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"content": "\u003cp>\u003cem>Ariana Grande is back with a brand new album, and KQED Music Editor Nastia Voynovskaya and KQED Pop Editor Emmanuel Hapsis spent a majority of the day sharing their feelings about it. Tired of shouting over their shared cubicle wall, they took to this cyber forum to let it all out.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nastia Voynovskaya: \u003c/strong>Hey, Emmanuel! Do you believe god is a woman?\u003c/p>\n\u003cp>\u003cstrong>Emmanuel Hapsis:\u003c/strong> I do! She has yet to answer my most persistent prayer, which goes a little something like this—\u003cem>What do we want? Matriarchy! When do we want it? Well, a few millennia ago would've \u003c/em>been swell\u003cem>, but now is good too—\u003c/em>but she did deliver a new Ariana Grande album in the midst of this pop diva drought, so I still believe!\u003c/p>\n\u003cp>Do you consider yourself an Arianator (that's apparently what her fans call themselves, in addition to \"tiny elephants\" for some reason)?\u003c/p>\n\u003cp>\u003cstrong>NV: \u003c/strong>You know, I didn't til her new album, \u003cem>Sweetener\u003c/em>, but I'm starting to come around. Ariana Grande has always been a little too basic, a little too Disney for me. With her last project, \u003cem>Dangerous Woman\u003c/em>, I think she was really trying to prove how grown up she was by singing these super sexual lyrics. But on \u003cem>Sweetener\u003c/em>, she's clever and insightful while still having a ton of fun. You can feel the intensity of her whirlwind romance with Pete Davidson. I love how she captures that early-20s, my-world-is-on-fire sort of love.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>EH:\u003c/strong> Meanwhile, I've been bopping to her perfect pop songs (major shout out to Swedish wizard Max Martin) since her second album, \u003cem>My Everything\u003c/em>. I even like her dirty holiday EP, \u003cem>Christmas and Chill\u003c/em>. Anyone who can get me to sing along to a lyric like \"You'll be my drummer boy and I'm the only drum that you gonna play\" has star quality.\u003c/p>\n\u003cp>I agree that she was really trying to shake her Disney image with \u003cem>Dangerous Woman\u003c/em>. I mean, it's right there in the title, and on the cover, which pictures her wearing a fetish-y latex mask (but with bunny ears, of course, 'cause she always likes to keep it cute). And with \u003cem>Sweetener\u003c/em>, her evolution has less to do with content and more to do with genre and style.\u003c/p>\n\u003cp>So much of the new album has Pharrell's fingerprints all over it, and those songs feel very 2000s R&B to me, which is new territory for her. I want to love the new direction so badly, but I am struuuuggling to get on board. It just feels kind of hollow to me, like they're demos that need another session to complete. And some of the decisions Pharrell makes as a producer are downright puzzling. Like on \"the light is coming,\" why have a sample of a man yelling about Obamacare in the background for the entire song? Ack! I could go on and on about why his seven tracks don't impress me much; suffice it to say, this has been my experience listening to them so far:\u003c/p>\n\u003cp>https://twitter.com/xcusemybeauty/status/1031630094802989056\u003c/p>\n\u003cp>\u003cstrong>NV:\u003c/strong> I'm a big rap and R&B fan so I really like the funkier sensibility Pharrell brought to \u003cem>Sweetener\u003c/em>. Granted, these weren't his most groundbreaking beats. \"the light is coming\" totally reminds me of his recent N.E.R.D. productions, like \"Lemon\" and \"Don't Do It.\" That said, I enjoy almost everything Pharrell produces because it has this really fun bounce to it, with hints of retro soul and funk and a liiiiittle dash of Talking Heads-type dance rock. I think overall, it made Ariana sound a little more alternative and hipper, and more in line with my sensibilities as someone who's super into artists like SZA and Rihanna. It reminds me of when Rihanna switched up her sound from commercial pop to alt-R&B with \u003cem>ANTI \u003c/em>in 2015.\u003c/p>\n\u003cp>\u003cstrong>EH:\u003c/strong> Ooo, I've never thought of it like that. I promise to hold SZA in my mind instead of Danity Kane B-side the next time I give the Pharrell songs a whirl. Ultimately, I think I just need to forgive him for having to hear \"Happy\" everywhere for months and months.\u003c/p>\n\u003cp>\u003cstrong>NV: \u003c/strong>OK, so let's talk about the track \"pete davidson.\" How do you feel about this current trend of celebrity PDA on wax? Cardi B name-dropped Offset what feels like 85 times in \"Bartier Cardi\" (really it was 16). Nicki Minaj and Eminem both fueled dating rumors by mentioning each other in their recent features. (Eminem referred to the two of them as \"the queen and her husband\" on \"Majesty.\" I die!) What are your thoughts on female pop stars mentioning their IRL boos in their tracks when their male counterparts seem to be singing and rapping about women in a more abstract sense, with the exception of Eminem?\u003c/p>\n\u003cp>\u003cstrong>EH:\u003c/strong> Have we learned nothing from J.Lo naming a song \"Dear Ben\" in honor of Ben Affleck? Apparently not! Part of me wants to celebrate that feeling you mentioned earlier of being young and crazy in love and doing wild things to show your affection, even though you know deep down it's probably not forever. But your question gets at why this trend upsets me; it's so often a one-way street. Offset couldn't even crack a smile while Cardi was struggling to land jokes at the VMAs, let alone rep for her 16 times in a song. When we solve the wage gap, we need to get to work on this ride or die gap!\u003c/p>\n\u003cp>In the particular case of \"pete davidson,\" if Ariana wants to rush-produce a one minute and 14-second song for her new man, go for it. Like a tramp stamp, we will all pretend it never happened a few years from now.\u003c/p>\n\u003cp>Are there other \u003cem>Sweetener\u003c/em> songs that are jumping out at you?\u003c/p>\n\u003cp>\u003cstrong>NV: \u003c/strong>Wow, I completely forgot about J.Lo and Ben Affleck! Ride or die gap is right! I listen to these songs with a slight cringe, like, \"You better be sure about this, girl.\" How terrible would it be if your best songs (that you have to keep performing on tour over and over) ended up being about your ex? Not to get too speculative, but this kind of extreme, really fast young love can burn out because both people don't really know themselves or each other yet. There's risk involved. But I'm rooting for Ariana and Pete, they seem so smitten and I hope it stands the test of time. You can feel the love she has for him through that epic crescendo of strings. The instrumentation is so beautiful and a sweet reflection of how she must feel inside.\u003c/p>\n\u003cp>\u003cstrong>EH: \u003c/strong>And if it doesn't work out, the best albums tend to be breakup ones. Just sayin'!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kHLHSlExFis\u003c/p>\n\u003cp>\u003cstrong>NV: \u003c/strong>Another track that I love from Sweetener is \"successful.\" It's a subtle, unassuming banger that I think young women really need to hear. It's all about being young and having fun and enjoying making your own money and being independent. That's a vibe I resonate with, and I put it on my personal playlist that I use to get inspired. What about you?\u003c/p>\n\u003cp>\u003cstrong>EH:\u003c/strong> \"breathin\" is THAT GIRL for me. It builds in such a wonderful way and keeps raising the stakes. The Castro bars aren't ready. Neither are my neighbors. (And neither was iTunes apparently; the song flew to #1 right after the album dropped, despite not being an official single yet.)\u003c/p>\n\u003cp>I also love the complete randomness of her covering an Imogen Heap song with \"goodnight and go.\" And I gotta give it to \"sweetener\" for inspiring these two hilarious memes:\u003c/p>\n\u003cp>https://twitter.com/BhadDhad/status/1030681192448892928\u003c/p>\n\u003cp>https://twitter.com/NostalgicAria/status/1031985627657633795\u003c/p>\n\u003cp>\u003cstrong>NV:\u003c/strong> Love it! OK, so before we sign off, there's one more thing I have to get off my chest: WHY has no one on Nicki Minaj's team told her that Chun-Li from \u003cem>Street Fighter\u003c/em> is not a villain? She says it in her \"Chun-Li\" song and repeats it on her feature on \"the light is coming.\" This inaccuracy is driving me nuts.\u003c/p>\n\u003cp>\u003cstrong>EH: \u003c/strong>Maybe she spent more time playing \u003cem>Mortal Kombat\u003c/em>? Everyone knows Chun-Li is a hero who fights crime and protects innocents without ever messing up her perfect hair buns!\u003c/p>\n\u003cp>OK, I'm about to really reach here, but see if you can hang with me for this: Nicki believes people are getting on their \"f-in keyboards and mak[ing] her the bad guy, Chun Li.\" Like you said, that's not a thing because that character isn't a bad guy. So maybe we can see this bit of confusion as a metaphor for how her paranoia leads to her misunderstanding of people's intentions. Maybe her anxiety about being de-throned twists people with good intentions into \"haters\" and Nick runs with it (see: her entire history with Cardi B or Lil' Kim or Remy Ma). I only got as far as Psych 101, but that theory seems legit enough? Or Nicki just doesn't think hard enough about her lyrics. Either or!\u003c/p>\n\u003cp>\u003cstrong>NV: \u003c/strong>Either or! Probably both! I can feel her anxiety about defending her crown, but I think we really should be celebrating, cultivating and encouraging a multiplicity of female artists instead of working under the assumption that there can only be one queen. Which is why I'm enjoying \u003cem>Sweetener\u003c/em>. Its bubbly, femme-centric expressions of happiness are really contagious!\u003c/p>\n\u003cp>\u003cstrong>EH: \u003c/strong>Yes! Maybe that's what Ariana and Nicki were chatting about at the VMAs. \"Hey, Nicki! Cardi is great and so are you! There is room for all of us because god is a woman! P.S. Buy \u003cem>Sweetener\u003c/em> on iTunes!\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://twitter.com/breathindeluxes/status/1031968342788198401\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ariana Grande is back with a brand new album, and KQED Music Editor Nastia Voynovskaya and KQED Pop Editor Emmanuel Hapsis spent a majority of the day sharing their feelings about it. Tired of shouting over their shared cubicle wall, they took to this cyber forum to let it all out.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Nastia Voynovskaya: \u003c/strong>Hey, Emmanuel! Do you believe god is a woman?\u003c/p>\n\u003cp>\u003cstrong>Emmanuel Hapsis:\u003c/strong> I do! She has yet to answer my most persistent prayer, which goes a little something like this—\u003cem>What do we want? Matriarchy! When do we want it? Well, a few millennia ago would've \u003c/em>been swell\u003cem>, but now is good too—\u003c/em>but she did deliver a new Ariana Grande album in the midst of this pop diva drought, so I still believe!\u003c/p>\n\u003cp>Do you consider yourself an Arianator (that's apparently what her fans call themselves, in addition to \"tiny elephants\" for some reason)?\u003c/p>\n\u003cp>\u003cstrong>NV: \u003c/strong>You know, I didn't til her new album, \u003cem>Sweetener\u003c/em>, but I'm starting to come around. Ariana Grande has always been a little too basic, a little too Disney for me. With her last project, \u003cem>Dangerous Woman\u003c/em>, I think she was really trying to prove how grown up she was by singing these super sexual lyrics. But on \u003cem>Sweetener\u003c/em>, she's clever and insightful while still having a ton of fun. You can feel the intensity of her whirlwind romance with Pete Davidson. I love how she captures that early-20s, my-world-is-on-fire sort of love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>EH:\u003c/strong> Meanwhile, I've been bopping to her perfect pop songs (major shout out to Swedish wizard Max Martin) since her second album, \u003cem>My Everything\u003c/em>. I even like her dirty holiday EP, \u003cem>Christmas and Chill\u003c/em>. Anyone who can get me to sing along to a lyric like \"You'll be my drummer boy and I'm the only drum that you gonna play\" has star quality.\u003c/p>\n\u003cp>I agree that she was really trying to shake her Disney image with \u003cem>Dangerous Woman\u003c/em>. I mean, it's right there in the title, and on the cover, which pictures her wearing a fetish-y latex mask (but with bunny ears, of course, 'cause she always likes to keep it cute). And with \u003cem>Sweetener\u003c/em>, her evolution has less to do with content and more to do with genre and style.\u003c/p>\n\u003cp>So much of the new album has Pharrell's fingerprints all over it, and those songs feel very 2000s R&B to me, which is new territory for her. I want to love the new direction so badly, but I am struuuuggling to get on board. It just feels kind of hollow to me, like they're demos that need another session to complete. And some of the decisions Pharrell makes as a producer are downright puzzling. Like on \"the light is coming,\" why have a sample of a man yelling about Obamacare in the background for the entire song? Ack! I could go on and on about why his seven tracks don't impress me much; suffice it to say, this has been my experience listening to them so far:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cstrong>NV:\u003c/strong> I'm a big rap and R&B fan so I really like the funkier sensibility Pharrell brought to \u003cem>Sweetener\u003c/em>. Granted, these weren't his most groundbreaking beats. \"the light is coming\" totally reminds me of his recent N.E.R.D. productions, like \"Lemon\" and \"Don't Do It.\" That said, I enjoy almost everything Pharrell produces because it has this really fun bounce to it, with hints of retro soul and funk and a liiiiittle dash of Talking Heads-type dance rock. I think overall, it made Ariana sound a little more alternative and hipper, and more in line with my sensibilities as someone who's super into artists like SZA and Rihanna. It reminds me of when Rihanna switched up her sound from commercial pop to alt-R&B with \u003cem>ANTI \u003c/em>in 2015.\u003c/p>\n\u003cp>\u003cstrong>EH:\u003c/strong> Ooo, I've never thought of it like that. I promise to hold SZA in my mind instead of Danity Kane B-side the next time I give the Pharrell songs a whirl. Ultimately, I think I just need to forgive him for having to hear \"Happy\" everywhere for months and months.\u003c/p>\n\u003cp>\u003cstrong>NV: \u003c/strong>OK, so let's talk about the track \"pete davidson.\" How do you feel about this current trend of celebrity PDA on wax? Cardi B name-dropped Offset what feels like 85 times in \"Bartier Cardi\" (really it was 16). Nicki Minaj and Eminem both fueled dating rumors by mentioning each other in their recent features. (Eminem referred to the two of them as \"the queen and her husband\" on \"Majesty.\" I die!) What are your thoughts on female pop stars mentioning their IRL boos in their tracks when their male counterparts seem to be singing and rapping about women in a more abstract sense, with the exception of Eminem?\u003c/p>\n\u003cp>\u003cstrong>EH:\u003c/strong> Have we learned nothing from J.Lo naming a song \"Dear Ben\" in honor of Ben Affleck? Apparently not! Part of me wants to celebrate that feeling you mentioned earlier of being young and crazy in love and doing wild things to show your affection, even though you know deep down it's probably not forever. But your question gets at why this trend upsets me; it's so often a one-way street. Offset couldn't even crack a smile while Cardi was struggling to land jokes at the VMAs, let alone rep for her 16 times in a song. When we solve the wage gap, we need to get to work on this ride or die gap!\u003c/p>\n\u003cp>In the particular case of \"pete davidson,\" if Ariana wants to rush-produce a one minute and 14-second song for her new man, go for it. Like a tramp stamp, we will all pretend it never happened a few years from now.\u003c/p>\n\u003cp>Are there other \u003cem>Sweetener\u003c/em> songs that are jumping out at you?\u003c/p>\n\u003cp>\u003cstrong>NV: \u003c/strong>Wow, I completely forgot about J.Lo and Ben Affleck! Ride or die gap is right! I listen to these songs with a slight cringe, like, \"You better be sure about this, girl.\" How terrible would it be if your best songs (that you have to keep performing on tour over and over) ended up being about your ex? Not to get too speculative, but this kind of extreme, really fast young love can burn out because both people don't really know themselves or each other yet. There's risk involved. But I'm rooting for Ariana and Pete, they seem so smitten and I hope it stands the test of time. You can feel the love she has for him through that epic crescendo of strings. The instrumentation is so beautiful and a sweet reflection of how she must feel inside.\u003c/p>\n\u003cp>\u003cstrong>EH: \u003c/strong>And if it doesn't work out, the best albums tend to be breakup ones. Just sayin'!\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/kHLHSlExFis'\n title='//www.youtube.com/embed/kHLHSlExFis'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>NV: \u003c/strong>Another track that I love from Sweetener is \"successful.\" It's a subtle, unassuming banger that I think young women really need to hear. It's all about being young and having fun and enjoying making your own money and being independent. That's a vibe I resonate with, and I put it on my personal playlist that I use to get inspired. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003cstrong>NV:\u003c/strong> Love it! OK, so before we sign off, there's one more thing I have to get off my chest: WHY has no one on Nicki Minaj's team told her that Chun-Li from \u003cem>Street Fighter\u003c/em> is not a villain? She says it in her \"Chun-Li\" song and repeats it on her feature on \"the light is coming.\" This inaccuracy is driving me nuts.\u003c/p>\n\u003cp>\u003cstrong>EH: \u003c/strong>Maybe she spent more time playing \u003cem>Mortal Kombat\u003c/em>? Everyone knows Chun-Li is a hero who fights crime and protects innocents without ever messing up her perfect hair buns!\u003c/p>\n\u003cp>OK, I'm about to really reach here, but see if you can hang with me for this: Nicki believes people are getting on their \"f-in keyboards and mak[ing] her the bad guy, Chun Li.\" Like you said, that's not a thing because that character isn't a bad guy. So maybe we can see this bit of confusion as a metaphor for how her paranoia leads to her misunderstanding of people's intentions. Maybe her anxiety about being de-throned twists people with good intentions into \"haters\" and Nick runs with it (see: her entire history with Cardi B or Lil' Kim or Remy Ma). I only got as far as Psych 101, but that theory seems legit enough? Or Nicki just doesn't think hard enough about her lyrics. Either or!\u003c/p>\n\u003cp>\u003cstrong>NV: \u003c/strong>Either or! Probably both! I can feel her anxiety about defending her crown, but I think we really should be celebrating, cultivating and encouraging a multiplicity of female artists instead of working under the assumption that there can only be one queen. Which is why I'm enjoying \u003cem>Sweetener\u003c/em>. Its bubbly, femme-centric expressions of happiness are really contagious!\u003c/p>\n\u003cp>\u003cstrong>EH: \u003c/strong>Yes! Maybe that's what Ariana and Nicki were chatting about at the VMAs. \"Hey, Nicki! Cardi is great and so are you! There is room for all of us because god is a woman! P.S. Buy \u003cem>Sweetener\u003c/em> on iTunes!\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Childish Gambino's \"\u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\">This Is America\u003c/a>\" and The Carters' \"\u003ca href=\"https://www.youtube.com/watch?v=kbMqWXnpXcA\">APES***\u003c/a>\" were the most talked-about videos of the last year, at least if the metric you use involves thinkpieces and social-media chatter. But by the time Madonna announced the video of the year winner on Monday night's MTV Video Music Awards, the two had been largely relegated to afterthoughts. Instead, the two biggest prizes of the evening — artist and video of the year — went to Camila Cabello and her frothily charming smash \"\u003ca href=\"https://www.youtube.com/watch?v=BQ0mxQXmLsk\">Havana (feat. Young Thug)\u003c/a>.\"\u003c/p>\n\u003cp>https://twitter.com/vmas/status/1031730049777582080\u003c/p>\n\u003cp>Sure, \"This Is America\" won for best choreography, best direction and best video with a message, while \"APES***\" took home prizes for cinematography and art direction. But throughout the telecast, the biggest awards went to less elaborately staged, more commercial fare like Post Malone's \"\u003ca href=\"https://www.youtube.com/watch?v=UceaB4D0jpo\">rockstar (feat. 21 Savage)\u003c/a>\" for song of the year, Jennifer Lopez's \"\u003ca href=\"https://www.youtube.com/watch?v=aEM2kOrrNJI\">Dinero (feat. DJ Khaled and Cardi B)\u003c/a>\" for best collaboration, Ariana Grande's \"\u003ca href=\"https://www.youtube.com/watch?v=ffxKSjUwKdU\">No Tears Left to Cry\u003c/a>\" for best pop and Nicki Minaj's \"\u003ca href=\"https://www.youtube.com/watch?v=Wpm07-BGJnE\">Chun-Li\u003c/a>\" for best hip-hop.\u003c/p>\n\u003cp>Cardi B, who opened the night by introducing a Shawn Mendes performance, was another big winner, taking home trophies for the Lopez collaboration, best new artist and song of the summer for \"\u003ca href=\"https://www.youtube.com/watch?v=xTlNMmZKwpA\">I Like It\u003c/a>,\" which she'd recorded alongside Bad Bunny and J Balvin. On a night that showcased several high-profile performances by Latin artists — including a grabby spot by Colombian superstar Maluma — Balvin and Willy William also won in the category of best Latin for \"\u003ca href=\"https://www.youtube.com/watch?v=wnJ6LuUFpMo\">Mi Gente\u003c/a>,\" which has been streamed nearly 2 billion times on YouTube.\u003c/p>\n\u003cp>https://twitter.com/Dxrryl2Times/status/1031735911938174978\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This year's VMAs telecast was notable for its high-profile no-shows, including The Carters (that'd be Beyoncé and Jay-Z), Drake, Childish Gambino, Bruno Mars and Ed Sheeran — all of whom were shut out of the night's biggest prizes. (Of the awards given out on air, only J Balvin and Gambino weren't there to claim their trophies.) Hayley Kiyoko took a well-deserved prize for the cryptically named Push artist of the year, and got to perform \"\u003ca href=\"https://www.youtube.com/watch?v=YXTzMOmmEfE\">Curious\u003c/a>\" briefly, but the night's remaining winners — Imagine Dragons for Best Rock, the late Avicii (feat. Rita Ora) for best dance, N.E.R.D. & Rihanna for best editing, Kendrick Lamar & SZA for best visual effects — went mostly unmentioned.\u003c/p>\n\u003cp>Of course, the VMAs have always been about \"moments\" as much as awards themselves, and, as was the case last year, these didn't offer a flashpoint like \u003ca href=\"https://www.youtube.com/watch?v=YFLv9Ns1EuQ\">Miley Cyrus twerking\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=1z8gCZ7zpsQ\">Kanye West barging into a Taylor Swift speech\u003c/a> with the immortal words, \"I'ma let you finish.\" The closest thing we got was a makeshift tribute to Aretha Franklin — who died Thursday, just four days before the VMAs — by Madonna, who stood before a giant photo of the late icon and... told a lengthy story about herself. She talked about an audition, very early in her career, in which she sang \"(You Make Me Feel Like) A Natural Woman\" — a song Franklin popularized but didn't write — and, was pleased to report, did very well for herself. It was, in a word, baffling: An Aretha Franklin tribute in which the big takeaway was that Madonna once sang the same song she did... well, let's just say the optics weren't great.\u003c/p>\n\u003cp>https://twitter.com/KenzyVinco/status/1031752125389434885?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1031752125389434885&ref_url=https%3A%2F%2Fwww.rollingstone.com%2Fmusic%2Fmusic-news%2Fvmas-2018-madonna-tribute-aretha-franklin-713594%2F\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then again, that's kind of the VMAs in a nutshell, right? No matter how long or indulgent or inscrutably intentioned they are, what matters most — to organizers, anyway — is that we're still talking about them in the morning.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+MTV+VMAs+Celebrate+Camila+Cabello+And+Cardi+B%2C+While+Madonna+Celebrates+Madonna&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Childish Gambino's \"\u003ca href=\"https://www.youtube.com/watch?v=VYOjWnS4cMY\">This Is America\u003c/a>\" and The Carters' \"\u003ca href=\"https://www.youtube.com/watch?v=kbMqWXnpXcA\">APES***\u003c/a>\" were the most talked-about videos of the last year, at least if the metric you use involves thinkpieces and social-media chatter. But by the time Madonna announced the video of the year winner on Monday night's MTV Video Music Awards, the two had been largely relegated to afterthoughts. Instead, the two biggest prizes of the evening — artist and video of the year — went to Camila Cabello and her frothily charming smash \"\u003ca href=\"https://www.youtube.com/watch?v=BQ0mxQXmLsk\">Havana (feat. Young Thug)\u003c/a>.\"\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Sure, \"This Is America\" won for best choreography, best direction and best video with a message, while \"APES***\" took home prizes for cinematography and art direction. But throughout the telecast, the biggest awards went to less elaborately staged, more commercial fare like Post Malone's \"\u003ca href=\"https://www.youtube.com/watch?v=UceaB4D0jpo\">rockstar (feat. 21 Savage)\u003c/a>\" for song of the year, Jennifer Lopez's \"\u003ca href=\"https://www.youtube.com/watch?v=aEM2kOrrNJI\">Dinero (feat. DJ Khaled and Cardi B)\u003c/a>\" for best collaboration, Ariana Grande's \"\u003ca href=\"https://www.youtube.com/watch?v=ffxKSjUwKdU\">No Tears Left to Cry\u003c/a>\" for best pop and Nicki Minaj's \"\u003ca href=\"https://www.youtube.com/watch?v=Wpm07-BGJnE\">Chun-Li\u003c/a>\" for best hip-hop.\u003c/p>\n\u003cp>Cardi B, who opened the night by introducing a Shawn Mendes performance, was another big winner, taking home trophies for the Lopez collaboration, best new artist and song of the summer for \"\u003ca href=\"https://www.youtube.com/watch?v=xTlNMmZKwpA\">I Like It\u003c/a>,\" which she'd recorded alongside Bad Bunny and J Balvin. On a night that showcased several high-profile performances by Latin artists — including a grabby spot by Colombian superstar Maluma — Balvin and Willy William also won in the category of best Latin for \"\u003ca href=\"https://www.youtube.com/watch?v=wnJ6LuUFpMo\">Mi Gente\u003c/a>,\" which has been streamed nearly 2 billion times on YouTube.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This year's VMAs telecast was notable for its high-profile no-shows, including The Carters (that'd be Beyoncé and Jay-Z), Drake, Childish Gambino, Bruno Mars and Ed Sheeran — all of whom were shut out of the night's biggest prizes. (Of the awards given out on air, only J Balvin and Gambino weren't there to claim their trophies.) Hayley Kiyoko took a well-deserved prize for the cryptically named Push artist of the year, and got to perform \"\u003ca href=\"https://www.youtube.com/watch?v=YXTzMOmmEfE\">Curious\u003c/a>\" briefly, but the night's remaining winners — Imagine Dragons for Best Rock, the late Avicii (feat. Rita Ora) for best dance, N.E.R.D. & Rihanna for best editing, Kendrick Lamar & SZA for best visual effects — went mostly unmentioned.\u003c/p>\n\u003cp>Of course, the VMAs have always been about \"moments\" as much as awards themselves, and, as was the case last year, these didn't offer a flashpoint like \u003ca href=\"https://www.youtube.com/watch?v=YFLv9Ns1EuQ\">Miley Cyrus twerking\u003c/a> or \u003ca href=\"https://www.youtube.com/watch?v=1z8gCZ7zpsQ\">Kanye West barging into a Taylor Swift speech\u003c/a> with the immortal words, \"I'ma let you finish.\" The closest thing we got was a makeshift tribute to Aretha Franklin — who died Thursday, just four days before the VMAs — by Madonna, who stood before a giant photo of the late icon and... told a lengthy story about herself. She talked about an audition, very early in her career, in which she sang \"(You Make Me Feel Like) A Natural Woman\" — a song Franklin popularized but didn't write — and, was pleased to report, did very well for herself. It was, in a word, baffling: An Aretha Franklin tribute in which the big takeaway was that Madonna once sang the same song she did... well, let's just say the optics weren't great.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>But then again, that's kind of the VMAs in a nutshell, right? No matter how long or indulgent or inscrutably intentioned they are, what matters most — to organizers, anyway — is that we're still talking about them in the morning.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+MTV+VMAs+Celebrate+Camila+Cabello+And+Cardi+B%2C+While+Madonna+Celebrates+Madonna&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "An Afro-Surrealistic Worldview Looms Over This Year's Video Music Awards",
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"content": "\u003cp>A couple of years ago, when viral videos of black death were all the rage in America, MTV rolled out one of the blackest Video Music Awards in the show's history.\u003c/p>\n\u003cp>Comedians Keegan-Michael Key & Jordan Peele co-hosted as faux social media influencers \u003ca href=\"https://twitter.com/lizardsheeple\">@LizardSheeple\u003c/a> and \u003ca href=\"https://twitter.com/@TheShamester\">@TheShamester\u003c/a>, in sketches parodying the most inane corners of \u003ca href=\"https://www.npr.org/tags/454949862/black-twitter\">Black Twitter\u003c/a>. Rihanna performed a total of four times (not including her \u003ca href=\"https://www.youtube.com/watch?v=HGcc3LyANtA\">artful dodging\u003c/a> of Drake's desperate attempt at a kiss while presenting her with the Video Vanguard Award). Seven years after crashing Taylor Swift's acceptance speech, Kanye West got seven uninterrupted minutes to ramble about Hollywood's incestuous web of fame and infamy, while shouting out his old girlfriend Amber Rose, his wife Kim Kardashian and her one-time fling Ray J. A toned Teyana Taylor gave viewers a visual workout in the premiere of Ye's new video for \"Fade.\" Beyoncé took home the most trophies by the night's end, including one for video of the year (\"Formation\"), after performing a 16-minute medley of songs from her groundbreaking visual album \u003cem>Lemonade\u003c/em>. It was one of those rare award shows where all the black artists who were supposed to win did, at a moment when Black America was practically dying to have its humanity acknowledged.\u003c/p>\n\u003cp>For a cable network whose beginnings were defined by \u003ca href=\"https://www.vanityfair.com/news/2000/11/mtv200011?currentPage=allPittman&printable=true\">charges of racism\u003c/a> before breaking its own color barrier with Michael Jackson's \"Billie Jean\" in 1983, this was peak blackness. \"I can't recall a Blacker time,\" Damon Young of the blog Very Smart Brothas wrote in his \u003ca href=\"https://verysmartbrothas.theroot.com/the-10-best-and-worst-moments-from-the-blackest-vmas-1822522881\">VMAs review\u003c/a> the following day. \"The hosts were Black, the co-hosts were Black, the presenters were (mostly) Black, the performers were (mostly) Black, the winners were (mostly) Black, and even Kanye was (mostly) Black last night.\" Whether coincidence or consequence, it felt like the show had been programmed in defiance of the times.\u003c/p>\n\u003cp>Two months earlier, Alton Sterling and Philando Castile had become the latest black men whose deaths at the hands of police sparked outrage after being captured on video. The surreal frequency of such videos, showing unsuspecting victims executed without the benefit of judge or jury, had already reached the point of absurdity. That point of view has since taken root in the visual language of music videos suffused with an increasingly Afro-Surrealist bent.\u003c/p>\n\u003cp>If black folk had relied on mainstream recognition to affirm our existence or accurately reflect our cultural contributions, we might be nearing extinction by now. But award shows, through inclusion and exclusion, offer a useful lens through which to see how pop culture is framing the politics of the day. To be clear, the VMAs have always been the most colorful of the mainstream music awards, the Jheri-curled stepchild of institutions that produce the Grammys and such. And black artists have earned far better recognition at the VMAs — like Kendrick Lamar, who walked away with six wins in 2017 — than any other award shows.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of the nearly 120 nominations at this year's show, artists of color lead the pack with 30, split between Cardi B, The Carters (Beyoncé and Jay-Z), Childish Gambino and Drake alone. Black artists, in particular, are reveling in a renaissance of the music video as a form of protest and cultural critique. In a year contextualized by the racial divisiveness and gender bigotry that's become a hallmark of Donald Trump's presidency, absurdity truly is the new black.\u003c/p>\n\u003cp>When MTV launched in 1981 — with the slogan \"You'll never look at music the same way again\" — videos were virtually an afterthought in the music industry. Even for the VMAs, which started in 1984, videos have always been ancillary to the award show's primary purpose — gathering the biggest names in pop under one rowdy circus tent. Last year's show reportedly drew the lowest TV ratings in VMA history. It's a reminder that music videos don't live on MTV anymore, they live on the Internet, where the award show itself is increasingly streamed by viewers.\u003c/p>\n\u003cp>Today, artists in hip-hop, R&B and Latin pop owe their collective climb in consumption directly to the world's largest streaming site: YouTube. They've used the free platform in inventive ways to extend both creative depth and commercial reach. This new symbiotic relationship, in which videos are no longer mere conduits for music consumption but an intrinsic part of the content being consumed, is exactly what media critic Marshall McLuhan was referring to over 50 years ago when he said, \"The medium is the message.\"\u003c/p>\n\u003cp>The most urgent and impactful videos nominated this year are those in which the video release doubled as the surprise debut of the song. Whether it be the vagina pants of Janelle Monáe's \"PYNK,\" the shooting of the church choir in Childish Gambino's \"This is America\" or the Louvre takeover in The Carters' \"Apeshit,\" these symbols are tied to the identity of these songs and the way we process them. Much of this has to do with a rise in creative risk-taking.\u003c/p>\n\u003cp>\"Just looking at the videos that are up for best hip-hop video, but particularly the other best art direction videos, there is a certain amount of freedom in a lot of them,\" says Miles Mullin, who is nominated for best art direction for his work on J. Cole's \"ATM.\" The video, like Cole's album KOD, satirizes the infatuation with material things and self-medication central to certain segments of rap. To symbolize the insanity, Mullin made oversize objects including a seven-foot bottle of cough syrup.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vUTI4bPdlgE\u003c/p>\n\u003cp>For Ernie Gilbert, who's up for best editing on Gambino's \"This is America,\" the tonal shift in music video production is being fueled in part by a change in the music's messaging. \"We're in an interesting place with music videos,\" he says. Gilbert has worked in the medium for eight years and also works with with the video's director, Hiro Murai, as an editor on Donald Glover's \u003cem>Atlanta\u003c/em>. \"We've come to a place where it seems like the old gimmicks don't work anymore, in terms of getting people excited about a video — like, how many beautiful houses and awesome cars can we be in?\" But creating content intent on conveying a message doesn't mean sacrificing creativity. \"It goes back to that idea that audiences are more savvy, the world is a little bit more dialed in,\" he says. \"You want to think about the messages, what you're conveying and how you're doing it, so that you walk that fine line between something being cheesy [like] a PSA or something being unnecessarily inflammatory. In our crazy news cycle with everything that's going on, how do you keep your message kind of true and authentic? It's not easy and it's something that hopefully people are thinking about as they are working on stuff. I know I am.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=VYOjWnS4cMY\u003c/p>\n\u003cp>He credits Gambino and Murai with creating an explosive video that quite literally \"danced around some really hard subjects in a nuanced way, in a way that I think really encouraged discussion.\"\u003c/p>\n\u003cp>Likewise, Janelle Monáe's \"PYNK\" became an instant conversation piece when it premiered online this past April. Nominated in several categories, including video with a message, the visual's provocative vagina pants, worn by Monáe and her accompanying dancers, speak volumes in the wake of President Trump's admitted predilection for grabbing private parts. \"If you try to grab my pussycat / This pussy grab you back,\" as Monáe sings on Dirty Computer's \"I Got The Juice.\" But it's Monáe's self-declaration — revealing in an interview with \u003cem>Rolling Stone\u003c/em> this year that she identifies as pansexual — characterized by the creative play between Monáe and the cast of women, including actress and friend Tessa Thompson, that bridges the link between black queendom and queerdom.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=PaYvlVR_BEc\u003c/p>\n\u003cp>\"In personal ways, she opened up about things that she didn't before,\" says Emma Westenberg, the video's director who collaborated extensively with Monáe and her team on the making of \"PYNK.\" \"She saw that people came out to their own families because of that video and because of her being open. That is the best possible outcome you can have as a maker — to encourage and inspire people.\" For Westenberg, it also served as an opportunity to revel in her own womanhood as a director. \"I'm so happy that I can be following my interests and developing myself as a person without people saying, 'Wait, aren't you supposed to be married by now? Aren't you supposed to have kids by now?' The role of a woman in society has grown so much broader. My mom and my grandma are so jealous. \"\u003c/p>\n\u003cp>As pop's personification of black excellence, Beyoncé and Jay-Z flaunted their status by taking over the Louvre in \"APES***.\" But the video, released in tandem with The Carters' surprise album drop of \u003cem>Everything Is Love\u003c/em> in June, also offers a pointed critique of the white gaze. Even the title, \"APES***,\" works as an intentional subversion of the historically racist trope likening black people to primates. The visual power of \"APES***\" lies in the extreme juxtaposition of black bodies filling up a classically white, colonialist-curated space with unadulterated movement and representation. Bey and Jay frame themselves against the backdrop of the Mona Lisa; dancers in every shade of black wind their hips in front of the painting of Emperor Napoleon and Empress Joséphine; Beyoncé thrashes wildly in front of the frozen sculpture of the winged greek goddess Nike.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kbMqWXnpXcA\u003c/p>\n\u003cp>\"We just wanted to act a fool in such a beautiful space,\" says choreographer JaQuel Knight, who's consistently worked with Beyoncé since \"Single Ladies,\" the video that ironically lost to Taylor Swift's \"You Belong with Me\" in the category of best female video at the VMAs in 2009. \"Black culture is the new art, it's the new voice of now. From music to how we dance — the vibe and energy — everyone kind of wants a piece of it.\"\u003c/p>\n\u003cp>Filmed after-hours while preparing for the European leg of the On The Run II tour, the video's director, Ricky Saiz, only had two nights in the Louvre to pull it off. Knight collaborated with Sidi Larbi Cherkaoui, artistic director of Royal Ballet of Flanders in Belgium, to create the video's choreography, or \"vibe pieces,\" as Knight prefers to call them. \"I just kind of make sure everything stays as black and cultural and funky and fun and relevant and cool [as it should be],\" he says.\u003c/p>\n\u003cp>\"To see the contrast of these beautiful black people in such a white space — that's art right there. The beauty of just being there was so strong, so it really didn't take much as far as absorbing the space. The art speaks for itself. Bey and Jay, they're modern-day Mona Lisas. The dancers, their bodies and the shapes of these beautiful black women; it's just wow. It was like a homerun, you knew it was gonna win.\"\u003c/p>\n\u003cp>No matter who the big winners are at the 2018 VMAs, it's becoming impossible to ignore the chorus of voices and images collectively screaming out how much black lives and black culture and black liberation matter. But it's not entirely new, and VMA recognition is far from exhaustive, even for 2018. \"I think that black artists have always been making huge visual statements,\" Westenberg says. The difference, she adds, is it feels like \"people are finally listening, or seeing, or appreciating it.\"\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In that sense, the Bey and Jay takeover of the Louvre is a cultural metaphor that's been a long time coming. \"Yeah, it's a takeover,\" Knight says, \"But it's also just: We're here to stay. You can't play us anymore. It's like we're here. Not even a takeover; we've done that part already and now: Boom! This is it.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Afro-Surrealistic+Worldview+Looms+Over+This+Year%27s+Video+Music+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A couple of years ago, when viral videos of black death were all the rage in America, MTV rolled out one of the blackest Video Music Awards in the show's history.\u003c/p>\n\u003cp>Comedians Keegan-Michael Key & Jordan Peele co-hosted as faux social media influencers \u003ca href=\"https://twitter.com/lizardsheeple\">@LizardSheeple\u003c/a> and \u003ca href=\"https://twitter.com/@TheShamester\">@TheShamester\u003c/a>, in sketches parodying the most inane corners of \u003ca href=\"https://www.npr.org/tags/454949862/black-twitter\">Black Twitter\u003c/a>. Rihanna performed a total of four times (not including her \u003ca href=\"https://www.youtube.com/watch?v=HGcc3LyANtA\">artful dodging\u003c/a> of Drake's desperate attempt at a kiss while presenting her with the Video Vanguard Award). Seven years after crashing Taylor Swift's acceptance speech, Kanye West got seven uninterrupted minutes to ramble about Hollywood's incestuous web of fame and infamy, while shouting out his old girlfriend Amber Rose, his wife Kim Kardashian and her one-time fling Ray J. A toned Teyana Taylor gave viewers a visual workout in the premiere of Ye's new video for \"Fade.\" Beyoncé took home the most trophies by the night's end, including one for video of the year (\"Formation\"), after performing a 16-minute medley of songs from her groundbreaking visual album \u003cem>Lemonade\u003c/em>. It was one of those rare award shows where all the black artists who were supposed to win did, at a moment when Black America was practically dying to have its humanity acknowledged.\u003c/p>\n\u003cp>For a cable network whose beginnings were defined by \u003ca href=\"https://www.vanityfair.com/news/2000/11/mtv200011?currentPage=allPittman&printable=true\">charges of racism\u003c/a> before breaking its own color barrier with Michael Jackson's \"Billie Jean\" in 1983, this was peak blackness. \"I can't recall a Blacker time,\" Damon Young of the blog Very Smart Brothas wrote in his \u003ca href=\"https://verysmartbrothas.theroot.com/the-10-best-and-worst-moments-from-the-blackest-vmas-1822522881\">VMAs review\u003c/a> the following day. \"The hosts were Black, the co-hosts were Black, the presenters were (mostly) Black, the performers were (mostly) Black, the winners were (mostly) Black, and even Kanye was (mostly) Black last night.\" Whether coincidence or consequence, it felt like the show had been programmed in defiance of the times.\u003c/p>\n\u003cp>Two months earlier, Alton Sterling and Philando Castile had become the latest black men whose deaths at the hands of police sparked outrage after being captured on video. The surreal frequency of such videos, showing unsuspecting victims executed without the benefit of judge or jury, had already reached the point of absurdity. That point of view has since taken root in the visual language of music videos suffused with an increasingly Afro-Surrealist bent.\u003c/p>\n\u003cp>If black folk had relied on mainstream recognition to affirm our existence or accurately reflect our cultural contributions, we might be nearing extinction by now. But award shows, through inclusion and exclusion, offer a useful lens through which to see how pop culture is framing the politics of the day. To be clear, the VMAs have always been the most colorful of the mainstream music awards, the Jheri-curled stepchild of institutions that produce the Grammys and such. And black artists have earned far better recognition at the VMAs — like Kendrick Lamar, who walked away with six wins in 2017 — than any other award shows.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Of the nearly 120 nominations at this year's show, artists of color lead the pack with 30, split between Cardi B, The Carters (Beyoncé and Jay-Z), Childish Gambino and Drake alone. Black artists, in particular, are reveling in a renaissance of the music video as a form of protest and cultural critique. In a year contextualized by the racial divisiveness and gender bigotry that's become a hallmark of Donald Trump's presidency, absurdity truly is the new black.\u003c/p>\n\u003cp>When MTV launched in 1981 — with the slogan \"You'll never look at music the same way again\" — videos were virtually an afterthought in the music industry. Even for the VMAs, which started in 1984, videos have always been ancillary to the award show's primary purpose — gathering the biggest names in pop under one rowdy circus tent. Last year's show reportedly drew the lowest TV ratings in VMA history. It's a reminder that music videos don't live on MTV anymore, they live on the Internet, where the award show itself is increasingly streamed by viewers.\u003c/p>\n\u003cp>Today, artists in hip-hop, R&B and Latin pop owe their collective climb in consumption directly to the world's largest streaming site: YouTube. They've used the free platform in inventive ways to extend both creative depth and commercial reach. This new symbiotic relationship, in which videos are no longer mere conduits for music consumption but an intrinsic part of the content being consumed, is exactly what media critic Marshall McLuhan was referring to over 50 years ago when he said, \"The medium is the message.\"\u003c/p>\n\u003cp>The most urgent and impactful videos nominated this year are those in which the video release doubled as the surprise debut of the song. Whether it be the vagina pants of Janelle Monáe's \"PYNK,\" the shooting of the church choir in Childish Gambino's \"This is America\" or the Louvre takeover in The Carters' \"Apeshit,\" these symbols are tied to the identity of these songs and the way we process them. Much of this has to do with a rise in creative risk-taking.\u003c/p>\n\u003cp>\"Just looking at the videos that are up for best hip-hop video, but particularly the other best art direction videos, there is a certain amount of freedom in a lot of them,\" says Miles Mullin, who is nominated for best art direction for his work on J. Cole's \"ATM.\" The video, like Cole's album KOD, satirizes the infatuation with material things and self-medication central to certain segments of rap. To symbolize the insanity, Mullin made oversize objects including a seven-foot bottle of cough syrup.\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/vUTI4bPdlgE'\n title='//www.youtube.com/embed/vUTI4bPdlgE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Ernie Gilbert, who's up for best editing on Gambino's \"This is America,\" the tonal shift in music video production is being fueled in part by a change in the music's messaging. \"We're in an interesting place with music videos,\" he says. Gilbert has worked in the medium for eight years and also works with with the video's director, Hiro Murai, as an editor on Donald Glover's \u003cem>Atlanta\u003c/em>. \"We've come to a place where it seems like the old gimmicks don't work anymore, in terms of getting people excited about a video — like, how many beautiful houses and awesome cars can we be in?\" But creating content intent on conveying a message doesn't mean sacrificing creativity. \"It goes back to that idea that audiences are more savvy, the world is a little bit more dialed in,\" he says. \"You want to think about the messages, what you're conveying and how you're doing it, so that you walk that fine line between something being cheesy [like] a PSA or something being unnecessarily inflammatory. In our crazy news cycle with everything that's going on, how do you keep your message kind of true and authentic? It's not easy and it's something that hopefully people are thinking about as they are working on stuff. I know I am.\"\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/VYOjWnS4cMY'\n title='//www.youtube.com/embed/VYOjWnS4cMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He credits Gambino and Murai with creating an explosive video that quite literally \"danced around some really hard subjects in a nuanced way, in a way that I think really encouraged discussion.\"\u003c/p>\n\u003cp>Likewise, Janelle Monáe's \"PYNK\" became an instant conversation piece when it premiered online this past April. Nominated in several categories, including video with a message, the visual's provocative vagina pants, worn by Monáe and her accompanying dancers, speak volumes in the wake of President Trump's admitted predilection for grabbing private parts. \"If you try to grab my pussycat / This pussy grab you back,\" as Monáe sings on Dirty Computer's \"I Got The Juice.\" But it's Monáe's self-declaration — revealing in an interview with \u003cem>Rolling Stone\u003c/em> this year that she identifies as pansexual — characterized by the creative play between Monáe and the cast of women, including actress and friend Tessa Thompson, that bridges the link between black queendom and queerdom.\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/PaYvlVR_BEc'\n title='//www.youtube.com/embed/PaYvlVR_BEc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"In personal ways, she opened up about things that she didn't before,\" says Emma Westenberg, the video's director who collaborated extensively with Monáe and her team on the making of \"PYNK.\" \"She saw that people came out to their own families because of that video and because of her being open. That is the best possible outcome you can have as a maker — to encourage and inspire people.\" For Westenberg, it also served as an opportunity to revel in her own womanhood as a director. \"I'm so happy that I can be following my interests and developing myself as a person without people saying, 'Wait, aren't you supposed to be married by now? Aren't you supposed to have kids by now?' The role of a woman in society has grown so much broader. My mom and my grandma are so jealous. \"\u003c/p>\n\u003cp>As pop's personification of black excellence, Beyoncé and Jay-Z flaunted their status by taking over the Louvre in \"APES***.\" But the video, released in tandem with The Carters' surprise album drop of \u003cem>Everything Is Love\u003c/em> in June, also offers a pointed critique of the white gaze. Even the title, \"APES***,\" works as an intentional subversion of the historically racist trope likening black people to primates. The visual power of \"APES***\" lies in the extreme juxtaposition of black bodies filling up a classically white, colonialist-curated space with unadulterated movement and representation. Bey and Jay frame themselves against the backdrop of the Mona Lisa; dancers in every shade of black wind their hips in front of the painting of Emperor Napoleon and Empress Joséphine; Beyoncé thrashes wildly in front of the frozen sculpture of the winged greek goddess Nike.\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/kbMqWXnpXcA'\n title='//www.youtube.com/embed/kbMqWXnpXcA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"We just wanted to act a fool in such a beautiful space,\" says choreographer JaQuel Knight, who's consistently worked with Beyoncé since \"Single Ladies,\" the video that ironically lost to Taylor Swift's \"You Belong with Me\" in the category of best female video at the VMAs in 2009. \"Black culture is the new art, it's the new voice of now. From music to how we dance — the vibe and energy — everyone kind of wants a piece of it.\"\u003c/p>\n\u003cp>Filmed after-hours while preparing for the European leg of the On The Run II tour, the video's director, Ricky Saiz, only had two nights in the Louvre to pull it off. Knight collaborated with Sidi Larbi Cherkaoui, artistic director of Royal Ballet of Flanders in Belgium, to create the video's choreography, or \"vibe pieces,\" as Knight prefers to call them. \"I just kind of make sure everything stays as black and cultural and funky and fun and relevant and cool [as it should be],\" he says.\u003c/p>\n\u003cp>\"To see the contrast of these beautiful black people in such a white space — that's art right there. The beauty of just being there was so strong, so it really didn't take much as far as absorbing the space. The art speaks for itself. Bey and Jay, they're modern-day Mona Lisas. The dancers, their bodies and the shapes of these beautiful black women; it's just wow. It was like a homerun, you knew it was gonna win.\"\u003c/p>\n\u003cp>No matter who the big winners are at the 2018 VMAs, it's becoming impossible to ignore the chorus of voices and images collectively screaming out how much black lives and black culture and black liberation matter. But it's not entirely new, and VMA recognition is far from exhaustive, even for 2018. \"I think that black artists have always been making huge visual statements,\" Westenberg says. The difference, she adds, is it feels like \"people are finally listening, or seeing, or appreciating it.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In that sense, the Bey and Jay takeover of the Louvre is a cultural metaphor that's been a long time coming. \"Yeah, it's a takeover,\" Knight says, \"But it's also just: We're here to stay. You can't play us anymore. It's like we're here. Not even a takeover; we've done that part already and now: Boom! This is it.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Afro-Surrealistic+Worldview+Looms+Over+This+Year%27s+Video+Music+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Every Animated Gif of Aretha Franklin You'll Ever Need",
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"content": "\u003cp>It's too soon to formulate words into coherent sentences that can truly capture what Aretha Franklin means, so here is a collection of the best animated gifs featuring our beloved Queen of Soul. If a picture is worth a thousand words, a bunch of animated gifs must be worth a thousand think pieces, right?\u003c/p>\n\u003cp style=\"text-align: center\">Let's not waste any time. Aretha snatched our wigs for decades, and even snatched her own that one time.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-105179\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-wig-off.gif\" alt=\"\" width=\"320\" height=\"240\">\u003c/p>\n\u003cp style=\"text-align: center\">And that's not the only thing she's known for taking off in grand fashion.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105212\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-franklin-coat-off.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"text-align: center\">Oops, there goes my coat droppin' to my feet, oh my.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105204\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-take-off-coat.gif\" alt=\"\" width=\"300\" height=\"225\">\u003c/p>\n\u003cp style=\"text-align: center\">The Queen of Soul was also the Queen of Putting Accessories on the Ground.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105181\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-purse.gif\" alt=\"\" width=\"281\" height=\"258\">\u003c/p>\n\u003cp style=\"text-align: center\">And the Queen of Making President Obama Cry.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105205\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/obama-aretha-cry.gif\" alt=\"\" width=\"640\" height=\"320\">\u003c/p>\n\u003cp style=\"text-align: center\">And the Queen of Making Carole King Feel A LOT of Things.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105182\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/carole-king-aretha-sits-down-shock.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105186\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/carole-king-3-aretha.gif\" alt=\"\" width=\"529\" height=\"352\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105189\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/carole-king-2-aretha.gif\" alt=\"\" width=\"529\" height=\"298\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105190\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/carole-king-aretha.gif\" alt=\"\" width=\"600\" height=\"260\">\u003c/p>\n\u003cp style=\"text-align: center\">It's all in a day's work.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105197\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-has-arrived.gif\" alt=\"\" width=\"400\" height=\"268\">\u003c/p>\n\u003cp style=\"text-align: center\">Aretha listening to the sound of her audience applauding and sobbing at the same time.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105200\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-listening.gif\" alt=\"\" width=\"480\" height=\"360\">\u003c/p>\n\u003cp style=\"text-align: center\">I would take a neck aerobics class taught by Aretha, and so would you.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105192\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-neck-swing.gif\" alt=\"\" width=\"470\" height=\"354\">\u003c/p>\n\u003cp style=\"text-align: center\">Or a shimmy dance class.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105184\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/shimmy-aretha.gif\" alt=\"\" width=\"300\" height=\"250\">\u003c/p>\n\u003cp style=\"text-align: center\">Or a walk down a single step class.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105188\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/boogie-down-aretha.gif\" alt=\"\" width=\"350\" height=\"196\">\u003c/p>\n\u003cp style=\"text-align: center\">Or a self-defense class.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105194\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-kick-butt.gif\" alt=\"\" width=\"350\" height=\"200\">\u003c/p>\n\u003cp style=\"text-align: center\">Or a grad school course in not being stupid or suffering any fools.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105185\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-is-not-stupid-ok.gif\" alt=\"\" width=\"500\" height=\"279\">\u003c/p>\n\u003cp style=\"text-align: center\">Does Aretha look like someone who puts up with BS?\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105193\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-i-dont-think-so.gif\" alt=\"\" width=\"322\" height=\"240\">\u003c/p>\n\u003cp style=\"text-align: center\">How many people did Aretha turn into pillars of salt via disinterested blinking? We might never know.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105211\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-blink.gif\" alt=\"\" width=\"636\" height=\"357\">\u003c/p>\n\u003cp style=\"text-align: center\">We do know Patti LaBelle is still dealing with the PTSD of this snub.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105187\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-shade.gif\" alt=\"\" width=\"260\" height=\"144\">\u003c/p>\n\u003cp style=\"text-align: center\">Maybe Patti can start a support group with Taylor Swift, who's still smarting from Aretha only mentioning her gowns when asked about her talent.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105207\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/great-gowns-aretha.gif\" alt=\"\" width=\"245\" height=\"165\">\u003c/p>\n\u003cp style=\"text-align: center\">If you can't handle the scalding heat, get out of the Queen's tea room.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105196\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-tea.gif\" alt=\"\" width=\"327\" height=\"251\">\u003c/p>\n\u003cp style=\"text-align: center\">Any questions?\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105195\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-oh-really.gif\" alt=\"\" width=\"240\" height=\"180\">\u003c/p>\n\u003cp style=\"text-align: center\">Didn't think so.\u003c/p>\n\u003cp style=\"text-align: center\">May Aretha forever rest in sparkly Inauguration hat glory.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105180\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-inauguration-hat.gif\" alt=\"\" width=\"322\" height=\"400\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's too soon to formulate words into coherent sentences that can truly capture what Aretha Franklin means, so here is a collection of the best animated gifs featuring our beloved Queen of Soul. If a picture is worth a thousand words, a bunch of animated gifs must be worth a thousand think pieces, right?\u003c/p>\n\u003cp style=\"text-align: center\">Let's not waste any time. Aretha snatched our wigs for decades, and even snatched her own that one time.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-105179\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-wig-off.gif\" alt=\"\" width=\"320\" height=\"240\">\u003c/p>\n\u003cp style=\"text-align: center\">And that's not the only thing she's known for taking off in grand fashion.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105212\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-franklin-coat-off.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"text-align: center\">Oops, there goes my coat droppin' to my feet, oh my.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105204\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-take-off-coat.gif\" alt=\"\" width=\"300\" height=\"225\">\u003c/p>\n\u003cp style=\"text-align: center\">The Queen of Soul was also the Queen of Putting Accessories on the Ground.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105181\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-purse.gif\" alt=\"\" width=\"281\" height=\"258\">\u003c/p>\n\u003cp style=\"text-align: center\">And the Queen of Making President Obama Cry.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105205\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/obama-aretha-cry.gif\" alt=\"\" width=\"640\" height=\"320\">\u003c/p>\n\u003cp style=\"text-align: center\">And the Queen of Making Carole King Feel A LOT of Things.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105182\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/carole-king-aretha-sits-down-shock.gif\" alt=\"\" width=\"480\" height=\"270\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105186\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/carole-king-3-aretha.gif\" alt=\"\" width=\"529\" height=\"352\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105189\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/carole-king-2-aretha.gif\" alt=\"\" width=\"529\" height=\"298\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105190\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/carole-king-aretha.gif\" alt=\"\" width=\"600\" height=\"260\">\u003c/p>\n\u003cp style=\"text-align: center\">It's all in a day's work.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105197\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-has-arrived.gif\" alt=\"\" width=\"400\" height=\"268\">\u003c/p>\n\u003cp style=\"text-align: center\">Aretha listening to the sound of her audience applauding and sobbing at the same time.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105200\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-listening.gif\" alt=\"\" width=\"480\" height=\"360\">\u003c/p>\n\u003cp style=\"text-align: center\">I would take a neck aerobics class taught by Aretha, and so would you.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105192\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-neck-swing.gif\" alt=\"\" width=\"470\" height=\"354\">\u003c/p>\n\u003cp style=\"text-align: center\">Or a shimmy dance class.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105184\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/shimmy-aretha.gif\" alt=\"\" width=\"300\" height=\"250\">\u003c/p>\n\u003cp style=\"text-align: center\">Or a walk down a single step class.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105188\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/boogie-down-aretha.gif\" alt=\"\" width=\"350\" height=\"196\">\u003c/p>\n\u003cp style=\"text-align: center\">Or a self-defense class.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105194\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-kick-butt.gif\" alt=\"\" width=\"350\" height=\"200\">\u003c/p>\n\u003cp style=\"text-align: center\">Or a grad school course in not being stupid or suffering any fools.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105185\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-is-not-stupid-ok.gif\" alt=\"\" width=\"500\" height=\"279\">\u003c/p>\n\u003cp style=\"text-align: center\">Does Aretha look like someone who puts up with BS?\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105193\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-i-dont-think-so.gif\" alt=\"\" width=\"322\" height=\"240\">\u003c/p>\n\u003cp style=\"text-align: center\">How many people did Aretha turn into pillars of salt via disinterested blinking? We might never know.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105211\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-blink.gif\" alt=\"\" width=\"636\" height=\"357\">\u003c/p>\n\u003cp style=\"text-align: center\">We do know Patti LaBelle is still dealing with the PTSD of this snub.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105187\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-shade.gif\" alt=\"\" width=\"260\" height=\"144\">\u003c/p>\n\u003cp style=\"text-align: center\">Maybe Patti can start a support group with Taylor Swift, who's still smarting from Aretha only mentioning her gowns when asked about her talent.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105207\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/great-gowns-aretha.gif\" alt=\"\" width=\"245\" height=\"165\">\u003c/p>\n\u003cp style=\"text-align: center\">If you can't handle the scalding heat, get out of the Queen's tea room.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105196\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-tea.gif\" alt=\"\" width=\"327\" height=\"251\">\u003c/p>\n\u003cp style=\"text-align: center\">Any questions?\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105195\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-oh-really.gif\" alt=\"\" width=\"240\" height=\"180\">\u003c/p>\n\u003cp style=\"text-align: center\">Didn't think so.\u003c/p>\n\u003cp style=\"text-align: center\">May Aretha forever rest in sparkly Inauguration hat glory.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-large wp-image-105180\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2018/08/aretha-inauguration-hat.gif\" alt=\"\" width=\"322\" height=\"400\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Many of us have spent the past few days saying a little prayer for Aretha Franklin. Despite \u003ca href=\"https://twitter.com/thefader/status/1029778312590254082\">a reassuring report\u003c/a> that she was \"alert\" and laughing with family just yesterday, the Queen of Soul has passed away at the age of 76. But her legacy of redefining music and raising the bar over and over again since her 1956 debut remains. Because stars are just like us, the likes of Obama and Oprah are also spending the day blasting Aretha's music and meditating on her impact. Here are some of their reactions to the sad news:\u003c/p>\n\u003cp>https://twitter.com/BarackObama/status/1030129887623958538?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1030129887623958538&ref_url=https%3A%2F%2Fpeople.com%2Fmusic%2Faretha-franklin-dead-celebrities-react%2F\u003c/p>\n\u003cp>https://twitter.com/Oprah/status/1030136553878642689?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1030136553878642689&ref_url=https%3A%2F%2Fpeople.com%2Fmusic%2Faretha-franklin-dead-celebrities-react%2F\u003c/p>\n\u003cp>https://twitter.com/QuincyDJones/status/1030125961063280640?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1030125961063280640&ref_url=https%3A%2F%2Fpeople.com%2Fmusic%2Faretha-franklin-dead-celebrities-react%2F\u003c/p>\n\u003cp>https://twitter.com/Lin_Manuel/status/1030096908188938240?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1030096908188938240&ref_url=https%3A%2F%2Fpeople.com%2Fmusic%2Faretha-franklin-dead-celebrities-react%2F\u003c/p>\n\u003cp>[ad 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"content": "\u003cp>It's International Cat Day, a moment to reflect on the majestic felines all around us, who very kindly choose not to murder us on a daily basis, even though they probably could if they wanted.\u003c/p>\n\u003cp>According to some sources, the domestic cat has been living with humans for \u003ca href=\"https://www.smithsonianmag.com/history/a-brief-history-of-house-cats-158390681/\">12,000 years\u003c/a> now, which speaks to the deep bond between our species and theirs. 'Tis a rich a history too: The Ancient Egyptians worshipped a \u003ca href=\"https://en.wikipedia.org/wiki/Bastet\">cat goddess named Bastet\u003c/a>, the Romans saw cats as a symbol of\u003ca href=\"http://felineforever.com/cat-mythology-rome.html\"> liberty and divinity\u003c/a>, and in the Far East, kitties \u003ca href=\"https://www.smithsonianmag.com/history/a-brief-history-of-house-cats-158390681/\">guarded precious manuscripts\u003c/a> against rodent attack.\u003c/p>\n\u003cp>In 2018 though, there seems to be no better form of cat worship than music. Take \u003ca href=\"https://twitter.com/iammoshow?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">iAmMoshow\u003c/a>, for example. The Portland, Oregon rapper's back catalog includes tracks like \u003ca href=\"https://www.youtube.com/watch?v=Wv8EoB4WJzc\">\"Adopt a Cat\"\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=ey15j00yJWw\">\"Cat Emotions,\"\u003c/a> but the MC's finest moment undoubtedly is when he felt inspired to freestyle while sharing a bath with his beloved tabby, Ravioli. As online representations of the love between man and cat go, you'd be hard-pushed to find a more delightful one than this:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DTcC7BvD7cw\u003c/p>\n\u003cp>Ex-San Francisco resident and nerdcore rap king, \u003ca href=\"https://en.wikipedia.org/wiki/Sch%C3%A4ffer_the_Darklord\">Schäffer the Darklord,\u003c/a> also captured his love of all things feline in a 2007 track titled \"Cat People.\" Lyrics include \"Acting like a captain as they pace in the place, Making biscuits in your lap with their ass in your face.\" And live performances of the song included special claw-based dance moves that pre-dated Lady Gaga's monster paws by a full two years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a_mlsH8_65I\u003c/p>\n\u003cp>There can be no doubt that our kitten overlords would enjoy such loving tributes, for there is ample evidence that cats love rap as much as their owners. Just look at this one digging Drake's \"Hotline Bling\":\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_DG5Mj9YISU\u003c/p>\n\u003cp>And this one, who just can't get enough of \u003ca href=\"https://www.youtube.com/watch?v=jpWfu91CCY4\">Pharoahe Monch's \"Simon Says\":\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xZudU-QXIBM\u003c/p>\n\u003cp>Then there's this little tuxedo who's taught herself to DJ:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=uLYBA7CwCx8\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>If you too feel like you need a cat companion to listen to MC Lyte with, you can adopt a fluffy feline friend from a number of wonderful Bay Area organizations including (but not limited to): the \u003ca href=\"https://www.sfspca.org/adoptions/cats\">SPCA\u003c/a>, \u003ca href=\"http://wondercatrescue.org/\">Wonder Cat Rescue\u003c/a>, \u003ca href=\"https://www.cattownoakland.org/adopt/\">Cat Town Oakland\u003c/a>, \u003ca href=\"http://www.bayareacatrescue.org/adoption/gallery.php\">Bay Area Cat Rescue\u003c/a>, \u003ca href=\"http://www.jakesplacecatrescue.org/\">Jake's Place\u003c/a> and \u003ca href=\"https://www.givemesheltersf.org/adoption/\">Give Me Shelter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cuddle your kittens a little closer tonight.\u003c/p>\n\n",
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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/a_mlsH8_65I'\n title='//www.youtube.com/embed/a_mlsH8_65I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There can be no doubt that our kitten overlords would enjoy such loving tributes, for there is ample evidence that cats love rap as much as their owners. Just look at this one digging Drake's \"Hotline Bling\":\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/_DG5Mj9YISU'\n title='//www.youtube.com/embed/_DG5Mj9YISU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And this one, who just can't get enough of \u003ca href=\"https://www.youtube.com/watch?v=jpWfu91CCY4\">Pharoahe Monch's \"Simon Says\":\u003c/a>\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/xZudU-QXIBM'\n title='//www.youtube.com/embed/xZudU-QXIBM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Then there's this little tuxedo who's taught herself to DJ:\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/uLYBA7CwCx8'\n title='//www.youtube.com/embed/uLYBA7CwCx8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>If you too feel like you need a cat companion to listen to MC Lyte with, you can adopt a fluffy feline friend from a number of wonderful Bay Area organizations including (but not limited to): the \u003ca href=\"https://www.sfspca.org/adoptions/cats\">SPCA\u003c/a>, \u003ca href=\"http://wondercatrescue.org/\">Wonder Cat Rescue\u003c/a>, \u003ca href=\"https://www.cattownoakland.org/adopt/\">Cat Town Oakland\u003c/a>, \u003ca href=\"http://www.bayareacatrescue.org/adoption/gallery.php\">Bay Area Cat Rescue\u003c/a>, \u003ca href=\"http://www.jakesplacecatrescue.org/\">Jake's Place\u003c/a> and \u003ca href=\"https://www.givemesheltersf.org/adoption/\">Give Me Shelter\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cuddle your kittens a little closer tonight.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Indian Farmers (Plus Oxen) Just Won the 'Kiki Challenge'",
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"content": "\u003cp>The rapper Drake probably never dreamed that his song, \"\u003ca href=\"https://www.youtube.com/watch?v=3WSgJCYIewM\">In My Feelings,\"\u003c/a> would inspire two Indian farmers to dance in the mud — with their oxen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=38&v=so0BwyMEO8w\u003c/p>\n\u003cp>The song is addressed to a woman named Kiki: \"Kiki, do you love me? Are you riding? Say you'll never ever leave from beside me, 'cause I want you and I need you and I'm down for you always.\"\u003c/p>\n\u003cp>In July, Instagram comedian and social media influencer Shiggy issued what he called the Kiki challenge. Dancing exuberantly, he asked his followers to shoot videos of themselves dancing to the lyrics.\u003c/p>\n\u003cp>His dance set social media feeds on fire, as people all over the world offered their version of the jig – and sometimes did dangerous stunts. A teenager in Iowa was \u003ca href=\"https://nypost.com/2018/07/31/teen-critically-injured-after-trying-viral-kiki-challenge/\">critically injured\u003c/a> when she jumped out of a slow moving car.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now, about those farmers... Sriram Srikanth, 27, Anil Geela, 24, and Pilli Tirupati, 28, have lived most of their lives in the village of \u003ca href=\"http://www.onefivenine.com/india/villages/Karimnagar/Mallial/Lambadipally\">Lambadipally\u003c/a> in the southern Indian state of Telangana. \"Feelings\" was the first English song Geela ever heard; he says he instantly fell in love with the lyrics. And his and his fellow farmers were definitely up for the Kiki challenge.\u003c/p>\n\u003cp>For the farmers of Lambadipally, a day \"riding\" doesn't mean driving in a car. It means using the local means of transport — a pair of oxen!\u003c/p>\n\u003cp>As director of the YouTube channel '\u003ca href=\"https://www.youtube.com/results?search_query=My+village+show\">My Village Show\u003c/a>,' Srikanth says he's been documenting village life and culture for over five years. He uses humor to explore how villagers react to modern influences.\u003c/p>\n\u003cp>In one episode, \u003ca href=\"https://www.youtube.com/watch?v=qmB7wWkxvNw\">he introduces the elderly women in the village\u003c/a> to a burger for the first time and records their reactions.\"Oh, so this is what a burger is! Curry in bread,\" exclaims one. \"This burger costs one hundred rupees?\" cries another.\u003c/p>\n\u003cp>In other episodes, he coaxes villagers to use selfie sticks and introduces them to virtual reality technology and fidget spinners.\u003c/p>\n\u003cp>When Srikanth heard about the Kiki challenge, he and his two friends didn't need to come up with choreography. \"We decided to do the moves that came naturally to us,\" says Srikanth. It took 45 minutes to shoot the 39-second video for Instagram.\u003c/p>\n\u003cp>Monsoon season — going on now — is harvest time for rice. So while Srikanth manned the camera, Geela and Tirupati shook their booties while plowing the muddy rice paddy fields behind two oxen, something they do every day.\u003c/p>\n\u003cp>They said they didn't mind the mud at all, since they walk in the paddy fields all the time. It wasn't difficult to find their footing and dance.\u003c/p>\n\u003cp>But they never dreamed they'd dance their way to global fame.\u003c/p>\n\u003cp>They posted the video on August 1 on Instagram and Youtube, and the rest is Kiki challenge history. Their Youtube channel now has 492,000 subscribers. Their video has had over three million views over the last four days.\u003c/p>\n\u003cp>\"I think they just won the Keke challenge,\" Trevor Noah, the host of \u003cem>The Daily Show\u003c/em>, posted on \u003ca href=\"https://www.facebook.com/TrevorNoah/videos/10156571889302453/\">Facebook\u003c/a>. (He used an alternative spelling for Kiki.)\u003c/p>\n\u003cp>https://twitter.com/vivekoberoi/status/1025255686463270914?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1025255686463270914&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fgoatsandsoda%2F2018%2F08%2F07%2F636275232%2Fkiki-challenge-inspires-2-farmers-to-dance-awesomely-with-oxen-in-the-mud\u003c/p>\n\u003cp>Bollywood actors tweeted their praise:\u003c/p>\n\u003cp>\u003cem>Desi\u003c/em> style means Indian style and\u003cem> Mera Bharat Mahaan\u003c/em> means \"My India is great.\"\u003c/p>\n\u003cp>\"This is our village style of dance, and it was all done in the spur-of-the-moment,\" laughs Geela, who calls himself a bathroom dancer, a part-time farmer and a full-time actor for \u003cem>My Village Show.\u003c/em> Geela once taught mathematics in a nearby town. But he missed the friendship and close bonds of village life so much that he returned to his roots and to farming.\u003c/p>\n\u003cp>While both Srikanth and Geela tend to their farms on a part-time basis, the second dancer in the video, in the long-sleeved shirt, Tirupati, is a full-time farmer. \"I'm happy the video is going viral,\" he says.\u003c/p>\n\u003cp>He's also happy to show that all the news from India's farmers isn't sad. The farming sector has faced many challenges over the years, from drought to too much rainfall to a lack of trained labor. But there are sweet and playful moments in farmer's life as well, he says.\u003c/p>\n\u003cp>\"Dancing in the mud is fun — it's eco-friendly and safe,\" says Geela. \"Many village experiences are pure unadulterated joy. And that's what we hoped to convey.\"\u003c/p>\n\u003cp>As for the villagers in their hometown, they can't believe their video could spark worldwide interest, says Srikanth, and they wonder what the fuss is all about.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kamala Thiagarajan is a freelance journalist based in Madurai, India. Her work has appeared in \u003c/em>The International New York Times, BBC Travel \u003cem>and \u003c/em>Forbes India. \u003cem>You can follow her \u003c/em>\u003ca href=\"https://twitter.com/kamal_t?lang=en\">@kamal_t\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Kiki+Challenge%27+Inspires+2+Farmers+To+Dance+Awesomely+With+Oxen+In+The+Mud&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>Now, about those farmers... Sriram Srikanth, 27, Anil Geela, 24, and Pilli Tirupati, 28, have lived most of their lives in the village of \u003ca href=\"http://www.onefivenine.com/india/villages/Karimnagar/Mallial/Lambadipally\">Lambadipally\u003c/a> in the southern Indian state of Telangana. \"Feelings\" was the first English song Geela ever heard; he says he instantly fell in love with the lyrics. And his and his fellow farmers were definitely up for the Kiki challenge.\u003c/p>\n\u003cp>For the farmers of Lambadipally, a day \"riding\" doesn't mean driving in a car. It means using the local means of transport — a pair of oxen!\u003c/p>\n\u003cp>As director of the YouTube channel '\u003ca href=\"https://www.youtube.com/results?search_query=My+village+show\">My Village Show\u003c/a>,' Srikanth says he's been documenting village life and culture for over five years. He uses humor to explore how villagers react to modern influences.\u003c/p>\n\u003cp>In one episode, \u003ca href=\"https://www.youtube.com/watch?v=qmB7wWkxvNw\">he introduces the elderly women in the village\u003c/a> to a burger for the first time and records their reactions.\"Oh, so this is what a burger is! Curry in bread,\" exclaims one. \"This burger costs one hundred rupees?\" cries another.\u003c/p>\n\u003cp>In other episodes, he coaxes villagers to use selfie sticks and introduces them to virtual reality technology and fidget spinners.\u003c/p>\n\u003cp>When Srikanth heard about the Kiki challenge, he and his two friends didn't need to come up with choreography. \"We decided to do the moves that came naturally to us,\" says Srikanth. It took 45 minutes to shoot the 39-second video for Instagram.\u003c/p>\n\u003cp>Monsoon season — going on now — is harvest time for rice. So while Srikanth manned the camera, Geela and Tirupati shook their booties while plowing the muddy rice paddy fields behind two oxen, something they do every day.\u003c/p>\n\u003cp>They said they didn't mind the mud at all, since they walk in the paddy fields all the time. It wasn't difficult to find their footing and dance.\u003c/p>\n\u003cp>But they never dreamed they'd dance their way to global fame.\u003c/p>\n\u003cp>They posted the video on August 1 on Instagram and Youtube, and the rest is Kiki challenge history. Their Youtube channel now has 492,000 subscribers. Their video has had over three million views over the last four days.\u003c/p>\n\u003cp>\"I think they just won the Keke challenge,\" Trevor Noah, the host of \u003cem>The Daily Show\u003c/em>, posted on \u003ca href=\"https://www.facebook.com/TrevorNoah/videos/10156571889302453/\">Facebook\u003c/a>. (He used an alternative spelling for Kiki.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Bollywood actors tweeted their praise:\u003c/p>\n\u003cp>\u003cem>Desi\u003c/em> style means Indian style and\u003cem> Mera Bharat Mahaan\u003c/em> means \"My India is great.\"\u003c/p>\n\u003cp>\"This is our village style of dance, and it was all done in the spur-of-the-moment,\" laughs Geela, who calls himself a bathroom dancer, a part-time farmer and a full-time actor for \u003cem>My Village Show.\u003c/em> Geela once taught mathematics in a nearby town. But he missed the friendship and close bonds of village life so much that he returned to his roots and to farming.\u003c/p>\n\u003cp>While both Srikanth and Geela tend to their farms on a part-time basis, the second dancer in the video, in the long-sleeved shirt, Tirupati, is a full-time farmer. \"I'm happy the video is going viral,\" he says.\u003c/p>\n\u003cp>He's also happy to show that all the news from India's farmers isn't sad. The farming sector has faced many challenges over the years, from drought to too much rainfall to a lack of trained labor. But there are sweet and playful moments in farmer's life as well, he says.\u003c/p>\n\u003cp>\"Dancing in the mud is fun — it's eco-friendly and safe,\" says Geela. \"Many village experiences are pure unadulterated joy. And that's what we hoped to convey.\"\u003c/p>\n\u003cp>As for the villagers in their hometown, they can't believe their video could spark worldwide interest, says Srikanth, and they wonder what the fuss is all about.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Kamala Thiagarajan is a freelance journalist based in Madurai, India. Her work has appeared in \u003c/em>The International New York Times, BBC Travel \u003cem>and \u003c/em>Forbes India. \u003cem>You can follow her \u003c/em>\u003ca href=\"https://twitter.com/kamal_t?lang=en\">@kamal_t\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Kiki+Challenge%27+Inspires+2+Farmers+To+Dance+Awesomely+With+Oxen+In+The+Mud&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>On July 30, as part of our series Turning the Tables, NPR Music published a list of the \u003c/em>\u003ca href=\"https://www.npr.org/2018/07/30/627395449/turning-the-tables-the-200-greatest-songs-by-21st-century-women-part-1\">\u003cem>200 greatest songs\u003c/em>\u003c/a>\u003cem> made by women and non-binary musicians who debuted on or after Jan. 1, 2000. Today, Ann Powers examines that list's immediate forebears: artists whose careers began in the late 1990s but whose influence carried well into the 21st century.\u003c/em>\u003c/p>\n\u003cp>Here's a bit of historical hindsight: The millennium bug was real, it just didn't hit the way we thought it would. Anyone who was already staring at a screen in 1999 remembers the quiet panic over whether a \"Y2K\" computer glitch would derail the world's data-driven infrastructure systems. That didn't happen; the canned food filling doomsayers' remodeled bomb shelters presumably was thrown into casseroles for the next family holiday. Something did shift, though, in the early months of the year 2000. It happened on the pop charts: the twelve-week reign of Carlos Santana's \"Smooth,\" featuring the suave, mumbled cat-calling of late-'90s rock heartthrob Rob Thomas, finally gave way beneath the force of Christina Aguilera's \"What a Girl Wants.\"\u003c/p>\n\u003cp>\"What a Girl Wants\" is a power ballad deeply emblematic of the Y2K moment, when old forms of expression were being reshaped by the young generation immersed in the emerging era's fundamental restructuring of social and neural networks. On one hand, Aguilera's manifesto is old-fashioned: She fortified her teen pop with 1960s soul inflections, and the song's lyrics about a sensitive (and monogamous) tough guy could have come from the Maybelline-streaked lips of the Shangri-La's. But the title-bearing chorus — a list of prerequisites delivered with supreme self-assurance, leading to the central assertion, \"Whatever makes me happy sets you free\" — is purely, deeply, indicative of where cultural feminism would go in the new millennium, especially in music. The conflagrations set by women out to remake rock in the mid-1990s had calmed — many said that the spirit of movements like the feminist Riot Grrrl been co-opted by a \"girl power\" strain of capitalism that doused their radical potential. In retrospect we can see how artists like Aguilera, who emerged in the final years of the 1990s, not only touched on innovations that would become the center of millennial music, but addressed central feminist concerns of autonomy, pleasure and self-determination in complicated and wide-ranging ways, resetting the parameters for women as agents of their own expressiveness and values in ways that are still playing out now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hpspGHeLOPE\u003c/p>\n\u003cp>The unrest on the rock scene in the first half of the 1990s felt to many like a paradigm shift, but it was really a blast pattern: a series of eruptions that added up to real damage but which only partially reached pop's cultural foundation. Into this fractured landscape came a diverse array of artists who took on the challenge of expressing self-aware womanhood in very different ways. The messages these artists sent were mixed. Some seemed almost retrograde: the teen pop stars whose tanned-and-taut young queen was Britney Spears, and who expressed a self-confident sexuality that was hard to read as wholly self-cultivated, but which has been fully claimed as such by today's pop rebels from Taylor Swift to Lorde to Charli XCX. Others explored how the defiance of women in rock could work within less openly anarchic musical genres, refashioning old norms instead of discarding them. The Dixie Chicks epitomized this in country: The trio played into classic rural romance fantasies with songs like \"Cowboy, Take Me Away,\" but buried those same dreams with the anti-domestic violence anthem \"Goodbye Earl\" – on the same album. Today, Miranda Lambert and Kacey Musgraves perform the same balancing act. In R&B, Destiny's Child came to embody the girl-group ideal by forthrightly embodying what independence feels like for women who still strongly valued their own conventional sex appeal for men. That same tension is playing out in ever more complicated ways in the music of current groundbreakers like SZA and Kali Uchis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gw7gNf_9njs\u003c/p>\n\u003cp>Did the late 1990s represent a backlash when it came to gender, or a necessary move toward the center? There's still disagreement on this point. But most pop historians would agree to mark the turning point with the platform-sandal footprint of the Spice Girls. Glittering the landscape in 1996, the English quintet seemed to embody a flighty femininity that the time's fierce zeitgeist-rulers, like Polly Jean Harvey or Queen Latifah, actively opposed. Yet the Spice Girls' career-setting anthem \"Wannabe\" giddily leapt ahead of its time: I vividly remember hearing it for the first time in an English hotel room, bubbling out of the television like an exploding packet of Pop Rocks spit out by these cute but absolutely normal-looking girls rampaging through a fantastical nightclub. They were yelling about women's friendship! They kissed the boys and just kept on going! One of them was jogging pants and a sports bra! I was a devotee of the time's most confrontational rock and hip-hop, but there was something to this idea that women's solidarity wasn't just for the boldest and the most bohemian.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gJLIiF15wjQ\u003c/p>\n\u003cp>The Spice Girls were outliers, but not by much. Their massive popularity presaged a new wave of American teen pop also spearheaded by a tricky sweetheart: Britney Spears. Today, Britney has become a first-name-only goddess revered by dance music mavens for her willingness to take chances with experimental producers while still owning the center of the pop charts. As a feminist icon, Spears remains nearly as problematic in 2018 as she was when her authentic schoolgirl pout made her a star with \"...Baby One More Time\" twenty years earlier. She's still one of the most powerfully charismatic pop stars of our age, and deserves respect not only for being the indelible voice of a pop juggernaut, but for her longevity in the face of every major pitfall celebrity can create. Yet since a public breakdown made her an official pop tragedy in 2008, a debate has raged about whether Spears has been the prime agent in her own success, or an exploited asset, and she herself is only now emerging as an artist in ways that might clarify matters. The story of Britney Spears couldn't have been less suited to the story of women toppling male power structures that dominated the 1990s. Nonetheless, her importance as both a musical and cultural influence is undeniable. Like Elvis, Britney Spears embodies a seismic shift in American culture – not toward the cultivated rawness of rock and roll, but away from it, into an era dominated by new technologies that throw into question the very nature of the authentic. A voice in league with new technologies\u003cstrong>, \u003c/strong>Britney Spears embodies something fundamental about our time. Every artist working in the pop realm reckons with her.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C-u5WLJ9Yk4\u003c/p>\n\u003cp>The troubled iconicity of Britney Spears can overshadow just how much other women changed popular music just before and after her emergence. Before her, there was Gwen Stefani, who like every cool kid's favorite Spice Girl Mel C decked herself out in clothes as sports-functional as they were sexy, and who sang about the very limits placed upon her as a woman fronting an all-male band in No Doubt's \"Just a Girl.\" (Stefani, like a few others who debuted in the 1990s, makes our list because her solo career commenced in earnest in the 2000s.) There was Jewel, singing about addiction and the the sexual exploitation of young women in a hit, \"Who Will Save Your Soul,\" that critics dismissed as teenage flowered-notebook rambling. A year later there was Fiona Apple, who made her revelations about sexual trauma and its aftermath — her song \"Sullen Girl\" was a #metoo moment decades before its hashtag — but whose very (slender) physique seemed out of step with the time's feminist mores. \"I'm a little torn,\" sang Australian pop star Natalie Imbruglia in 1998, her baggy hoodie in the \"Torn\" video sending one message while her glam squad-enhanced eyes sent another. It was hard, sometimes, to tell whether these ingenues were sending mixed messages or signaling complexity. Something similar was happening in R&B, as the mighty TLC led a new wave of sleek-voiced women whose versions of empowerment weren't as obviously fierce as what En Vogue had embodied in 1992's \"Free Your Mind.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VV1XWJN3nJo\u003c/p>\n\u003cp>Could women's empowerment creep into patriarchy's engine, dismantling the status quo in other ways? The girl-group renaissance ushered in by TLC and moved forward by solo artists like Brandy, Mya and Monica showed ways that this could happen. At the same time, Missy Elliott and Aaliyah were shifting the very ground of R&B, creating an intuitively feminine and de facto feminist language within it via deft samples, new ways of singing and lyrics that sometimes sounded like but never really were nonsense. These trendsetters were joined by Destiny's Child in 1998 – a group that would not only launch the career of the new millennium's musical empress, Beyoncé Knowles, but which would blend better than anyone else the classic soulwoman's mandate to talk smack to men's power with hip-hop's new approach to vocalizing and musical arrangement. (It's no surprise that Elliott is one of the producers on the group's landmark 1999 album \u003cem>The Writing's on the Wall.\u003c/em>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NiF6-0UTqtc\u003c/p>\n\u003cp>Some women on the cusp between the wild mid-1990s and the more choreographed 2000s focused not on confrontation, but on building points of view that could open up into whole worlds. Erykah Badu and Lauryn Hill set the gold standard for this approach, their songs honoring black women's realities even when they contradicted conventional ideas of women's liberation. Jennifer Lopez, who would later go on to be a pop force as powerful as any in the early-to-mid 2000s, forged a new path in Latin crossover pop by blending the Gucci glamor of '90s hip-hop with the street-smart energy of Latin freestyle and salsa.\u003c/p>\n\u003cp>The list of genre-shakers from this period continues, including enough legends that had NPR's list spanned a logical two decades instead of starting in 2000, the Top 10 could have easily featured 1998 and 1999 releases alone. (This is one reason we made 2000 our jumping-off point for this list: We wanted our voters to keep the present day in sharp focus, uninfluenced by nostalgia for this moment and its superstars.) In country, beyond the Dixie Chicks, Shania Twain — who was much more the architect of her own stardom than more early accounts, who credited her then-husband and producer Mutt Lang, acknowledged — changed the genre itself by giving voice not only to sexually assertive womanhood but to the rock and roll-loving suburban middle class that then constituted its audience just as much small towners.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZJL4UGSbeFg\u003c/p>\n\u003cp>Gillian Welch practically invented country's more artisanal offshoot, Americana, by reinvesting folk traditions with a remarkable clarity made possible by her outsider status. Coastal children who met as New England music students, she and her partner David Rawlings entered the roots music world unhindered close inheritance, and became the ideal revivalists of the Internet age — meticulous archival explorers who built their own sound world that wasn't a copy of the past but a means of letting it permeate the present: time travel as mindfulness practice. And in indie music, Neko Case — an artist who's gone on record about not wanting to be included in gender-based lists like Turning the Tables — set a new standard for songwriting by refusing the limits of genre, verse-chorus-verse and linear narrative, setting the tone imaginative inquiries later taken up by artistes like Joanna Newsom and The Decemberists.\u003c/p>\n\u003cp>Most of these women were misunderstood in their moment of emergence, or critically lauded but still undervalued as major innovators. (Badu and Hill are the exceptions, having answered the most serious problem within the 1990s feminist movement in popular music — the drastic need for perspectives from women of color.) In an early review I now regret, I myself mistook Welch and her partner David Rawlings as purveyors of tight-collared costume drama rather than interrogators of a folk lineage that deeply needed their intervention. Gen X music fans like me, who tasted the revolution on the lips of brazen iconoclasts like Kathleen Hanna of Bikini Kill, couldn't always see how the artists taking the decade into the future weren't abandoning the sweeping project of remaking popular music in the true shape of womanhood, but proving that this endeavor would not take one shape or be ruled by one sound, as much as so many of us loved the noisiness of our own cohort. A soft voice like that of the chanteuse Dido, whose 1999 debut \u003cem>No Angel\u003c/em> became the second-best selling album of the 2000s in England, might have seem like a throwaway sweet, worth less than the meat we got from our favorite rockers or rappers. Yet that voice singing lyrics like, \"I just want to feel safe in my own skin\" feels as or more relevant now, with so many women saying the same thing within social media's danger zones.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T6QKqFPRZSA\u003c/p>\n\u003cp>It wasn't so long ago that other cusp eras like the early 1970s or the late 1980s were also disregarded as overly commercial or adrift within pop's larger historical sweep. Eclecticism and the kind of experimentation that moves incrementally can be mistaken as a kind of watering down of more openly provocative practices. History often unfolds in arcs, not because real life is that way, but because the storytellers who write it crave the dynamic narrative pull such structures provides. Some periods end up on the down side of the circle.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But another word for \"down side\" is \"foundation.\" New sounds, new subgenres, new ways of thinking about both music and what it means to be a woman at a time when new freedoms and old evils often seemed on a collision course: All of these elements emerged at the edge of the millennium. The kids in middle and high school then, or even maybe just hitting puberty, are the artists now engaging in another round of musical revolution — challenging gender norms and genre boundaries, demanding accountability from male peers, blowing s*** up with homemade dynamite. It's from these women's knotty legacies that they cut their fuses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Women+On+The+Verge%3A+At+The+End+Of+The+%2790s%2C+A+Few+Artists+Set+The+Stage+For+A+New+Era&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>On July 30, as part of our series Turning the Tables, NPR Music published a list of the \u003c/em>\u003ca href=\"https://www.npr.org/2018/07/30/627395449/turning-the-tables-the-200-greatest-songs-by-21st-century-women-part-1\">\u003cem>200 greatest songs\u003c/em>\u003c/a>\u003cem> made by women and non-binary musicians who debuted on or after Jan. 1, 2000. Today, Ann Powers examines that list's immediate forebears: artists whose careers began in the late 1990s but whose influence carried well into the 21st century.\u003c/em>\u003c/p>\n\u003cp>Here's a bit of historical hindsight: The millennium bug was real, it just didn't hit the way we thought it would. Anyone who was already staring at a screen in 1999 remembers the quiet panic over whether a \"Y2K\" computer glitch would derail the world's data-driven infrastructure systems. That didn't happen; the canned food filling doomsayers' remodeled bomb shelters presumably was thrown into casseroles for the next family holiday. Something did shift, though, in the early months of the year 2000. It happened on the pop charts: the twelve-week reign of Carlos Santana's \"Smooth,\" featuring the suave, mumbled cat-calling of late-'90s rock heartthrob Rob Thomas, finally gave way beneath the force of Christina Aguilera's \"What a Girl Wants.\"\u003c/p>\n\u003cp>\"What a Girl Wants\" is a power ballad deeply emblematic of the Y2K moment, when old forms of expression were being reshaped by the young generation immersed in the emerging era's fundamental restructuring of social and neural networks. On one hand, Aguilera's manifesto is old-fashioned: She fortified her teen pop with 1960s soul inflections, and the song's lyrics about a sensitive (and monogamous) tough guy could have come from the Maybelline-streaked lips of the Shangri-La's. But the title-bearing chorus — a list of prerequisites delivered with supreme self-assurance, leading to the central assertion, \"Whatever makes me happy sets you free\" — is purely, deeply, indicative of where cultural feminism would go in the new millennium, especially in music. The conflagrations set by women out to remake rock in the mid-1990s had calmed — many said that the spirit of movements like the feminist Riot Grrrl been co-opted by a \"girl power\" strain of capitalism that doused their radical potential. In retrospect we can see how artists like Aguilera, who emerged in the final years of the 1990s, not only touched on innovations that would become the center of millennial music, but addressed central feminist concerns of autonomy, pleasure and self-determination in complicated and wide-ranging ways, resetting the parameters for women as agents of their own expressiveness and values in ways that are still playing out now.\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/hpspGHeLOPE'\n title='//www.youtube.com/embed/hpspGHeLOPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The unrest on the rock scene in the first half of the 1990s felt to many like a paradigm shift, but it was really a blast pattern: a series of eruptions that added up to real damage but which only partially reached pop's cultural foundation. Into this fractured landscape came a diverse array of artists who took on the challenge of expressing self-aware womanhood in very different ways. The messages these artists sent were mixed. Some seemed almost retrograde: the teen pop stars whose tanned-and-taut young queen was Britney Spears, and who expressed a self-confident sexuality that was hard to read as wholly self-cultivated, but which has been fully claimed as such by today's pop rebels from Taylor Swift to Lorde to Charli XCX. Others explored how the defiance of women in rock could work within less openly anarchic musical genres, refashioning old norms instead of discarding them. The Dixie Chicks epitomized this in country: The trio played into classic rural romance fantasies with songs like \"Cowboy, Take Me Away,\" but buried those same dreams with the anti-domestic violence anthem \"Goodbye Earl\" – on the same album. Today, Miranda Lambert and Kacey Musgraves perform the same balancing act. In R&B, Destiny's Child came to embody the girl-group ideal by forthrightly embodying what independence feels like for women who still strongly valued their own conventional sex appeal for men. That same tension is playing out in ever more complicated ways in the music of current groundbreakers like SZA and Kali Uchis.\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/Gw7gNf_9njs'\n title='//www.youtube.com/embed/Gw7gNf_9njs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did the late 1990s represent a backlash when it came to gender, or a necessary move toward the center? There's still disagreement on this point. But most pop historians would agree to mark the turning point with the platform-sandal footprint of the Spice Girls. Glittering the landscape in 1996, the English quintet seemed to embody a flighty femininity that the time's fierce zeitgeist-rulers, like Polly Jean Harvey or Queen Latifah, actively opposed. Yet the Spice Girls' career-setting anthem \"Wannabe\" giddily leapt ahead of its time: I vividly remember hearing it for the first time in an English hotel room, bubbling out of the television like an exploding packet of Pop Rocks spit out by these cute but absolutely normal-looking girls rampaging through a fantastical nightclub. They were yelling about women's friendship! They kissed the boys and just kept on going! One of them was jogging pants and a sports bra! I was a devotee of the time's most confrontational rock and hip-hop, but there was something to this idea that women's solidarity wasn't just for the boldest and the most bohemian.\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/gJLIiF15wjQ'\n title='//www.youtube.com/embed/gJLIiF15wjQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Spice Girls were outliers, but not by much. Their massive popularity presaged a new wave of American teen pop also spearheaded by a tricky sweetheart: Britney Spears. Today, Britney has become a first-name-only goddess revered by dance music mavens for her willingness to take chances with experimental producers while still owning the center of the pop charts. As a feminist icon, Spears remains nearly as problematic in 2018 as she was when her authentic schoolgirl pout made her a star with \"...Baby One More Time\" twenty years earlier. She's still one of the most powerfully charismatic pop stars of our age, and deserves respect not only for being the indelible voice of a pop juggernaut, but for her longevity in the face of every major pitfall celebrity can create. Yet since a public breakdown made her an official pop tragedy in 2008, a debate has raged about whether Spears has been the prime agent in her own success, or an exploited asset, and she herself is only now emerging as an artist in ways that might clarify matters. The story of Britney Spears couldn't have been less suited to the story of women toppling male power structures that dominated the 1990s. Nonetheless, her importance as both a musical and cultural influence is undeniable. Like Elvis, Britney Spears embodies a seismic shift in American culture – not toward the cultivated rawness of rock and roll, but away from it, into an era dominated by new technologies that throw into question the very nature of the authentic. A voice in league with new technologies\u003cstrong>, \u003c/strong>Britney Spears embodies something fundamental about our time. Every artist working in the pop realm reckons with her.\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/C-u5WLJ9Yk4'\n title='//www.youtube.com/embed/C-u5WLJ9Yk4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The troubled iconicity of Britney Spears can overshadow just how much other women changed popular music just before and after her emergence. Before her, there was Gwen Stefani, who like every cool kid's favorite Spice Girl Mel C decked herself out in clothes as sports-functional as they were sexy, and who sang about the very limits placed upon her as a woman fronting an all-male band in No Doubt's \"Just a Girl.\" (Stefani, like a few others who debuted in the 1990s, makes our list because her solo career commenced in earnest in the 2000s.) There was Jewel, singing about addiction and the the sexual exploitation of young women in a hit, \"Who Will Save Your Soul,\" that critics dismissed as teenage flowered-notebook rambling. A year later there was Fiona Apple, who made her revelations about sexual trauma and its aftermath — her song \"Sullen Girl\" was a #metoo moment decades before its hashtag — but whose very (slender) physique seemed out of step with the time's feminist mores. \"I'm a little torn,\" sang Australian pop star Natalie Imbruglia in 1998, her baggy hoodie in the \"Torn\" video sending one message while her glam squad-enhanced eyes sent another. It was hard, sometimes, to tell whether these ingenues were sending mixed messages or signaling complexity. Something similar was happening in R&B, as the mighty TLC led a new wave of sleek-voiced women whose versions of empowerment weren't as obviously fierce as what En Vogue had embodied in 1992's \"Free Your Mind.\"\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/VV1XWJN3nJo'\n title='//www.youtube.com/embed/VV1XWJN3nJo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Could women's empowerment creep into patriarchy's engine, dismantling the status quo in other ways? The girl-group renaissance ushered in by TLC and moved forward by solo artists like Brandy, Mya and Monica showed ways that this could happen. At the same time, Missy Elliott and Aaliyah were shifting the very ground of R&B, creating an intuitively feminine and de facto feminist language within it via deft samples, new ways of singing and lyrics that sometimes sounded like but never really were nonsense. These trendsetters were joined by Destiny's Child in 1998 – a group that would not only launch the career of the new millennium's musical empress, Beyoncé Knowles, but which would blend better than anyone else the classic soulwoman's mandate to talk smack to men's power with hip-hop's new approach to vocalizing and musical arrangement. (It's no surprise that Elliott is one of the producers on the group's landmark 1999 album \u003cem>The Writing's on the Wall.\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/NiF6-0UTqtc'\n title='//www.youtube.com/embed/NiF6-0UTqtc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some women on the cusp between the wild mid-1990s and the more choreographed 2000s focused not on confrontation, but on building points of view that could open up into whole worlds. Erykah Badu and Lauryn Hill set the gold standard for this approach, their songs honoring black women's realities even when they contradicted conventional ideas of women's liberation. Jennifer Lopez, who would later go on to be a pop force as powerful as any in the early-to-mid 2000s, forged a new path in Latin crossover pop by blending the Gucci glamor of '90s hip-hop with the street-smart energy of Latin freestyle and salsa.\u003c/p>\n\u003cp>The list of genre-shakers from this period continues, including enough legends that had NPR's list spanned a logical two decades instead of starting in 2000, the Top 10 could have easily featured 1998 and 1999 releases alone. (This is one reason we made 2000 our jumping-off point for this list: We wanted our voters to keep the present day in sharp focus, uninfluenced by nostalgia for this moment and its superstars.) In country, beyond the Dixie Chicks, Shania Twain — who was much more the architect of her own stardom than more early accounts, who credited her then-husband and producer Mutt Lang, acknowledged — changed the genre itself by giving voice not only to sexually assertive womanhood but to the rock and roll-loving suburban middle class that then constituted its audience just as much small towners.\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/ZJL4UGSbeFg'\n title='//www.youtube.com/embed/ZJL4UGSbeFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gillian Welch practically invented country's more artisanal offshoot, Americana, by reinvesting folk traditions with a remarkable clarity made possible by her outsider status. Coastal children who met as New England music students, she and her partner David Rawlings entered the roots music world unhindered close inheritance, and became the ideal revivalists of the Internet age — meticulous archival explorers who built their own sound world that wasn't a copy of the past but a means of letting it permeate the present: time travel as mindfulness practice. And in indie music, Neko Case — an artist who's gone on record about not wanting to be included in gender-based lists like Turning the Tables — set a new standard for songwriting by refusing the limits of genre, verse-chorus-verse and linear narrative, setting the tone imaginative inquiries later taken up by artistes like Joanna Newsom and The Decemberists.\u003c/p>\n\u003cp>Most of these women were misunderstood in their moment of emergence, or critically lauded but still undervalued as major innovators. (Badu and Hill are the exceptions, having answered the most serious problem within the 1990s feminist movement in popular music — the drastic need for perspectives from women of color.) In an early review I now regret, I myself mistook Welch and her partner David Rawlings as purveyors of tight-collared costume drama rather than interrogators of a folk lineage that deeply needed their intervention. Gen X music fans like me, who tasted the revolution on the lips of brazen iconoclasts like Kathleen Hanna of Bikini Kill, couldn't always see how the artists taking the decade into the future weren't abandoning the sweeping project of remaking popular music in the true shape of womanhood, but proving that this endeavor would not take one shape or be ruled by one sound, as much as so many of us loved the noisiness of our own cohort. A soft voice like that of the chanteuse Dido, whose 1999 debut \u003cem>No Angel\u003c/em> became the second-best selling album of the 2000s in England, might have seem like a throwaway sweet, worth less than the meat we got from our favorite rockers or rappers. Yet that voice singing lyrics like, \"I just want to feel safe in my own skin\" feels as or more relevant now, with so many women saying the same thing within social media's danger zones.\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/T6QKqFPRZSA'\n title='//www.youtube.com/embed/T6QKqFPRZSA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wasn't so long ago that other cusp eras like the early 1970s or the late 1980s were also disregarded as overly commercial or adrift within pop's larger historical sweep. Eclecticism and the kind of experimentation that moves incrementally can be mistaken as a kind of watering down of more openly provocative practices. History often unfolds in arcs, not because real life is that way, but because the storytellers who write it crave the dynamic narrative pull such structures provides. Some periods end up on the down side of the circle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But another word for \"down side\" is \"foundation.\" New sounds, new subgenres, new ways of thinking about both music and what it means to be a woman at a time when new freedoms and old evils often seemed on a collision course: All of these elements emerged at the edge of the millennium. The kids in middle and high school then, or even maybe just hitting puberty, are the artists now engaging in another round of musical revolution — challenging gender norms and genre boundaries, demanding accountability from male peers, blowing s*** up with homemade dynamite. It's from these women's knotty legacies that they cut their fuses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Women+On+The+Verge%3A+At+The+End+Of+The+%2790s%2C+A+Few+Artists+Set+The+Stage+For+A+New+Era&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "R. Kelly's \"I Admit\" Has All the Hallmarks of Abuser Logic",
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"content": "\u003cp>R. Kelly's 25-year career has been marred by controversy and abuse allegations since almost the very beginning. In 1994, at age 27, \u003ca href=\"http://thesource.com/2016/07/31/r-kelly-secretly-marries-15-year-old-aaliyah-22-years-ago-today/\">he married 15-year-old Aaliyah\u003c/a>, whom he'd first met when she was 12. In 1996, an ex-girlfriend sued him for emotional distress. In 2001, he was \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40635526\">sued by an intern\u003c/a> who had a sexual relationship with Kelly when she was 17. Between 2002 and 2004, there were \u003ca href=\"https://www.nytimes.com/2008/06/14/arts/music/14kell.html\">child pornography trials\u003c/a>, stemming from a tape apparently showing Kelly engaged in sex acts with an underage girl.\u003c/p>\n\u003cp>In 2017, three sets of parents accused Kelly of running a \u003ca href=\"https://www.buzzfeednews.com/article/jimderogatis/parents-told-police-r-kelly-is-keeping-women-in-a-cult\">\"sex cult,\"\u003c/a> in which their daughters were being abused. Around that same time, three ex-members of Kelly’s entourage -- \u003ca href=\"https://www.buzzfeednews.com/article/jimderogatis/parents-told-police-r-kelly-is-keeping-women-in-a-cult\">Cheryl Mack, Kitti Jones, and Asante McGee -- told BuzzFeed\u003c/a> that the singer dictates what his girlfriends \"eat, how they dress, when they bathe, when they sleep, and how they engage in sexual encounters that he records.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.washingtonpost.com/news/style/wp/2018/05/04/feature/how-the-music-industry-overlooked-r-kellys-alleged-abuse-of-young-women/?utm_term=.7d40a4362556\">a 2018 \u003cem>Washington Post\u003c/em> article\u003c/a>, six women came forward with their stories of abuse by Kelly. The same story produced evidence of many music industry professionals actively covering for, or turning a blind eye to, Kelly's inappropriate behavior with young women. Demetrius Smith, his former tour manager, admitted: \"We didn’t look at ages because their mamas let them stay out all night.”\u003c/p>\n\u003cp>For his part, R. Kelly has remained either silent or evasive. So when he released a 19-minute track titled \"I Admit\" (with its startling refrain: \"I admit it, I did it\"), it was no surprise that the track was quickly dissected.\u003c/p>\n\u003cp>https://twitter.com/TalibKweli/status/1021411400206487554\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/CraigSJ/status/1021385196527136770\u003c/p>\n\u003cp>https://twitter.com/JessicaValenti/status/1021403247083507713\u003c/p>\n\u003cp>https://twitter.com/zellieimani/status/1021399648815263748\u003c/p>\n\u003cp>Much of the online commentary has anticipated that this will result in an arrest of some sort, but given how long Kelly has been operating in plain sight, that feels depressingly unlikely, even in the age of #MeToo. There's no question that the content of \"I Admit\" is unabashedly self-indulgent and self-aggrandizing, but it also offers some insight into the mental state of abusers.\u003c/p>\n\u003cp>Kelly presents himself on the track as a victim first and foremost, whether within the realms of his own illiteracy (\"I admit I can't spell… I admit that I couldn't read the teleprompter when the Grammys asked me to present\"), his apparent financial troubles (\"All these hits out but I couldn't put food on the table\"), or the abuse he suffered as a child (\"I admit a family member touched me, from a child to the age 14, while I laid asleep, took my virginity\"). He declares that he \"ain't seen [his] kids in years,\" but his apology to his children (\"What you hearin' out here about dad, guys I'm sorry for this\") feels more about making his critics feel bad than any genuine remorse for how his actions have affected his kids.\u003c/p>\n\u003cp>Ultimately, all of these confessions are used to deflect from the criticisms leveled at him. \"I Admit\" is a demonstration that not only is Kelly entirely unable to discern the difference between \"drinking and smoking too much\" and abusing women, he fundamentally doesn't understand why being sexually involved with very young women is any different to being intimate with age-appropriate women. (\"I admit I f**k with all the ladies, that's both older and young ladies. But tell me how they call it pedophile because that shit is crazy.\") He even seems to blame the parents of his \"girlfriends\" for putting them in his presence in this first place. (\"Don't push your daughter in my face, and tell me that it's okay, 'cause your agenda is to get paid, and get mad when it don't go your way.\")\u003c/p>\n\u003cp>Most remarkably, Kelly actively aligns himself with \u003ca href=\"https://www.kqed.org/pop/103352/allegedly-no-more-cosby-conviction-marks-a-new-chapter-for-metoo\">convicted rapist Bill Cosby,\u003c/a> whom he seems to also view as a victim (\"they tryna lock me up like Bill\"), while also implying that any women in his company were somehow asking for it. (\"I ain't chasing these ladies, no. These ladies are chasing me… they tryna play me.\")\u003c/p>\n\u003cp>This shifting of responsibility, inability to acknowledge wrongdoing, and suggestion that he couldn't possibly be responsible for anything that happens to his sexual partners, no matter their age, are all hallmarks of abuser logic.\u003c/p>\n\u003cp>In May, \u003ca href=\"http://time.com/magazine/us/5272326/may-21st-2018-vol-191-no-19-u-s/\">\u003cem>Time\u003c/em> magazine\u003c/a> shone a light on the psyches of sexual offenders in an article about prison rehabilitation programs. In one documented therapy session, an offender said of his actions: \"I didn’t think of a 14-year-old as a child. I thought of myself at that age being highly sexualized. I thought everyone was.”\u003c/p>\n\u003cp>In response to this, a licensed professional counselor interviewed for the story explained that:\u003c/p>\n\u003cblockquote>\u003cp>\"A sex offender often commits a crime by rationalizing it in some way: she wanted it, or my needs mattered more than hers. They convince themselves that a false notion is true -- a cognitive distortion. Therapists’ work often consists of challenging their clients’ false beliefs and encouraging them to develop a more realistic view of the world.\"\u003c/p>\u003c/blockquote>\n\u003cp>\"I Admit\" might be the most public, voluntary example of this type of rationalization we've ever heard.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the \u003cem>Time\u003c/em> article is to be believed, there \u003cem>is\u003c/em> hope for offenders who receive the right kind of specialist counseling (a number of reformed convicts are featured). But as long as individuals like R. Kelly are free to operate in full view of the world \u003cem>and\u003c/em> make public justifications for their behavior, it doesn't just do a disservice to abuse survivors, it acts as a means to further empower other abusers. If anything truly positive is to come from \"I Admit,\" it must be the final straw that forces Kelly's enablers to acknowledge their own complicity, and do the right thing. Only then will the possibility of Kelly receiving appropriate consequences -- and treatment -- be possible.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>R. Kelly's 25-year career has been marred by controversy and abuse allegations since almost the very beginning. In 1994, at age 27, \u003ca href=\"http://thesource.com/2016/07/31/r-kelly-secretly-marries-15-year-old-aaliyah-22-years-ago-today/\">he married 15-year-old Aaliyah\u003c/a>, whom he'd first met when she was 12. In 1996, an ex-girlfriend sued him for emotional distress. In 2001, he was \u003ca href=\"https://www.bbc.com/news/entertainment-arts-40635526\">sued by an intern\u003c/a> who had a sexual relationship with Kelly when she was 17. Between 2002 and 2004, there were \u003ca href=\"https://www.nytimes.com/2008/06/14/arts/music/14kell.html\">child pornography trials\u003c/a>, stemming from a tape apparently showing Kelly engaged in sex acts with an underage girl.\u003c/p>\n\u003cp>In 2017, three sets of parents accused Kelly of running a \u003ca href=\"https://www.buzzfeednews.com/article/jimderogatis/parents-told-police-r-kelly-is-keeping-women-in-a-cult\">\"sex cult,\"\u003c/a> in which their daughters were being abused. Around that same time, three ex-members of Kelly’s entourage -- \u003ca href=\"https://www.buzzfeednews.com/article/jimderogatis/parents-told-police-r-kelly-is-keeping-women-in-a-cult\">Cheryl Mack, Kitti Jones, and Asante McGee -- told BuzzFeed\u003c/a> that the singer dictates what his girlfriends \"eat, how they dress, when they bathe, when they sleep, and how they engage in sexual encounters that he records.”\u003c/p>\n\u003cp>In \u003ca href=\"https://www.washingtonpost.com/news/style/wp/2018/05/04/feature/how-the-music-industry-overlooked-r-kellys-alleged-abuse-of-young-women/?utm_term=.7d40a4362556\">a 2018 \u003cem>Washington Post\u003c/em> article\u003c/a>, six women came forward with their stories of abuse by Kelly. The same story produced evidence of many music industry professionals actively covering for, or turning a blind eye to, Kelly's inappropriate behavior with young women. Demetrius Smith, his former tour manager, admitted: \"We didn’t look at ages because their mamas let them stay out all night.”\u003c/p>\n\u003cp>For his part, R. Kelly has remained either silent or evasive. So when he released a 19-minute track titled \"I Admit\" (with its startling refrain: \"I admit it, I did it\"), it was no surprise that the track was quickly dissected.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Much of the online commentary has anticipated that this will result in an arrest of some sort, but given how long Kelly has been operating in plain sight, that feels depressingly unlikely, even in the age of #MeToo. There's no question that the content of \"I Admit\" is unabashedly self-indulgent and self-aggrandizing, but it also offers some insight into the mental state of abusers.\u003c/p>\n\u003cp>Kelly presents himself on the track as a victim first and foremost, whether within the realms of his own illiteracy (\"I admit I can't spell… I admit that I couldn't read the teleprompter when the Grammys asked me to present\"), his apparent financial troubles (\"All these hits out but I couldn't put food on the table\"), or the abuse he suffered as a child (\"I admit a family member touched me, from a child to the age 14, while I laid asleep, took my virginity\"). He declares that he \"ain't seen [his] kids in years,\" but his apology to his children (\"What you hearin' out here about dad, guys I'm sorry for this\") feels more about making his critics feel bad than any genuine remorse for how his actions have affected his kids.\u003c/p>\n\u003cp>Ultimately, all of these confessions are used to deflect from the criticisms leveled at him. \"I Admit\" is a demonstration that not only is Kelly entirely unable to discern the difference between \"drinking and smoking too much\" and abusing women, he fundamentally doesn't understand why being sexually involved with very young women is any different to being intimate with age-appropriate women. (\"I admit I f**k with all the ladies, that's both older and young ladies. But tell me how they call it pedophile because that shit is crazy.\") He even seems to blame the parents of his \"girlfriends\" for putting them in his presence in this first place. (\"Don't push your daughter in my face, and tell me that it's okay, 'cause your agenda is to get paid, and get mad when it don't go your way.\")\u003c/p>\n\u003cp>Most remarkably, Kelly actively aligns himself with \u003ca href=\"https://www.kqed.org/pop/103352/allegedly-no-more-cosby-conviction-marks-a-new-chapter-for-metoo\">convicted rapist Bill Cosby,\u003c/a> whom he seems to also view as a victim (\"they tryna lock me up like Bill\"), while also implying that any women in his company were somehow asking for it. (\"I ain't chasing these ladies, no. These ladies are chasing me… they tryna play me.\")\u003c/p>\n\u003cp>This shifting of responsibility, inability to acknowledge wrongdoing, and suggestion that he couldn't possibly be responsible for anything that happens to his sexual partners, no matter their age, are all hallmarks of abuser logic.\u003c/p>\n\u003cp>In May, \u003ca href=\"http://time.com/magazine/us/5272326/may-21st-2018-vol-191-no-19-u-s/\">\u003cem>Time\u003c/em> magazine\u003c/a> shone a light on the psyches of sexual offenders in an article about prison rehabilitation programs. In one documented therapy session, an offender said of his actions: \"I didn’t think of a 14-year-old as a child. I thought of myself at that age being highly sexualized. I thought everyone was.”\u003c/p>\n\u003cp>In response to this, a licensed professional counselor interviewed for the story explained that:\u003c/p>\n\u003cblockquote>\u003cp>\"A sex offender often commits a crime by rationalizing it in some way: she wanted it, or my needs mattered more than hers. They convince themselves that a false notion is true -- a cognitive distortion. Therapists’ work often consists of challenging their clients’ false beliefs and encouraging them to develop a more realistic view of the world.\"\u003c/p>\u003c/blockquote>\n\u003cp>\"I Admit\" might be the most public, voluntary example of this type of rationalization we've ever heard.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If the \u003cem>Time\u003c/em> article is to be believed, there \u003cem>is\u003c/em> hope for offenders who receive the right kind of specialist counseling (a number of reformed convicts are featured). But as long as individuals like R. Kelly are free to operate in full view of the world \u003cem>and\u003c/em> make public justifications for their behavior, it doesn't just do a disservice to abuse survivors, it acts as a means to further empower other abusers. If anything truly positive is to come from \"I Admit,\" it must be the final straw that forces Kelly's enablers to acknowledge their own complicity, and do the right thing. Only then will the possibility of Kelly receiving appropriate consequences -- and treatment -- be possible.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Strange Magic of YouTube's '80s Remix Culture",
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"content": "\u003cp>Whether you thought of the 2000s emo-punk boom as watershed moment or the nadir of modern music, there's one song from that era that's hard to forget. Fall Out Boy's first major hit, \"\u003ca href=\"https://www.youtube.com/watch?v=uhG-vLZrb-g\">Sugar, We're Goin Down\u003c/a>,\" became an anthem for scrappy underdogs when it arrived in 2005, and its sound is still unmistakable: churning guitars, piano twinkles and Patrick Stump's roller-coaster vocals, kicked off by two bars of tripping-over-your-own-feet drums. The instant it starts, you know what you're hearing.\u003c/p>\n\u003cp>In early June, a fan-made remix of \"Sugar, We're Goin Down\" popped up on YouTube. Slower and more wistful, this version wraps Stump's vocal track in gauzy synths, cascading harmonies and a synthetic sax solo — and rather than defiant, it plays like the sonic embodiment of an unrealized crush, all lovelorn and yearning. By the time the chorus hits, it's clear we're not in the LiveJournal era anymore: This is the kind of pastel-hued song that could soundtrack an awkward junior high slow dance in 1986.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=71&v=g_OboYfQ2x0\u003c/p>\n\u003cp>The \"80s remix\" of \"Sugar, We're Goin Down\" is the creation of a musician from Norrköping, Sweden, named Johan Olsson. The 23-year-old multi-instrumentalist — he plays guitar, piano and bass and also sings — has his own band, \u003ca href=\"https://www.facebook.com/ms-mullins-185308245372377/\">ms. mullins\u003c/a>. (The group's debut EP was released June 29, and a lush, dream-pop single, \u003ca href=\"https://open.spotify.com/album/6qqdzgmNIAFN9FYwaAVFMv\">\"7 Years,\"\u003c/a> is streaming now). Olsson decided to create this remix after encountering a YouTube video of Stump's isolated vocal track.\u003c/p>\n\u003cp>\"I started trying out some chords, and it just evolved from there. REO Speedwagon was one of the main inspirations,\" he tells NPR Music. His Fall Out Boy experiment is his second viral hit this year, following a rework of Green Day's \"\u003ca href=\"https://www.youtube.com/watch?v=_z2ZyBt2Qcs\">Boulevard of Broken Dreams\u003c/a>\" that exudes \u003cem>Miami Vice\u003c/em> intrigue rather than suburban ennui.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Olsson is not the only musician dabbling in this era. Search the phrase \"80s remix\" or \"80s version\" on YouTube and you'll find thousands of synth-drenched takes on modern pop and rock songs. The trend began bubbling up in earnest in 2016, when a Canadian musician and software developer named \u003ca href=\"https://noisey.vice.com/en_us/article/rgpa94/justin-bieber-1985-jerry-shen-interview\">Jerry Shen\u003c/a>, who runs a YouTube channel under the name \u003ca href=\"https://www.youtube.com/channel/UCB3W9gT-mFMN1j12pydSNOw/videos\">TRONICBOX\u003c/a>, found \u003ca href=\"https://www.eonline.com/news/773664/can-you-handle-these-oddly-amazing-80s-remixes-of-ariana-grande-maroon-5-and-justin-bieber\">Internet fame\u003c/a> with two Justin Bieber remixes: \"What Do You Mean It's 1985?,\" a reimagining of the titular 2015 hit, and a sitcom-theme take on \"\u003ca href=\"https://soundcloud.com/jerry-shen-403158940/justin-bieber-love-yourself-purpose-1985\">Love Yourself\u003c/a>.\u003c/p>\n\u003cp>Today, TRONICBOX, whose catalog also includes a neon-hued \u003ca href=\"https://youtu.be/xXPRQHvn04s\">Ariana Grande's \"One Last Time\"\u003c/a> and an even more melodramatic \u003ca href=\"https://www.youtube.com/watch?v=NV1N95xZ4es\">Gotye's \"Somebody That I Used To Know\u003c/a>,\" has amassed more than 27 million views with a catalog dozens of uploads deep. Popular peers \u003ca href=\"https://www.youtube.com/user/DUBSPILLAZ/videos\">DUBSPILLAZ\u003c/a> and the endearingly named \u003ca href=\"https://www.youtube.com/channel/UCykUFnyZDuY1RHzTYOgQ6sA/videos\">TotallyRad80sChannel\u003c/a> are even more prolific. Others are choosier: \u003ca href=\"https://www.youtube.com/channel/UConBvvTX4NjA-ITx_xMa44g/videos\">GK Starwalker\u003c/a> has just two tracks, and only the pulsating \"1987 Version\" of Miley Cyrus' \"Wrecking Ball\" has any traction. (Consider this perhaps the digital equivalent of a one-hit wonder.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=82&v=ghWOn8eq1hw\u003c/p>\n\u003cp>Remaking popular songs in incongruous styles is a practice as old as elevator music, and its standouts tend to trade on novelty. Consider \"Weird Al\" Yankovic's gleeful polka hits medleys, or the U.K. troupe Mike Flowers Pops, which does cheeky lounge versions of popular songs (notably Oasis' \"Wonderwall\"), or the long running \u003ca href=\"http://www.fearlessrecords.com/artists/punk-goes/\">\u003cem>Punk Goes...\u003c/em>\u003c/a> compilation series where young, loud bands tackle the pop canon. The digital mix-and-match of familiar sounds has an immediate ancestor in 2000s mashup culture: Think of the genre clashes of 2manydjs and The Hood Internet, or the revelatory hip-hop/Beatles conflation of Danger Mouse's \u003cem>The Grey Album\u003c/em>. Mashup superstar Girl Talk even sampled the \"Sugar, We're Goin Down\" drums in his own \"\u003ca href=\"https://www.youtube.com/watch?v=iDDdpxEf9hM\">Smash Your Head\u003c/a>.\"\u003c/p>\n\u003cp>And yet, '80s remix culture feels distinctly of its moment. Many of the videos extend their concept to the thumbnail art, where Photoshopped visions of Katy Perry in spandex workout wear, Rihanna with teased hair or Justin Bieber with a mullet are adorned with fake artist logos in neon colors and bubbly fonts — a cousin of the absurdist mock-ups that light up social media.\u003c/p>\n\u003cp>Moreover, creators and listeners are in on the humor together: As with any good meme, appreciating these remixes involves a shared in-joke. \"Definitely my favorite singer from that decade,\" one listener deadpans in the comments section of a take on Ed Sheeran's \u003ca href=\"https://www.youtube.com/watch?v=eve7x59aXJg\">\"Shape Of You\"\u003c/a> that recalls snappy Minneapolis funk. \"What is he doing now? He kind of fell off the radar after 1994.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=31&v=eve7x59aXJg\u003c/p>\n\u003cp>\"I get a lot of comments saying 'WHY DOES THIS WORK?' \" Johan Olsson says. \"Besides the '80s sound and fashion being pretty popular at the moment, I think it's mainly the fact that people like hearing songs from a whole new perspective.\" That said, not all remixes are created equal: There is an art to combining musical styles, and the most transcendent revamps demonstrate obvious artistic expertise and ingenuity.\u003c/p>\n\u003cp>It helps if the source material can withstand manipulation and still maintain its emotional essence; SxAde's remix of \u003ca href=\"https://www.youtube.com/watch?v=Aq4xhldVpQc\">Lana Del Rey's \"Summertime Sadness\"\u003c/a> is Exhibit A. The element of surprise is a plus: It's not obvious that \u003ca href=\"https://www.youtube.com/watch?v=GoZUjxstIZs\">Linkin Park's \"Numb\"\u003c/a> could successfully pair with glittering, Stock Aitken Waterman-esque production, but here we are. Clever visuals can help, too: \u003ca href=\"https://mashable.com/2017/01/09/rihanna-calvin-harris-80s/#2syFNC4Gkqqm\">Calvin Harris and Rihanna's \"This Is What You Came For\"\u003c/a> feels like a forbidden late-night cable access show thanks to the way YouTuber Saint-Laurent adds static and VHS degradation to the song's original clip.\u003c/p>\n\u003cp>In TV shows such as \u003cem>Stranger Things \u003c/em>and\u003cem> GLOW\u003c/em>, the cult genre vaporwave and the steamrolling persistence of Toto's \"Africa,\" the 1980s are alive and well — but there is something exceptional in how YouTube remixers commit to the era's limitations. Synthesizers like the era-defining DX7 had a certain charming clunkiness, and a shared aesthetic of squiggly stabs, percussion rattles and bass slaps proliferated in '80s pop production. Although today's pop music certainly has its unique inventions (trap, for example, is having a mainstream moment right now), the trends tend to be more more ephemeral: It's harder to point to a focused, dominant sound that can vividly evoke the 2010s.\u003c/p>\n\u003cp>For as faithfully as they recreate their namesake, YouTube's '80s remixes actually remind me of a more recent moment. The internet music culture of the late '90s and early 2000s was a period of rapid transformation, but even as illegal file sharing accelerated music discovery, the shortcomings of the technology kept things grounded. MP3 collections took up vast amounts of digital space and were playable only via certain programs. And, like record store crate-digging excursions, online hunts didn't always pan out: You might spend hours downloading a song, only to find out it had been mislabeled.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=147&v=8uDQ0P9AWc8\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>These '80s remixes are also renegade efforts, albeit made with love, and too exist only within a limited framework. They're not for sale, and in most cases can only be streamed, not downloaded. Sifting through dozens of re-dos to find the true gems requires patience, and leaves room for the chance that a listener might stumble on something enchanting and different. Especially for listeners too young to have firsthand '80s nostalgia, the longing they provoke is for the early promise of music on the Internet: the pre-streaming, pre-algorithm days when throwing yourself into exploration yielded mind-expanding dividends.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003c/em>\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Strange+Magic+Of+YouTube%27s+%2780s+Remix+Culture&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "How would Ariana Grande, Justin Bieber and Ed Sheeran have sounded in the '80s? Totally awesome! ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Whether you thought of the 2000s emo-punk boom as watershed moment or the nadir of modern music, there's one song from that era that's hard to forget. Fall Out Boy's first major hit, \"\u003ca href=\"https://www.youtube.com/watch?v=uhG-vLZrb-g\">Sugar, We're Goin Down\u003c/a>,\" became an anthem for scrappy underdogs when it arrived in 2005, and its sound is still unmistakable: churning guitars, piano twinkles and Patrick Stump's roller-coaster vocals, kicked off by two bars of tripping-over-your-own-feet drums. The instant it starts, you know what you're hearing.\u003c/p>\n\u003cp>In early June, a fan-made remix of \"Sugar, We're Goin Down\" popped up on YouTube. Slower and more wistful, this version wraps Stump's vocal track in gauzy synths, cascading harmonies and a synthetic sax solo — and rather than defiant, it plays like the sonic embodiment of an unrealized crush, all lovelorn and yearning. By the time the chorus hits, it's clear we're not in the LiveJournal era anymore: This is the kind of pastel-hued song that could soundtrack an awkward junior high slow dance in 1986.\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/g_OboYfQ2x0'\n title='//www.youtube.com/embed/g_OboYfQ2x0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The \"80s remix\" of \"Sugar, We're Goin Down\" is the creation of a musician from Norrköping, Sweden, named Johan Olsson. The 23-year-old multi-instrumentalist — he plays guitar, piano and bass and also sings — has his own band, \u003ca href=\"https://www.facebook.com/ms-mullins-185308245372377/\">ms. mullins\u003c/a>. (The group's debut EP was released June 29, and a lush, dream-pop single, \u003ca href=\"https://open.spotify.com/album/6qqdzgmNIAFN9FYwaAVFMv\">\"7 Years,\"\u003c/a> is streaming now). Olsson decided to create this remix after encountering a YouTube video of Stump's isolated vocal track.\u003c/p>\n\u003cp>\"I started trying out some chords, and it just evolved from there. REO Speedwagon was one of the main inspirations,\" he tells NPR Music. His Fall Out Boy experiment is his second viral hit this year, following a rework of Green Day's \"\u003ca href=\"https://www.youtube.com/watch?v=_z2ZyBt2Qcs\">Boulevard of Broken Dreams\u003c/a>\" that exudes \u003cem>Miami Vice\u003c/em> intrigue rather than suburban ennui.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Olsson is not the only musician dabbling in this era. Search the phrase \"80s remix\" or \"80s version\" on YouTube and you'll find thousands of synth-drenched takes on modern pop and rock songs. The trend began bubbling up in earnest in 2016, when a Canadian musician and software developer named \u003ca href=\"https://noisey.vice.com/en_us/article/rgpa94/justin-bieber-1985-jerry-shen-interview\">Jerry Shen\u003c/a>, who runs a YouTube channel under the name \u003ca href=\"https://www.youtube.com/channel/UCB3W9gT-mFMN1j12pydSNOw/videos\">TRONICBOX\u003c/a>, found \u003ca href=\"https://www.eonline.com/news/773664/can-you-handle-these-oddly-amazing-80s-remixes-of-ariana-grande-maroon-5-and-justin-bieber\">Internet fame\u003c/a> with two Justin Bieber remixes: \"What Do You Mean It's 1985?,\" a reimagining of the titular 2015 hit, and a sitcom-theme take on \"\u003ca href=\"https://soundcloud.com/jerry-shen-403158940/justin-bieber-love-yourself-purpose-1985\">Love Yourself\u003c/a>.\u003c/p>\n\u003cp>Today, TRONICBOX, whose catalog also includes a neon-hued \u003ca href=\"https://youtu.be/xXPRQHvn04s\">Ariana Grande's \"One Last Time\"\u003c/a> and an even more melodramatic \u003ca href=\"https://www.youtube.com/watch?v=NV1N95xZ4es\">Gotye's \"Somebody That I Used To Know\u003c/a>,\" has amassed more than 27 million views with a catalog dozens of uploads deep. Popular peers \u003ca href=\"https://www.youtube.com/user/DUBSPILLAZ/videos\">DUBSPILLAZ\u003c/a> and the endearingly named \u003ca href=\"https://www.youtube.com/channel/UCykUFnyZDuY1RHzTYOgQ6sA/videos\">TotallyRad80sChannel\u003c/a> are even more prolific. Others are choosier: \u003ca href=\"https://www.youtube.com/channel/UConBvvTX4NjA-ITx_xMa44g/videos\">GK Starwalker\u003c/a> has just two tracks, and only the pulsating \"1987 Version\" of Miley Cyrus' \"Wrecking Ball\" has any traction. (Consider this perhaps the digital equivalent of a one-hit wonder.)\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/ghWOn8eq1hw'\n title='//www.youtube.com/embed/ghWOn8eq1hw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Remaking popular songs in incongruous styles is a practice as old as elevator music, and its standouts tend to trade on novelty. Consider \"Weird Al\" Yankovic's gleeful polka hits medleys, or the U.K. troupe Mike Flowers Pops, which does cheeky lounge versions of popular songs (notably Oasis' \"Wonderwall\"), or the long running \u003ca href=\"http://www.fearlessrecords.com/artists/punk-goes/\">\u003cem>Punk Goes...\u003c/em>\u003c/a> compilation series where young, loud bands tackle the pop canon. The digital mix-and-match of familiar sounds has an immediate ancestor in 2000s mashup culture: Think of the genre clashes of 2manydjs and The Hood Internet, or the revelatory hip-hop/Beatles conflation of Danger Mouse's \u003cem>The Grey Album\u003c/em>. Mashup superstar Girl Talk even sampled the \"Sugar, We're Goin Down\" drums in his own \"\u003ca href=\"https://www.youtube.com/watch?v=iDDdpxEf9hM\">Smash Your Head\u003c/a>.\"\u003c/p>\n\u003cp>And yet, '80s remix culture feels distinctly of its moment. Many of the videos extend their concept to the thumbnail art, where Photoshopped visions of Katy Perry in spandex workout wear, Rihanna with teased hair or Justin Bieber with a mullet are adorned with fake artist logos in neon colors and bubbly fonts — a cousin of the absurdist mock-ups that light up social media.\u003c/p>\n\u003cp>Moreover, creators and listeners are in on the humor together: As with any good meme, appreciating these remixes involves a shared in-joke. \"Definitely my favorite singer from that decade,\" one listener deadpans in the comments section of a take on Ed Sheeran's \u003ca href=\"https://www.youtube.com/watch?v=eve7x59aXJg\">\"Shape Of You\"\u003c/a> that recalls snappy Minneapolis funk. \"What is he doing now? He kind of fell off the radar after 1994.\"\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/eve7x59aXJg'\n title='//www.youtube.com/embed/eve7x59aXJg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"I get a lot of comments saying 'WHY DOES THIS WORK?' \" Johan Olsson says. \"Besides the '80s sound and fashion being pretty popular at the moment, I think it's mainly the fact that people like hearing songs from a whole new perspective.\" That said, not all remixes are created equal: There is an art to combining musical styles, and the most transcendent revamps demonstrate obvious artistic expertise and ingenuity.\u003c/p>\n\u003cp>It helps if the source material can withstand manipulation and still maintain its emotional essence; SxAde's remix of \u003ca href=\"https://www.youtube.com/watch?v=Aq4xhldVpQc\">Lana Del Rey's \"Summertime Sadness\"\u003c/a> is Exhibit A. The element of surprise is a plus: It's not obvious that \u003ca href=\"https://www.youtube.com/watch?v=GoZUjxstIZs\">Linkin Park's \"Numb\"\u003c/a> could successfully pair with glittering, Stock Aitken Waterman-esque production, but here we are. Clever visuals can help, too: \u003ca href=\"https://mashable.com/2017/01/09/rihanna-calvin-harris-80s/#2syFNC4Gkqqm\">Calvin Harris and Rihanna's \"This Is What You Came For\"\u003c/a> feels like a forbidden late-night cable access show thanks to the way YouTuber Saint-Laurent adds static and VHS degradation to the song's original clip.\u003c/p>\n\u003cp>In TV shows such as \u003cem>Stranger Things \u003c/em>and\u003cem> GLOW\u003c/em>, the cult genre vaporwave and the steamrolling persistence of Toto's \"Africa,\" the 1980s are alive and well — but there is something exceptional in how YouTube remixers commit to the era's limitations. Synthesizers like the era-defining DX7 had a certain charming clunkiness, and a shared aesthetic of squiggly stabs, percussion rattles and bass slaps proliferated in '80s pop production. Although today's pop music certainly has its unique inventions (trap, for example, is having a mainstream moment right now), the trends tend to be more more ephemeral: It's harder to point to a focused, dominant sound that can vividly evoke the 2010s.\u003c/p>\n\u003cp>For as faithfully as they recreate their namesake, YouTube's '80s remixes actually remind me of a more recent moment. The internet music culture of the late '90s and early 2000s was a period of rapid transformation, but even as illegal file sharing accelerated music discovery, the shortcomings of the technology kept things grounded. MP3 collections took up vast amounts of digital space and were playable only via certain programs. And, like record store crate-digging excursions, online hunts didn't always pan out: You might spend hours downloading a song, only to find out it had been mislabeled.\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/8uDQ0P9AWc8'\n title='//www.youtube.com/embed/8uDQ0P9AWc8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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Al Sharpton pronounced her a traitor to black culture and called for a boycott) and a unifier whose feline beauty and fiercely radiant stage presence brought together audiences across class, race, and gender lines.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Which is why the highlights of \u003cem>Whitney\u003c/em> come not in the rehash of family friction but in Macdonald's placement of well-known performance footage that shows off Houston's power to connect. Of course, there's her rendition of the national anthem at sporting events, a joyously bridge-building interpretation that echoed so much further than the stands. But she made magic out of her signature song, \"I Will Always Love You,\" first sung in the pretty terrible, incredibly popular 1992 movie \u003ca href=\"https://www.imdb.com/title/tt0103855/?ref_=fn_al_tt_1\">\u003cem>The Bodyguard\u003c/em>\u003c/a>, in which Houston essentially played herself opposite Kevin Costner. 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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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