-top fantasyland ranch…and certainly way before the child-molestation accusations and trial, Michael Jackson was one of the most talented, adorable, enthusiastic, sweet, ebullient performers I’d ever interviewed.”\u003c/p>\u003c/blockquote>\n\u003cp>That’s the Michael Jackson the world most fondly, and often, remembers. Because for almost 20 years, he was simply one of the greatest talents the world had ever seen. When your great first impression lasts two decades, people are able to hold onto it, regardless of what comes later.\u003c/p>\n\u003cp>The result of that is that Michael Jackson has never really fallen out of favor. Just this month, fashion giant \u003ca href=\"https://www.vogue.com/article/louis-vuitton-mens-fall-2019-paris-virgil-abloh-michael-jackson\">Louis Vuitton honored Jackson\u003c/a> in a special runway show that attendees were invited to via bedazzled, single white gloves. One of January’s most popular viral videos was that of UCLA gymnast, Katelyn Ohashi, \u003ca href=\"https://www.kqed.org/pop/108600/katelyn-ohashis-gymnastics-routine-is-the-energy-we-need-in-2019\">performing an exhilarating routine\u003c/a> soundtracked by Michael Jackson and his siblings. \u003ca href=\"https://thrillerlive.com/\">\u003cem>Thriller Live, \u003c/em>\u003c/a>an MJ musical, is now enjoying its “record-breaking” tenth year in the heart of London’s theater district.\u003c/p>\n\u003cp>This is all despite the horrifying allegations that were made during the 2005 trial—sleepovers with children, Jackson giving them wine (apparently nicknamed \u003ca href=\"https://www.eonline.com/news/44546/michael-jackson-s-jesus-juice\">“Jesus Juice”\u003c/a> and “Jesus Blood”), “triple-locked \u003ca href=\"https://www.telegraph.co.uk/news/2016/06/22/michael-jackson-stashed-pictures-of-animal-torture-and-nude-chil/\">secret closets”\u003c/a> and, most shocking of all, “\u003ca href=\"https://www.dailymail.co.uk/news/article-3653380/Michael-Jackson-s-secret-underage-sex-closet-Inside-raid-uncovered-King-Pop-s-extensive-collection-photos-featuring-naked-teenage-boys.html\">an extensive collection of photos featuring naked teenage boys\u003c/a>.” The crowds outside the courthouse were \u003ca href=\"https://vimeo.com/273631968?fbclid=IwAR2W1SoYQdlrazEOX0r5YDPtkYF-940-ToTDyDmQFFi_gDYNf742EmtgQpc\">unwavering in their dedication\u003c/a> to Jackson at the time, and many of them remain so today.\u003c/p>\n\u003cp>“I look at it this way,” Las Vegas fan, Chris King says. “Corey Feldman has been a pedophile exposer now for years. No mention of Michael. Macaulay Culkin has been out of the spotlight for 15 years and \u003ca href=\"https://www.instagram.com/p/BstTcWRgZt_/?fbclid=IwAR1saxhJaiIvPXwAfTDKo_m7eTNW9mcsvLkLTPDEQwys9R54QC2DZDKtFNY\">not a peep from him\u003c/a> either. Going back to childhood, I never believed it.”\u003c/p>\n\u003cp>[aside postid=arts_13901400]Another lifelong fan, who asked to remain anonymous, acknowledged that she doesn’t hold Jackson accountable in the same way she does other musicians. “I flip out that Drake is texting a 13-year-old girl, and I think R. Kelly is a monster, but I know I’ve also victim-shamed the kids that accused Michael. Which is crazy. When the first trial happened, I saw it as an attack on my idol. It happened at a time when public information was a lot more limited, so I essentially went on my gut and the verdict. It’s much easier to go with the things that back up my faith in him, and believe this was about those kids needing money than it is to accept what I don’t want to hear.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Just how many people will avoid \u003cem>Leaving Neverland\u003c/em> for those same reasons is impossible to predict. But the response it received before the emergence of so much as a trailer, speaks volumes about our nation’s relationship with both Michael Jackson, and, more generally, America’s musical heroes. It’s clear that, regardless of what comes out in the film, there are a great many people who will keep Michael Jackson firmly on his pedestal, whether he deserves it or not.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If anyone ever needed a reminder of the awesome power of documentaries, \u003cem>Surviving R. Kelly\u003c/em> provided a particularly impactful one. Since the docuseries aired, Kelly has been \u003ca href=\"https://www.nytimes.com/2019/01/18/arts/music/r-kelly-rca-sony.html?smid=fb-nytimes&smtyp=cur&fbclid=IwAR36M8K7oo1nozw-gfuI7s5cfThQVjSgfWng_CeHaIm82a11_RhtBKY1z5Q\">dropped\u003c/a> by RCA, \u003ca href=\"https://www.kqed.org/pop/108417/lady-gaga-needs-to-talk-about-r-kelly\">denounced\u003c/a> by former collaborators, become the focus of one investigation in Georgia, another into his studio in Chicago, seen his ex-manager served with an arrest warrant, and had his music banned by at least two radio stations. After years of dodged bullets, \u003cem>Surviving R. Kelly\u003c/em> brought about a major shift in how the world views the R&B star.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>A new documentary about Michael Jackson, titled \u003ca href=\"https://www.sundance.org/projects/leaving-neverland\">\u003cem>Leaving Neverland\u003c/em>\u003c/a>, is hoping to prompt a similar change, by exploring the stories of two men who say Jackson sexually abused them. “Through gut-wrenching interviews with the now-adult men and their families,” the film’s press release states, “\u003cem>Leaving Neverland\u003c/em> crafts a portrait of sustained exploitation and deception, documenting the power of celebrity that allowed a revered figure to infiltrate the lives of starstruck children and their parents.”\u003c/p>\n\u003cp>The two-part, four-hour film by director \u003ca href=\"https://www.imdb.com/name/nm0715371/\">Dan Reed\u003c/a>, premiered at Sundance over the weekend and will air on HBO in the spring. Weeks ago, news that it even existed was greeted with strong condemnation by Jackson’s estate, which said: “This is yet another lurid production in an outrageous and pathetic attempt to exploit and cash in on Michael Jackson.”\u003c/p>\n\u003cp>Jackson’s nephew Taj spoke out on Twitter:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jackson supporters were also quick to respond. “I’m absolutely sick of it,” says British fan, Charlotte Childs. “The man was found innocent! I didn’t blindly accept that; I did my research and read the court transcripts. There’s a lot of stuff going on in the fan community right now—petitions and rebuttal videos are in the works.”\u003c/p>\n\u003cp>A couple of them surfaced before the film did. One accused \u003cem>Leaving Neverland\u003c/em> \u003ca href=\"https://www.youtube.com/watch?v=yuba-G87YMo\">of defamation\u003c/a>. Another—\u003ca href=\"https://www.youtube.com/watch?v=o6kHPJhA1kk\">a movie trailer parody\u003c/a>—called Jackson’s prior accusers “blatant liars.” Pressure was so great on Sundance that, weeks in advance, the festival was forced to release a statement to confirm it \u003ca href=\"https://www.indiewire.com/2019/01/sundance-michael-jackson-child-abuse-doc-leaving-neverland-fan-protests-1202035204/\">would not be removing\u003c/a> the documentary from its lineup. It also provided an increased police presence at the first screening, in anticipation of protesters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Jackson fans have a history of leaping to his defense fiercely and fast. And there are a lot of them. You’d be hard pressed to find a musician whose work is as universally loved as Michael Jackson’s. His impact was so enormous, it’s fairly difficult to find anyone between the ages of 25 and 75 who doesn’t, in some way, have an emotional connection to his music. In the end, if the rumors about him are proven true—and some viewers at \u003cem>Leaving Neverland\u003c/em>‘s premiere were \u003ca href=\"https://twitter.com/AmyKinLA/status/1088949957195776000\">definitely leaning in that direction\u003c/a>—it will be a pop culture loss the likes of which we’ve never seen before.\u003c/p>\n\u003cp>Jackson cuts a more sympathetic figure than most famous men who’ve come under the #MeToo microscope, in part because he is no longer alive, and because, when he was, he was frequently viewed as a vulnerable victim of both press and circumstance. Two musicians I interviewed about \u003cem>Leaving Neverland\u003c/em> before its release both separately used the phrase “easy target” in relation to Jackson and the accusations made against him.\u003c/p>\n\u003cp>And while Jackson and R. Kelly both suffered difficult, abusive childhoods, in adulthood, Jackson made sure we never stopped thinking about his. He cultivated an image of a man-child; isolated, sensitive and given neither the opportunity to reach adulthood on his own terms nor a chance to grow into a truly independent, free person.\u003c/p>\n\u003cp>The publication of his 1988 autobiography, \u003cem>Moon Walk\u003c/em>, established an ever-present pain in Jackson’s persona and subsequently left behind a residue of public guilt. If he hadn’t spent his childhood over-worked and on tour, the story went, he wouldn’t need an amusement park and a zoo at his house as an adult. The implication is that the fault of his eccentric behavior and habits lies, at least partially, with a public who adored him too much.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Some of the elements of Jackson’s persona were specifically designed to elicit this response in fans. In a recent \u003ca href=\"https://www.vanityfair.com/culture/2009/09/michael-jackson200909\">\u003cem>Vanity Fair\u003c/em> story\u003c/a>, journalist and longtime friend Lisa Robinson talks of Jackson’s “two voices he could produce at will.” One was the gentle squeak he used for public appearances, the other was, in Robinson’s words “lower,” “more ‘normal’,” and reserved for private conversations.\u003c/p>\n\u003cp>Interestingly, Robinson’s story reflects exactly how the public most likes to think about Jackson. It focuses on a catalogue of interviews that she conducted with him between 1972 and 1989 (four years before the first child molestation trial). What happened in Jackson’s life after those interviews is summed up in a single paragraph:\u003c/p>\n\u003cblockquote>\u003cp>“Before the onstage crotch grabbing, before the disfiguring plastic surgeries, before the peculiar disguises, before the suspect marriages, before the mysteriously conceived children, before the rumored drug addictions and insomnia, and even before…the hospital stays, the alleged family estrangements, the profligate spending, the grotesque tchotchke hoarding, the over-the-top fantasyland ranch…and certainly way before the child-molestation accusations and trial, Michael Jackson was one of the most talented, adorable, enthusiastic, sweet, ebullient performers I’d ever interviewed.”\u003c/p>\u003c/blockquote>\n\u003cp>That’s the Michael Jackson the world most fondly, and often, remembers. Because for almost 20 years, he was simply one of the greatest talents the world had ever seen. When your great first impression lasts two decades, people are able to hold onto it, regardless of what comes later.\u003c/p>\n\u003cp>The result of that is that Michael Jackson has never really fallen out of favor. Just this month, fashion giant \u003ca href=\"https://www.vogue.com/article/louis-vuitton-mens-fall-2019-paris-virgil-abloh-michael-jackson\">Louis Vuitton honored Jackson\u003c/a> in a special runway show that attendees were invited to via bedazzled, single white gloves. One of January’s most popular viral videos was that of UCLA gymnast, Katelyn Ohashi, \u003ca href=\"https://www.kqed.org/pop/108600/katelyn-ohashis-gymnastics-routine-is-the-energy-we-need-in-2019\">performing an exhilarating routine\u003c/a> soundtracked by Michael Jackson and his siblings. \u003ca href=\"https://thrillerlive.com/\">\u003cem>Thriller Live, \u003c/em>\u003c/a>an MJ musical, is now enjoying its “record-breaking” tenth year in the heart of London’s theater district.\u003c/p>\n\u003cp>This is all despite the horrifying allegations that were made during the 2005 trial—sleepovers with children, Jackson giving them wine (apparently nicknamed \u003ca href=\"https://www.eonline.com/news/44546/michael-jackson-s-jesus-juice\">“Jesus Juice”\u003c/a> and “Jesus Blood”), “triple-locked \u003ca href=\"https://www.telegraph.co.uk/news/2016/06/22/michael-jackson-stashed-pictures-of-animal-torture-and-nude-chil/\">secret closets”\u003c/a> and, most shocking of all, “\u003ca href=\"https://www.dailymail.co.uk/news/article-3653380/Michael-Jackson-s-secret-underage-sex-closet-Inside-raid-uncovered-King-Pop-s-extensive-collection-photos-featuring-naked-teenage-boys.html\">an extensive collection of photos featuring naked teenage boys\u003c/a>.” The crowds outside the courthouse were \u003ca href=\"https://vimeo.com/273631968?fbclid=IwAR2W1SoYQdlrazEOX0r5YDPtkYF-940-ToTDyDmQFFi_gDYNf742EmtgQpc\">unwavering in their dedication\u003c/a> to Jackson at the time, and many of them remain so today.\u003c/p>\n\u003cp>“I look at it this way,” Las Vegas fan, Chris King says. “Corey Feldman has been a pedophile exposer now for years. No mention of Michael. Macaulay Culkin has been out of the spotlight for 15 years and \u003ca href=\"https://www.instagram.com/p/BstTcWRgZt_/?fbclid=IwAR1saxhJaiIvPXwAfTDKo_m7eTNW9mcsvLkLTPDEQwys9R54QC2DZDKtFNY\">not a peep from him\u003c/a> either. Going back to childhood, I never believed it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Another lifelong fan, who asked to remain anonymous, acknowledged that she doesn’t hold Jackson accountable in the same way she does other musicians. “I flip out that Drake is texting a 13-year-old girl, and I think R. Kelly is a monster, but I know I’ve also victim-shamed the kids that accused Michael. Which is crazy. When the first trial happened, I saw it as an attack on my idol. It happened at a time when public information was a lot more limited, so I essentially went on my gut and the verdict. It’s much easier to go with the things that back up my faith in him, and believe this was about those kids needing money than it is to accept what I don’t want to hear.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Just how many people will avoid \u003cem>Leaving Neverland\u003c/em> for those same reasons is impossible to predict. But the response it received before the emergence of so much as a trailer, speaks volumes about our nation’s relationship with both Michael Jackson, and, more generally, America’s musical heroes. It’s clear that, regardless of what comes out in the film, there are a great many people who will keep Michael Jackson firmly on his pedestal, whether he deserves it or not.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Normally, the bookers of the Super Bowl halftime performance don't have a lot of trouble finding talent for the big show. Superstars like Bruce Springsteen, Prince, Beyoncé have all performed. But for this year's upcoming game, nailing down a halftime act hasn't been so easy.\u003c/p>\n\u003cp>In the months leading up to the February game, one high profile act after another—\u003ca href=\"https://www.npr.org/artists/16318474/jay-z\">Jay-Z\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15757248/rihanna\">Rihanna\u003c/a>, \u003ca href=\"https://www.npr.org/tags/553487166/cardi-b\">Cardi B\u003c/a>—rejected the NFL's offer to perform. Each artist rejected the gig to stand in solidarity with \u003ca href=\"https://www.npr.org/tags/492089918/colin-kaepernick\">Colin Kaepernick\u003c/a>, the former San Francisco 49ers quarterback who knelt during the national anthem in 2016 in protest of racial injustice in America and subsequently \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/16/557974123/kaepernick-files-grievance-saying-nfl-owners-conspired-to-shut-him-out\">filed a grievance\u003c/a> against the NFL in 2017 alleging that they colluded to keep him out of the league because of his protests. The NFL \u003ca href=\"https://www.billboard.com/articles/news/super-bowl/8493272/nfl-confirms-maroon-5-travis-scott-big-boi-to-perform-at-super-bowl\">confirmed\u003c/a> on Jan. 13 that pop band \u003ca href=\"https://www.npr.org/artists/16149128/maroon-5\">Maroon 5\u003c/a> would be the halftime performers and would be joined by rappers \u003ca href=\"https://www.npr.org/artists/636279269/travis-scott\">Travis Scott\u003c/a> and \u003ca href=\"https://www.npr.org/2018/10/05/654733071/big-boi-tiny-desk-concert\">Big Boi\u003c/a>.\u003c/p>\n\u003cp>NPR Music hip-hop journalist Rodney Carmichael points out that with the NFL holding the Super Bowl in Atlanta this year, organizers lost out on a great opportunity to make the halftime performance an Atlanta-themed show because of the amount of hip-hop artists who stand in solidarity with Kaepernick.\u003c/p>\n\u003cp>\"In a lot of ways, it says what we already know, which is that hip-hop is cooler than the Super Bowl,\" Carmichael says. \"Jay-Z made this point. He said now that rap is the most consumed genre in America, artists don't really need the halftime show to play stadiums.\"\u003c/p>\n\u003cp>Certain artists making the decision not to perform also shows that they know their core audience is rooting for Kaepernick as well.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\"It's not just a political play if you think about it,\" Carmichael continues. \"Playing that stage, it really has the potential to hit black artists in the pocket, especially if they lose cool points with their fans.\"\u003c/p>\n\u003cp>A \u003ca href=\"https://www.change.org/p/maroon-5-drop-out-of-the-super-bowl-halftime-show\">Change.org petition\u003c/a> that started in November 2018 asked Maroon 5 to back out of the performance. That same petition has now been updated to ask the members of Maroon 5, Travis Scott and Big Boi to take a knee during the halftime show. To date, the petition has over 80,000 signatures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Super Bowl LIII takes place Sunday, Feb. 3, 2019 in Atlana.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Even+With+Rappers+Set+To+Perform%2C+Super+Bowl%27s+Halftime+Show+Remains+Tone-Deaf+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\"It's not just a political play if you think about it,\" Carmichael continues. \"Playing that stage, it really has the potential to hit black artists in the pocket, especially if they lose cool points with their fans.\"\u003c/p>\n\u003cp>A \u003ca href=\"https://www.change.org/p/maroon-5-drop-out-of-the-super-bowl-halftime-show\">Change.org petition\u003c/a> that started in November 2018 asked Maroon 5 to back out of the performance. That same petition has now been updated to ask the members of Maroon 5, Travis Scott and Big Boi to take a knee during the halftime show. To date, the petition has over 80,000 signatures.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Super Bowl LIII takes place Sunday, Feb. 3, 2019 in Atlana.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Even+With+Rappers+Set+To+Perform%2C+Super+Bowl%27s+Halftime+Show+Remains+Tone-Deaf+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Exactly a year after\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/15/578138269/the-cranberries-dolores-o-riordan-dies-at-46\"> the death\u003c/a> of \u003ca href=\"https://www.npr.org/artists/147196091/the-cranberries\">Cranberries\u003c/a> singer Dolores O'Riordan, the band's surviving members have unveiled \"All Over Now\"—the first material released from the Irish band's eighth and final album \u003cem>In the End, \u003c/em>set for release in April\u003cem>.\u003cbr>\n\u003c/em>\u003cbr>\nThe song has the stately, lovely feel of a Cranberries staple, weighed down and made somber by O'Riordan's repetition of the titular refrain: \"It's all over now.\"\u003c/p>\n\u003cp>\"All Over Now\" and \u003cem>In the End\u003c/em> were both in the works prior to O'Riordan's untimely passing. The band had started the recording process in 2017, cutting a demo with completed vocals by O'Riordan by the end of the year. Plans to complete the album were postponed after her death, but in a statement released on The Cranberries' website, the band explained the motivation behind finishing the album.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=237&v=AG1LGI0Gf_Y\u003c/p>\n\u003cp>\"As time passed, we began to think about how we might best honour our close friend and bandmate,\" the band wrote. \"This was a very painful process. We remembered how Dolores had been so energised by the prospect of making this record and getting back out on the road to play the songs live, and realised that the most meaningful thing to do was to finish the album we had started with her. We felt that this is what she would want. We spoke with Dolores' family and they agreed.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Year+After+Dolores+O%27Riordan%27s+Death%2C+The+Cranberries+Unveil+%27All+Over+Now%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Exactly a year after\u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/01/15/578138269/the-cranberries-dolores-o-riordan-dies-at-46\"> the death\u003c/a> of \u003ca href=\"https://www.npr.org/artists/147196091/the-cranberries\">Cranberries\u003c/a> singer Dolores O'Riordan, the band's surviving members have unveiled \"All Over Now\"—the first material released from the Irish band's eighth and final album \u003cem>In the End, \u003c/em>set for release in April\u003cem>.\u003cbr>\n\u003c/em>\u003cbr>\nThe song has the stately, lovely feel of a Cranberries staple, weighed down and made somber by O'Riordan's repetition of the titular refrain: \"It's all over now.\"\u003c/p>\n\u003cp>\"All Over Now\" and \u003cem>In the End\u003c/em> were both in the works prior to O'Riordan's untimely passing. The band had started the recording process in 2017, cutting a demo with completed vocals by O'Riordan by the end of the year. Plans to complete the album were postponed after her death, but in a statement released on The Cranberries' website, the band explained the motivation behind finishing the album.\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/AG1LGI0Gf_Y'\n title='//www.youtube.com/embed/AG1LGI0Gf_Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"As time passed, we began to think about how we might best honour our close friend and bandmate,\" the band wrote. \"This was a very painful process. We remembered how Dolores had been so energised by the prospect of making this record and getting back out on the road to play the songs live, and realised that the most meaningful thing to do was to finish the album we had started with her. We felt that this is what she would want. We spoke with Dolores' family and they agreed.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Year+After+Dolores+O%27Riordan%27s+Death%2C+The+Cranberries+Unveil+%27All+Over+Now%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "Lady Gaga Needs to Talk About R. Kelly",
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"content": "\u003cp>\u003cstrong>Update (January 9, 2018, 10:27 pm PT): \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Lady Gaga has released \u003ca href=\"https://twitter.com/ladygaga/status/1083237788663697408\">a statement\u003c/a> addressing her work with R. Kelly:\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_108522\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108522\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-800x1246.jpg\" alt='Gaga accompanied this image with the words: \"I stand by anyone who has ever been the victim of sexual assault.\" ' width=\"800\" height=\"1246\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-800x1246.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-160x249.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-768x1196.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-1020x1588.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-771x1200.jpg 771w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-1180x1837.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-960x1495.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-240x374.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-375x584.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-520x810.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl.jpg 1242w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gaga accompanied this image with the words: \"I stand by anyone who has ever been the victim of sexual assault.\" \u003ccite>(@ladygaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">******\u003c/p>\n\u003cp>R. Kelly has persistently been accused of disturbing treatment of women, particularly underage girls, ever since he illegally married 15-year-old Aaliyah in 1997. His career has survived child pornography trials, rumors of a sex cult and even the organized effort by frustrated bystanders to \u003ca href=\"https://www.muterkelly.org/\">#MuteRKelly\u003c/a>. Kelly hasn't just dodged every bullet fired in his direction, he has reveled in the attention, even shrugging his shoulders in song form with his \u003ca href=\"https://www.kqed.org/pop/104682/r-kellys-i-admit-has-all-the-hallmarks-of-abuser-logic\">shocking single, \"I Admit,\"\u003c/a> last September.\u003c/p>\n\u003cp>Over the weekend though, Lifetime docu-series, \u003ca href=\"https://www.mylifetime.com/shows/surviving-r-kelly\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>, somehow had a greater impact than anything that has come before. In the six-hour documentary, credible abuse survivors told stories that were harrowing to listen to and obviously extremely difficult for them to relive. There can be no doubt, after \u003cem>Surviving R. Kelly\u003c/em>, who this man is and what he continues to get away with.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4q0nOYtZsGU\u003c/p>\n\u003cp>Unfortunately for the survivors in question, almost all of the household names approached to participate in the series refused interviews. Executive producer dream hampton has revealed that those who refused participation include Jay-Z, Mary J. Blige, Erykah Badu, L'il Kim, Dave Chapelle and Lady Gaga. Though she has gone some way towards excusing the absent celebs, saying: “It’s not because they support him, it’s because it’s so messy and muddy,” she has also said she \"\u003ca href=\"https://www.dailymail.co.uk/news/article-6566129/Lady-Gaga-called-Surviving-R-Kelly-producer-silence-DEFENDING-singer.html\">wanted to know how Lady Gaga could be on \u003cem>SNL\u003c/em>\u003c/a> with [Kelly] as someone who advocates for domestic abuse survivors.\"\u003c/p>\n\u003cp>Even back in 2013, Gaga's collaboration with R. Kelly caught a lot of people off guard. Given the already well-established rumors about him, the lyrics of \"Do What U Want\" weren't just inappropriate, they were deeply insensitive. The fact that Gaga, an outspoken advocate of women's rights, so enthusiastically embraced and supported Kelly, only compounded the confusion. At the time, \u003ca href=\"https://www.dailymail.co.uk/news/article-6562945/R-Kelly-untrue-things-written-Lady-Gaga-defended-singer-interview.html\">she told confused journalists\u003c/a>: \"R. Kelly and I have sometimes very untrue things written about us, so in a way, this was a bond between us.\" The video, directed by another \u003ca href=\"https://www.marieclaire.com.au/terry-richardson-every-sexual-harassment-and-assault-allegation\">alleged predator, Terry Richardson, \u003c/a>was \u003ca href=\"https://www.billboard.com/articles/columns/pop-shop/6128498/lady-gaga-do-what-u-want-video-r-kelly-terry-richardson\">scrapped in the midst of the controversy\u003c/a>, and Gaga did a hasty re-recording of the \u003ca href=\"https://www.youtube.com/watch?v=CMBZhTqjEcw\">track with Christina Aguilera\u003c/a>.\u003c/p>\n\u003cp>Though little has been made of that situation in the time since, it was Lady Gaga who received much of the \u003cem>Surviving R. Kelly\u003c/em> backlash on social media over the weekend:\u003c/p>\n\u003cp>https://twitter.com/Tzynya/status/1081011864430092288\u003c/p>\n\u003cp>https://twitter.com/adlfz/status/1081422509696864256\u003c/p>\n\u003cp>https://twitter.com/MoreAndAgain/status/1081050379381559296\u003c/p>\n\u003cp>https://twitter.com/MrErnestOwens/status/1082027380145831936\u003c/p>\n\u003cp>https://twitter.com/fauxdeity/status/1081246766949900291\u003c/p>\n\u003cp>There are too many musicians and industry people culpable in R. Kelly's ongoing career to name. (Let's not forget that Spotify amended its decision to remove R. Kelly from its platform last year after \u003ca href=\"https://www.hotnewhiphop.com/kendrick-lamar-gets-dragged-in-surviving-r-kelly-discussion-news.68534.html\">pressure from Kendrick Lamar\u003c/a>. Or that Damon Dash and Jay-Z's friendship ended after Dash told Jay about \u003ca href=\"https://www.vibe.com/2019/01/dame-dash-speaks-on-r-kelly-jay-z\">Kelly's abuse of Aaliyah\u003c/a>, and Jay moved forward with 2002's \u003cem>Best of Both Worlds\u003c/em> collaboration anyway.) And it's true that women almost always end up doing the heavy lifting when it comes to issues around sexual abuse, while men get to stay in the shadows. But the truth is, no one else in this picture is in quite the same position as Gaga.\u003c/p>\n\u003cp>Her current silence isn't just a PR nightmare for her, it's becoming a dividing line and a focal point, an egregious example of how white women, even ones actively involved in social justice causes, can discard the experiences of women of color. Where Erykah Badu can take to Instagram and plead the fifth on the subject (\u003ca href=\"https://www.instagram.com/p/BsR-mAAnsTc/?utm_source=ig_embed&utm_medium=loading\">\"A wise woman once said...nothing\"\u003c/a> she just posted, under pressure from fans), Gaga's silence carries more weight, not just because of her higher profile, but also because of her inherent privilege.\u003c/p>\n\u003cp>The longer Gaga stays uncharacteristically silent about the plight of these women at the hands of one of her collaborators, the larger the gulf feels between white feminists and feminists of color, all of which creates even more division at precisely the time when intersectionality should be taking center stage. A united front is needed now if justice is to ever be done.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of the musicians who refused to appear in \u003cem>Surviving R. Kelly\u003c/em> might pay some sort of price for not doing so, but Gaga has both the most to lose by staying silent and the most power to wield by speaking up. If she publicly turns her back on Kelly now, it might actually bring some comfort to those survivors who've been discarded as collateral damage, repeatedly, for years, by a music industry that cares more about sales than women's personal safety. Gaga, of all people, should already know that.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update (January 9, 2018, 10:27 pm PT): \u003c/strong>\u003c/p>\n\u003cp>\u003cem>Lady Gaga has released \u003ca href=\"https://twitter.com/ladygaga/status/1083237788663697408\">a statement\u003c/a> addressing her work with R. Kelly:\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_108522\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-108522\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-800x1246.jpg\" alt='Gaga accompanied this image with the words: \"I stand by anyone who has ever been the victim of sexual assault.\" ' width=\"800\" height=\"1246\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-800x1246.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-160x249.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-768x1196.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-1020x1588.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-771x1200.jpg 771w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-1180x1837.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-960x1495.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-240x374.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-375x584.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl-520x810.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2019/01/DwhvBCvVYAA-SAl.jpg 1242w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Gaga accompanied this image with the words: \"I stand by anyone who has ever been the victim of sexual assault.\" \u003ccite>(@ladygaga)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp style=\"text-align: center\">******\u003c/p>\n\u003cp>R. Kelly has persistently been accused of disturbing treatment of women, particularly underage girls, ever since he illegally married 15-year-old Aaliyah in 1997. His career has survived child pornography trials, rumors of a sex cult and even the organized effort by frustrated bystanders to \u003ca href=\"https://www.muterkelly.org/\">#MuteRKelly\u003c/a>. Kelly hasn't just dodged every bullet fired in his direction, he has reveled in the attention, even shrugging his shoulders in song form with his \u003ca href=\"https://www.kqed.org/pop/104682/r-kellys-i-admit-has-all-the-hallmarks-of-abuser-logic\">shocking single, \"I Admit,\"\u003c/a> last September.\u003c/p>\n\u003cp>Over the weekend though, Lifetime docu-series, \u003ca href=\"https://www.mylifetime.com/shows/surviving-r-kelly\">\u003cem>Surviving R. Kelly\u003c/em>\u003c/a>, somehow had a greater impact than anything that has come before. In the six-hour documentary, credible abuse survivors told stories that were harrowing to listen to and obviously extremely difficult for them to relive. There can be no doubt, after \u003cem>Surviving R. Kelly\u003c/em>, who this man is and what he continues to get away with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>There are too many musicians and industry people culpable in R. Kelly's ongoing career to name. (Let's not forget that Spotify amended its decision to remove R. Kelly from its platform last year after \u003ca href=\"https://www.hotnewhiphop.com/kendrick-lamar-gets-dragged-in-surviving-r-kelly-discussion-news.68534.html\">pressure from Kendrick Lamar\u003c/a>. Or that Damon Dash and Jay-Z's friendship ended after Dash told Jay about \u003ca href=\"https://www.vibe.com/2019/01/dame-dash-speaks-on-r-kelly-jay-z\">Kelly's abuse of Aaliyah\u003c/a>, and Jay moved forward with 2002's \u003cem>Best of Both Worlds\u003c/em> collaboration anyway.) And it's true that women almost always end up doing the heavy lifting when it comes to issues around sexual abuse, while men get to stay in the shadows. But the truth is, no one else in this picture is in quite the same position as Gaga.\u003c/p>\n\u003cp>Her current silence isn't just a PR nightmare for her, it's becoming a dividing line and a focal point, an egregious example of how white women, even ones actively involved in social justice causes, can discard the experiences of women of color. Where Erykah Badu can take to Instagram and plead the fifth on the subject (\u003ca href=\"https://www.instagram.com/p/BsR-mAAnsTc/?utm_source=ig_embed&utm_medium=loading\">\"A wise woman once said...nothing\"\u003c/a> she just posted, under pressure from fans), Gaga's silence carries more weight, not just because of her higher profile, but also because of her inherent privilege.\u003c/p>\n\u003cp>The longer Gaga stays uncharacteristically silent about the plight of these women at the hands of one of her collaborators, the larger the gulf feels between white feminists and feminists of color, all of which creates even more division at precisely the time when intersectionality should be taking center stage. A united front is needed now if justice is to ever be done.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of the musicians who refused to appear in \u003cem>Surviving R. Kelly\u003c/em> might pay some sort of price for not doing so, but Gaga has both the most to lose by staying silent and the most power to wield by speaking up. If she publicly turns her back on Kelly now, it might actually bring some comfort to those survivors who've been discarded as collateral damage, repeatedly, for years, by a music industry that cares more about sales than women's personal safety. Gaga, of all people, should already know that.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Rock & Roll Hall of Fame announced its newest class of inductees Thursday, one year to the day after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/13/570411500/rock-hall-to-induct-nina-simone-bon-jovi-the-cars-dire-straits-and-moody-blues\">the 2018 class\u003c/a> was announced. From 15 nominees, seven remain. Here they are, in alphabetical order:\u003c/p>\n\u003cul>\n\u003cli>The Cure\u003c/li>\n\u003cli>Def Leppard\u003c/li>\n\u003cli>Janet Jackson\u003c/li>\n\u003cli>Stevie Nicks\u003c/li>\n\u003cli>Radiohead\u003c/li>\n\u003cli>Roxy Music\u003c/li>\n\u003cli>The Zombies\u003c/li>\n\u003c/ul>\n\u003cp>It was Def Leppard, Roxy Music and Stevie Nicks' first nomination as potential inductees (though, as a member of Fleetwood Mac, Nicks is already in), The Cure and Radiohead's second, Janet Jackson's third and The Zombies' fourth. The announcement leaves fellow nominees Devo, John Prine, Kraftwerk, LL Cool J, MC5, Rage Against The Machine, Rufus & Chaka Khan and Todd Rundgren to wait for the years to come. (Still \u003ca href=\"https://www.npr.org/2015/10/07/446587022/this-is-our-guy-musicians-rally-for-harry-nilsson-an-icon-who-dodged-fame\">no Harry Nilsson\u003c/a>.)\u003c/p>\n\u003cp>Since 1986, the Hall has added 323 inductees to its rolls; they include 220 performers, 33 \"early influencers\" (a category \u003ca href=\"https://www.rockhall.com/inductees?name=&field_inductee_induction_year=&field_induction_category=7\">largely composed\u003c/a> of rock and roll's African-American founding mothers and fathers, such as Lead Belly, Robert Johnson and Sister Rosetta Tharpe) and 34 non-performers (generally music-industry executives, but also songwriters, producers and instrument makers).\u003c/p>\n\u003cp>As with the nominees list, each year's inductees are determined by a voting group of \"over 1,000\" previous winners, historians and members of the music industry. Since 2012, the Hall has also included a fan vote, which has no practical mathematical effect on the outcome; the winning top five artists of the fan vote are compiled into a single ballot. That ballot is then factored into the total tally of 1,000-plus votes from the Hall's voting membership. Those members weigh factors \"such as an artist's musical influence on other artists, length and depth of career and the body of work, innovation and superiority in style and technique are taken into consideration,\" the Hall explains of the process.\u003c/p>\n\u003cp>Even with that information, its nominations process remains opaque. As Jon Landau, manager of Bruce Springsteen and chair of the Hall's nominating committee—which numbers about three or four dozen—\u003ca href=\"https://www.nytimes.com/2011/12/04/business/in-rock-hall-of-fame-vote-a-battle-of-industry-egos.html\">told the \u003cem>Times\u003c/em>\u003c/a> seven years ago: \"We've done a good job of keeping the proceedings nontransparent.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>However, things do seem to be shifting. On the subject of whether bands like The Cure would ever make it, one anonymous insider \u003ca href=\"https://www.billboard.com/articles/news/6531175/inside-rock-roll-hall-fame-induction-process-secrets-jann-wenner\">told \u003cem>Billboard\u003c/em>\u003c/a> in 2015: \"You and I will die before those groups are in the Hall of Fame.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Induction Ceremony is planned for March 29, 2019 at the Barclays Center in Brooklyn, with an edited special to air on HBO in the spring.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Cure%2C+Janet+Jackson%2C+Radiohead+Among+Rock+%26+Roll+Hall+Of+Fame+Inductees+For+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Rock & Roll Hall of Fame announced its newest class of inductees Thursday, one year to the day after \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/13/570411500/rock-hall-to-induct-nina-simone-bon-jovi-the-cars-dire-straits-and-moody-blues\">the 2018 class\u003c/a> was announced. From 15 nominees, seven remain. Here they are, in alphabetical order:\u003c/p>\n\u003cul>\n\u003cli>The Cure\u003c/li>\n\u003cli>Def Leppard\u003c/li>\n\u003cli>Janet Jackson\u003c/li>\n\u003cli>Stevie Nicks\u003c/li>\n\u003cli>Radiohead\u003c/li>\n\u003cli>Roxy Music\u003c/li>\n\u003cli>The Zombies\u003c/li>\n\u003c/ul>\n\u003cp>It was Def Leppard, Roxy Music and Stevie Nicks' first nomination as potential inductees (though, as a member of Fleetwood Mac, Nicks is already in), The Cure and Radiohead's second, Janet Jackson's third and The Zombies' fourth. The announcement leaves fellow nominees Devo, John Prine, Kraftwerk, LL Cool J, MC5, Rage Against The Machine, Rufus & Chaka Khan and Todd Rundgren to wait for the years to come. (Still \u003ca href=\"https://www.npr.org/2015/10/07/446587022/this-is-our-guy-musicians-rally-for-harry-nilsson-an-icon-who-dodged-fame\">no Harry Nilsson\u003c/a>.)\u003c/p>\n\u003cp>Since 1986, the Hall has added 323 inductees to its rolls; they include 220 performers, 33 \"early influencers\" (a category \u003ca href=\"https://www.rockhall.com/inductees?name=&field_inductee_induction_year=&field_induction_category=7\">largely composed\u003c/a> of rock and roll's African-American founding mothers and fathers, such as Lead Belly, Robert Johnson and Sister Rosetta Tharpe) and 34 non-performers (generally music-industry executives, but also songwriters, producers and instrument makers).\u003c/p>\n\u003cp>As with the nominees list, each year's inductees are determined by a voting group of \"over 1,000\" previous winners, historians and members of the music industry. Since 2012, the Hall has also included a fan vote, which has no practical mathematical effect on the outcome; the winning top five artists of the fan vote are compiled into a single ballot. That ballot is then factored into the total tally of 1,000-plus votes from the Hall's voting membership. Those members weigh factors \"such as an artist's musical influence on other artists, length and depth of career and the body of work, innovation and superiority in style and technique are taken into consideration,\" the Hall explains of the process.\u003c/p>\n\u003cp>Even with that information, its nominations process remains opaque. As Jon Landau, manager of Bruce Springsteen and chair of the Hall's nominating committee—which numbers about three or four dozen—\u003ca href=\"https://www.nytimes.com/2011/12/04/business/in-rock-hall-of-fame-vote-a-battle-of-industry-egos.html\">told the \u003cem>Times\u003c/em>\u003c/a> seven years ago: \"We've done a good job of keeping the proceedings nontransparent.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>However, things do seem to be shifting. On the subject of whether bands like The Cure would ever make it, one anonymous insider \u003ca href=\"https://www.billboard.com/articles/news/6531175/inside-rock-roll-hall-fame-induction-process-secrets-jann-wenner\">told \u003cem>Billboard\u003c/em>\u003c/a> in 2015: \"You and I will die before those groups are in the Hall of Fame.\"\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Induction Ceremony is planned for March 29, 2019 at the Barclays Center in Brooklyn, with an edited special to air on HBO in the spring.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Cure%2C+Janet+Jackson%2C+Radiohead+Among+Rock+%26+Roll+Hall+Of+Fame+Inductees+For+2019&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This #MeToo-era-cum-yuletide-season, radio stations are pulling the plug on that holiday earworm with \u003ca href=\"https://genius.com/Dean-martin-baby-its-cold-outside-lyrics\">lyrics\u003c/a> that, to some, ring date-rape warning bells, rather than evoking innocent snow-bound flirtation.\u003c/p>\n\u003cp>The tune \"Baby, It's Cold Outside,\" with words that seemed charming when FDR was in office, may land with a tone-deaf thud on the ear of today's listener.\u003c/p>\n\u003cp>But the stations banning the song have been met with a controversy of their own.\u003c/p>\n\u003cp>\u003ciframe width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/7MFJ7ie_yGU?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Written by Frank Loesser in 1944, \"Baby, It's Cold Outside\" featured in the 1949 film \u003cem>Neptune's Daughter\u003c/em>, winning the Oscar for best original song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The call and response duet has a female voice trying to tear herself away from her date in myriad ways: \"I've got to go away ... Hey, what's in this drink?\" And finally, \"The answer is no.\"\u003c/p>\n\u003cp>But her declarations of \"no\" are far from final, with the male voice, wheedling \"Mind if I move in closer ... Gosh, your lips are delicious ... How can you do this thing to me?\"\u003c/p>\n\u003cp>Cleveland's WDOK put its foot down where the female voice could not, announcing its ban of the song last week.\u003c/p>\n\u003cp>\"I do realize that when the song was written in 1944, it was a different time, but now while reading it, it seems very manipulative and wrong,\" \u003ca href=\"https://star102cleveland.radio.com/blogs/glenn-anderson/star-102-abruptly-stops-playing-christmas-song-heres-why\">host Glenn Anderson wrote on the station's web site\u003c/a>. \"The world we live in is extra sensitive now, and people get easily offended, but in a world where #MeToo has finally given women the voice they deserve, the song has no place.\"\u003c/p>\n\u003cp>Brian Figula, program director of \u003ca href=\"https://koit.com/baby-its-cold-outside-yes-or-no/#/questions\">KOIT \u003c/a>saw \u003ca href=\"https://www.cnn.com/2018/12/01/us/baby-its-cold-outside-cleveland-radio-trnd/index.html\">the headlines\u003c/a> and determined the song would have no place at his San Francisco station. He banned it on Monday.\u003c/p>\n\u003cp>But he told NPR that he had no idea of the \"tornado\" he would face: hundreds of emails demanding the song be put back in rotation, more than ten times the number of requests he said he fielded asking him to yank it.\u003c/p>\n\u003cp>\"People are unbelievably passionate about their Christmas music, it's the one thing that you can't mess with,\" Figula said, adding that listeners rely on it \"to reminisce to the good old days when life was easy and simple.\"\u003c/p>\n\u003cp>Finding common ground on \"Baby, It's Cold Outside\" has been anything but simple.\u003c/p>\n\u003cp>A feminist defense of the lyrics \u003ca href=\"https://www.bustle.com/p/a-tumblr-post-about-baby-its-cold-outside-historical-context-explains-that-the-song-may-have-entirely-different-meaning-6617625\">points out that \u003c/a>when they were written a woman with a reputation had to protest a man's advances, even if she actually welcomed them, and the song's figurative woman is actually expressing her sexuality in a veiled era-appropriate way.\u003c/p>\n\u003cp>Furthering the ambiguity, KOSI in Denver has done an about-face, first banning the song on Monday, then opening up a poll to put the decision to listeners. The results were unequivocal: the vast majority of the 15,000 respondents demanded the song's return, the station said.\u003c/p>\n\u003cp>\"While we are sensitive to those who may be upset by some of the lyrics, the majority of our listeners have expressed their interpretation of the song to be non-offensive,\" Program Director Jim Lawson \u003ca href=\"https://kosi101.com/listeners-vote-baby-its-cold-outside-back-on-the-radio/\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In San Francisco, KOIT is also now reconsidering its decision and may bring the song back, depending on the results of \u003ca href=\"https://koit.com/baby-its-cold-outside-yes-or-no/#/questions\">its own poll\u003c/a>. Listeners have until Dec. 10 to decide.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit https://www.npr.org.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Baby%2C+It%27s+Cold+Outside%2C%27+Seen+As+Sexist%2C+Frozen+Out+By+Radio+Stations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"id": "closealltabs",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
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