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"content": "\u003cp>25 years ago this month, America was in the midst of whole-heartedly embracing underground culture, thanks to Nirvana's \u003cem>Nevermind\u003c/em> blowing up earlier in the year and knocking Michael Jackson off the top of the Billboard charts. It was a shock that initially made America feel like its very foundations were crumbling. What followed was grunge-mania.\u003c/p>\n\u003cp>By the end of the noisiest summer in decades, mainstream music and fashion (from the mall to the catwalk) picked up the sound and aesthetics of what had once been a small, underground Seattle scene, and ran amok with it. Suddenly, the nation was awash with women pairing delicate floral dresses with beanies and boots, and shaggy-looking men who thought nothing of wearing long johns under shorts.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MiC6xpailKg\u003c/p>\n\u003cp>1992 was the pinnacle of grunge changing the rules about what popular culture could be. 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There are simply too many others from that year to even list here.\u003c/p>\n\u003cp>So that September, when Cameron Crowe released a romantic comedy set in Seattle with a decidedly grunge-y backdrop, it wasn't terribly surprising. \u003cem>Singles\u003c/em> came with cameos from Pearl Jam, Alice in Chains, Soundgarden, and Tad Doyle, and a soundtrack that still sounds exceptional two and a half decades later.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b4tQFsPTGXI\u003c/p>\n\u003cp>When the music of 1992 still holds up so well in 2017, it's easy to forget how much other stuff from that year does not. To re-watch \u003cem>Singles\u003c/em> now is to bear witness to the last gasps of human existence before the internet. There are scenes in this movie that revolve around phone booths in clubs, fax machines, malfunctioning cassette tapes, super-huge garage door openers, video dating, digital watches that are impressive because they “can store 20 numbers,” and those little boxy, beige computers with black screens and green letters. \u003cem>Singles\u003c/em> is set in a time when people still met at elaborate magazine racks on street corners, and lost touch because of missed phone calls made to unreliable landlines.\u003c/p>\n\u003cp>One of the main reasons \u003cem>Singles\u003c/em> doesn't hold up is because, in 2017, it kind of doesn't make sense. Despite a marketing campaign that focused on the grungier side of the movie, the main couple featured, Steve and Linda, are decidedly straight-laced. So, watching it now, you can't help but wonder what the hell they're doing hanging around at Alice in Chains concerts. In the grunge-crazy world of 1992, when frat boys enthusiastically attended Nirvana shows, it didn't seem that weird; today, it looks completely implausible.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iUeHyaAMOxA\u003c/p>\n\u003cp>The biggest problem of all though has nothing to do with the passage of time. Re-watching \u003cem>Singles\u003c/em> now, it's difficult not to question if this movie would even have been made if not for the Seattle backdrop, band cameos, and impressive soundtrack. The best scenes are the ones that nod to the music-lovers in the audience. The fact that Matt Dillon's character, a vocalist named Cliff, sings a song titled \"Touch Me, I'm Dick\" -- a knowing cover of Mudhoney classic \u003ca href=\"https://www.youtube.com/watch?v=_nGsT_qFMBs\">\"Touch Me, I'm Sick\"\u003c/a> -- is still pretty fun. As is watching Chris Cornell wander up next to a car and head-bang along to its freshly-fitted stereo. Seeing three members of Pearl Jam pretend to be dopey rockers is still pretty entertaining too. It's these small moments that provide all of the fun in \u003cem>Singles\u003c/em>. Take them away, and you're not left with a whole lot of substance.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=y-FaHqfpXR0\u003c/p>\n\u003cp>The truth is, with hindsight, \u003cem>Singles\u003c/em> looks like a not-great preamble to Crowe's other music movie, the almost perfect \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=eHsYVT7Fufg\">Almost Famous\u003c/a>. \u003c/em>The 2000 film that made Kate Hudson a star was set in the world of 1970s rock 'n' roll tours and was significantly more successful at capturing the tone of that very specific time and place. \u003cem>Almost Famous\u003c/em> was fantastic because it went all in and committed. By contrast, \u003cem>Singles\u003c/em> uses grunge as a canvas and a marketing tool, but is unwilling -- or was unable at the time -- to focus on that scene wholeheartedly. In the end, this is a grunge movie that seems fearful of alienating non-grunge audiences, which means neither grunge fans nor mainstream folk can leave satisfied.\u003c/p>\n\u003cp>It's that fear of commitment that also makes for a cast of unlikeable characters. The main grunge guy in the whole thing is a narcissistic imbecile (Cliff), his grunge girlfriend is needy and too wholesome (Janet), and the regular folk (Steve, Linda and, to a lesser degree, Debbie) are all frequently-insufferable bores.\u003c/p>\n\u003cp>In 2017, the world can still look back on grunge with a swell of warm nostalgia. It was the last great music scene to truly dominate American culture, precisely because it was happening at a time when the world was still reliant on major labels, tight local scenes, MTV, and record stores to sell us the coolest stuff to listen to. That kind of mass consumption and focus all went out of the window with Napster, and, to a far greater degree, the digitization of music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cem>Singles\u003c/em> soundtrack -- featuring outstanding work by Pearl Jam, Mudhoney, Alice In Chains, Soundgarden, Screaming Trees, Mother Love Bone, The Replacements, and Smashing Pumpkins -- might be one of the most solid in movie history. It's worth checking out for Smashing Pumpkins' contribution alone (\"Drown\" remains one of the band's best ever tracks). But while the \u003cem>Singles\u003c/em> soundtrack is still something we can most certainly turn to when we crave that very specific time in music history, you're probably better off skipping the movie.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>25 years ago this month, America was in the midst of whole-heartedly embracing underground culture, thanks to Nirvana's \u003cem>Nevermind\u003c/em> blowing up earlier in the year and knocking Michael Jackson off the top of the Billboard charts. It was a shock that initially made America feel like its very foundations were crumbling. What followed was grunge-mania.\u003c/p>\n\u003cp>By the end of the noisiest summer in decades, mainstream music and fashion (from the mall to the catwalk) picked up the sound and aesthetics of what had once been a small, underground Seattle scene, and ran amok with it. Suddenly, the nation was awash with women pairing delicate floral dresses with beanies and boots, and shaggy-looking men who thought nothing of wearing long johns under shorts.\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/MiC6xpailKg'\n title='//www.youtube.com/embed/MiC6xpailKg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>1992 was the pinnacle of grunge changing the rules about what popular culture could be. That year's album releases included a mind-bending number of alt-classics including: Nirvana's \u003cem>Incesticide\u003c/em>, Sonic Youth's \u003cem>Dirty\u003c/em>, Stone Temple Pilots' \u003cem>Core\u003c/em>, Sugar's \u003cem>Copper Blue\u003c/em>, Mudhoney's \u003cem>Piece of Cake\u003c/em>, Soul Asylum's \u003cem>Grave Dancer's Union\u003c/em>, Faith No More's \u003cem>Angel Dust\u003c/em>, Screaming Tree's \u003cem>Sweet Oblivion, \u003c/em>and\u003cem> Sap \u003c/em>by Alice in Chains. There are simply too many others from that year to even list here.\u003c/p>\n\u003cp>So that September, when Cameron Crowe released a romantic comedy set in Seattle with a decidedly grunge-y backdrop, it wasn't terribly surprising. \u003cem>Singles\u003c/em> came with cameos from Pearl Jam, Alice in Chains, Soundgarden, and Tad Doyle, and a soundtrack that still sounds exceptional two and a half decades later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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In the grunge-crazy world of 1992, when frat boys enthusiastically attended Nirvana shows, it didn't seem that weird; today, it looks completely implausible.\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/iUeHyaAMOxA'\n title='//www.youtube.com/embed/iUeHyaAMOxA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The biggest problem of all though has nothing to do with the passage of time. Re-watching \u003cem>Singles\u003c/em> now, it's difficult not to question if this movie would even have been made if not for the Seattle backdrop, band cameos, and impressive soundtrack. The best scenes are the ones that nod to the music-lovers in the audience. The fact that Matt Dillon's character, a vocalist named Cliff, sings a song titled \"Touch Me, I'm Dick\" -- a knowing cover of Mudhoney classic \u003ca href=\"https://www.youtube.com/watch?v=_nGsT_qFMBs\">\"Touch Me, I'm Sick\"\u003c/a> -- is still pretty fun. As is watching Chris Cornell wander up next to a car and head-bang along to its freshly-fitted stereo. Seeing three members of Pearl Jam pretend to be dopey rockers is still pretty entertaining too. It's these small moments that provide all of the fun in \u003cem>Singles\u003c/em>. Take them away, and you're not left with a whole lot of substance.\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/y-FaHqfpXR0'\n title='//www.youtube.com/embed/y-FaHqfpXR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The truth is, with hindsight, \u003cem>Singles\u003c/em> looks like a not-great preamble to Crowe's other music movie, the almost perfect \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=eHsYVT7Fufg\">Almost Famous\u003c/a>. \u003c/em>The 2000 film that made Kate Hudson a star was set in the world of 1970s rock 'n' roll tours and was significantly more successful at capturing the tone of that very specific time and place. \u003cem>Almost Famous\u003c/em> was fantastic because it went all in and committed. By contrast, \u003cem>Singles\u003c/em> uses grunge as a canvas and a marketing tool, but is unwilling -- or was unable at the time -- to focus on that scene wholeheartedly. In the end, this is a grunge movie that seems fearful of alienating non-grunge audiences, which means neither grunge fans nor mainstream folk can leave satisfied.\u003c/p>\n\u003cp>It's that fear of commitment that also makes for a cast of unlikeable characters. The main grunge guy in the whole thing is a narcissistic imbecile (Cliff), his grunge girlfriend is needy and too wholesome (Janet), and the regular folk (Steve, Linda and, to a lesser degree, Debbie) are all frequently-insufferable bores.\u003c/p>\n\u003cp>In 2017, the world can still look back on grunge with a swell of warm nostalgia. It was the last great music scene to truly dominate American culture, precisely because it was happening at a time when the world was still reliant on major labels, tight local scenes, MTV, and record stores to sell us the coolest stuff to listen to. That kind of mass consumption and focus all went out of the window with Napster, and, to a far greater degree, the digitization of music.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cem>Singles\u003c/em> soundtrack -- featuring outstanding work by Pearl Jam, Mudhoney, Alice In Chains, Soundgarden, Screaming Trees, Mother Love Bone, The Replacements, and Smashing Pumpkins -- might be one of the most solid in movie history. It's worth checking out for Smashing Pumpkins' contribution alone (\"Drown\" remains one of the band's best ever tracks). But while the \u003cem>Singles\u003c/em> soundtrack is still something we can most certainly turn to when we crave that very specific time in music history, you're probably better off skipping the movie.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Scan the Billboard rock charts for the week of August 26 and you'll find the usual suspects: Imagine Dragons, \u003ca href=\"http://www.npr.org/artists/17000138/foo-fighters\">Foo Fighters\u003c/a>, \u003ca href=\"http://www.npr.org/artists/95828705/portugal-the-man\">Portugal. The Man\u003c/a>.\u003c/p>\n\u003cp>But snuggled in at No. 23 is a new entry to the field: a song called \"The Night Begins to Shine\" by a band called B.E.R.\u003c/p>\n\u003cp>How'd this unknown song, written more than a decade ago, break into the charts? The answer: the cartoon \u003cem>Teen Titans Go!\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x5yIE2g0_4E\u003c/p>\n\u003cp>While 'toon-based singles often get onto the charts only because of corporate overlord plotting, the success of \"The Night Begins to Shine\" was actually unplanned.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A snippet of the song first appeared on the cartoon in 2014. Peter Michail, a director and producer on \u003cem>Teen Titans Go!\u003c/em>, was directing an episode called \"Slumber Party\" when he came up 10 seconds short.\u003c/p>\n\u003cp>It's important to note that \u003cem>Teen Titans Go!\u003c/em> does not have its own composer. There's no person on the Warner Brothers lot conducting an orchestra along to the cartoon. Instead, directors have to score their own stuff using whatever they can find in their in-house music library.\u003c/p>\n\u003cp>\"That whole episode, I was scoring it with an '80s vibe,\" says Michail. \"So I literally went into the '80s rock genre and [was] rummaging through these albums and found [\"The Night Begins to Shine\"]. I was like, 'Aw dude, this song's awesome!'\"\u003c/p>\n\u003cp>And that's how you get Cyborg — one of the Teen Titans — singing along to B.E.R. in the beginning of the episode. He sings a few lines — and then promptly turns out the lights and goes to bed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=11&v=ShYaJkmYR3I\u003c/p>\n\u003cp>That was it. It was, the producers admit, a throwaway joke to fill time. But fans heard it differently.\u003c/p>\n\u003cp>\"Off that episode, people started saying, 'What's this song? Is this a song I've heard before?'\" says \u003cem>Teen Titans Go!\u003c/em> executive producer Michael Jelenic.\u003c/p>\n\u003cp>So the show's producers decided: \u003cem>You know what? This song rules. B.E.R. rules.\u003c/em> In the next season, it became Cyborg's favorite song — even if fellow Titans didn't agree with his taste.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4Gmt7JsraPw&feature=youtu.be&t=1m8s\u003c/p>\n\u003cp>The song's popularity grew online. On YouTube, fans started playing the song over \u003cem>other\u003c/em> cartoons. Next came remixes, and that sure-sign symbol of an online hit: \u003ca href=\"https://www.youtube.com/watch?v=6WE4LlgVWOM\">hour-long loops\u003c/a>.\u003c/p>\n\u003cp>This month — and here's where that corporate overlord plotting starts to kick in — Cartoon Network decided to go all-in and air a four-part series about the song. They released an EP. They commissioned covers from musicians like \u003ca href=\"https://www.youtube.com/watch?v=9BmodXNBEEY\">CeeLo Green\u003c/a> and \u003ca href=\"http://www.npr.org/artists/16699158/fall-out-boy\">Fall Out Boy\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=52&v=vriYd6tVq1s\u003c/p>\n\u003cp>And that's how B.E.R ended up on the rock charts, beating out radio rock bands \u003ca href=\"http://www.npr.org/artists/151867086/the-lumineers\">The Lumineers\u003c/a> and Muse.\u003c/p>\n\u003cp>Carl Burnett, the \"B\" in B.E.R., helped write and produce the song. He's the one who got the assignment in 2005 to write an '80s-style song for a music library. And he's as surprised as anyone by its success. \"Who would think it from a song that has its roots as a music library track?\" he says.\u003c/p>\n\u003cp>I asked him what it was like to have an accidental hit — which, admittedly, is probably not the best way to phrase a question to a songwriter. Luckily, Burnett wasn't offended.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\"Hmm, accidental,\" he says. \"I would say that it's miraculous.\"\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=An+Accidental+Hit+%27Begins+To+Shine%27+%E2%80%94+And+Only+Because+Of+%27Teen+Titans+Go%21%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Scan the Billboard rock charts for the week of August 26 and you'll find the usual suspects: Imagine Dragons, \u003ca href=\"http://www.npr.org/artists/17000138/foo-fighters\">Foo Fighters\u003c/a>, \u003ca href=\"http://www.npr.org/artists/95828705/portugal-the-man\">Portugal. The Man\u003c/a>.\u003c/p>\n\u003cp>But snuggled in at No. 23 is a new entry to the field: a song called \"The Night Begins to Shine\" by a band called B.E.R.\u003c/p>\n\u003cp>How'd this unknown song, written more than a decade ago, break into the charts? The answer: the cartoon \u003cem>Teen Titans Go!\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/x5yIE2g0_4E'\n title='//www.youtube.com/embed/x5yIE2g0_4E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>While 'toon-based singles often get onto the charts only because of corporate overlord plotting, the success of \"The Night Begins to Shine\" was actually unplanned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A snippet of the song first appeared on the cartoon in 2014. Peter Michail, a director and producer on \u003cem>Teen Titans Go!\u003c/em>, was directing an episode called \"Slumber Party\" when he came up 10 seconds short.\u003c/p>\n\u003cp>It's important to note that \u003cem>Teen Titans Go!\u003c/em> does not have its own composer. There's no person on the Warner Brothers lot conducting an orchestra along to the cartoon. Instead, directors have to score their own stuff using whatever they can find in their in-house music library.\u003c/p>\n\u003cp>\"That whole episode, I was scoring it with an '80s vibe,\" says Michail. \"So I literally went into the '80s rock genre and [was] rummaging through these albums and found [\"The Night Begins to Shine\"]. I was like, 'Aw dude, this song's awesome!'\"\u003c/p>\n\u003cp>And that's how you get Cyborg — one of the Teen Titans — singing along to B.E.R. in the beginning of the episode. He sings a few lines — and then promptly turns out the lights and goes to bed.\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/ShYaJkmYR3I'\n title='//www.youtube.com/embed/ShYaJkmYR3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That was it. It was, the producers admit, a throwaway joke to fill time. But fans heard it differently.\u003c/p>\n\u003cp>\"Off that episode, people started saying, 'What's this song? Is this a song I've heard before?'\" says \u003cem>Teen Titans Go!\u003c/em> executive producer Michael Jelenic.\u003c/p>\n\u003cp>So the show's producers decided: \u003cem>You know what? This song rules. B.E.R. rules.\u003c/em> In the next season, it became Cyborg's favorite song — even if fellow Titans didn't agree with his taste.\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/4Gmt7JsraPw'\n title='//www.youtube.com/embed/4Gmt7JsraPw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The song's popularity grew online. On YouTube, fans started playing the song over \u003cem>other\u003c/em> cartoons. Next came remixes, and that sure-sign symbol of an online hit: \u003ca href=\"https://www.youtube.com/watch?v=6WE4LlgVWOM\">hour-long loops\u003c/a>.\u003c/p>\n\u003cp>This month — and here's where that corporate overlord plotting starts to kick in — Cartoon Network decided to go all-in and air a four-part series about the song. They released an EP. They commissioned covers from musicians like \u003ca href=\"https://www.youtube.com/watch?v=9BmodXNBEEY\">CeeLo Green\u003c/a> and \u003ca href=\"http://www.npr.org/artists/16699158/fall-out-boy\">Fall Out Boy\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/vriYd6tVq1s'\n title='//www.youtube.com/embed/vriYd6tVq1s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And that's how B.E.R ended up on the rock charts, beating out radio rock bands \u003ca href=\"http://www.npr.org/artists/151867086/the-lumineers\">The Lumineers\u003c/a> and Muse.\u003c/p>\n\u003cp>Carl Burnett, the \"B\" in B.E.R., helped write and produce the song. 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"content": "\u003cp>It seems like only last week that Taylor Swift released \"Look What You Made Me Do,\" the comeback single that launched a thousand think pieces, because\u003cem> it was \u003c/em>just last week! Turns out time does not fly when reading multiple essays about how Taylor Swift is just like Trump and probably a Nazi.\u003c/p>\n\u003cp>Before haters and fans alike have had time to catch breath and take blood pressure medication, Taylor is back with another single that's sure to set keyboards alight and divide the nation some more. In \"...Ready For It?\", Swift raps (uh oh) about sex dreams (oo la la). Just a few hours after its release, the song is \u003ca href=\"https://twitter.com/TSwiftLA/status/904400310948339713\">already #1 in 32 countries\u003c/a>. Is it a bop or yet another harbinger of the apocalypse? You decide:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T62maKYX9tU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It seems like only last week that Taylor Swift released \"Look What You Made Me Do,\" the comeback single that launched a thousand think pieces, because\u003cem> it was \u003c/em>just last week! Turns out time does not fly when reading multiple essays about how Taylor Swift is just like Trump and probably a Nazi.\u003c/p>\n\u003cp>Before haters and fans alike have had time to catch breath and take blood pressure medication, Taylor is back with another single that's sure to set keyboards alight and divide the nation some more. In \"...Ready For It?\", Swift raps (uh oh) about sex dreams (oo la la). Just a few hours after its release, the song is \u003ca href=\"https://twitter.com/TSwiftLA/status/904400310948339713\">already #1 in 32 countries\u003c/a>. Is it a bop or yet another harbinger of the apocalypse? You decide:\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/T62maKYX9tU'\n title='//www.youtube.com/embed/T62maKYX9tU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Kehlani Parrish’s music isn’t meant to be a secret.\u003c/p>\n\u003cp>The singer, who was raised in Oakland and currently lives in Los Angeles, makes a winning sweet-and-sour blend of contemporary R&B. She can strike a confident yet self-aware pose. On her single “CRZY,” she boasts, “If I gotta be a bitch, I’ma be a bad one,” then adds, “I kill ’em, I kill ’em, I kill ’em with compassion.” Her music hearkens to the honeyed melodies typical of ’90s stars like SWV and TLC, homage-paying references to past hits like New Edition’s “If It Isn’t Love” and Akon’s “Don’t Matter,” and the ecstatic flights of melisma that suggest unfettered joy. Kehlani is a capable and surprisingly strong singer, too, though she often sticks to a strident middle range. When she professes her love, she tends to look for a roundabout way to do it. When she asks, “Do you want to be a distraction, baby?” on “Distraction,” her seduction doesn’t necessarily roll off the tongue. But it’s appealing all the same.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2d7U4CX0PHk\u003c/p>\n\u003cp>Yet months after the January release of her retail debut \u003cem>SweetSexySavage\u003c/em>, Kehlani has evolved into a critic’s darling who can’t quite breach pop radio. Sean “Puffy” Combs has said that Kehlani “saved R&B.” When Solange accepted the Centric Award at the 2017 BET Music Awards, she shouted out the new wave of women in R&B. “I love Syd, and Kehlani, and SZA, and Kelela and all the new-school girls who are out here,” she said.\u003c/p>\n\u003cp>However, none of Kehlani’s singles have cracked the \u003cem>Billboard \u003c/em>top 40 so far. “Gangsta,” a trap-inflected number where she channels Harley Quinn from last year’s \u003cem>Suicide Squad\u003c/em>, came closest, earning a RIAA platinum certification yet paradoxically stalling at No. 41.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-95921 alignnone\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The moderate success of \u003cem>SweetSexySavage\u003c/em> has reignited conversations about whether the music industry is devaluing R&B artists and, specifically, talented women of color. Kehlani’s not alone: Sevyn Streeter, SZA and Mary J. Blige have also released superior major-label projects this year, only to find a muted reception on the pop charts.\u003c/p>\n\u003cp>The irony is that, as a genre, R&B has never been healthier. It teems with variety, whether it’s the neon-hazed, synthesized romance of H.E.R., the sun-dappled hip-hop funk of Anderson .Paak, the gauzy teenage fantasies of Khalid, or the airy, baroque star-gazing of Chloe x Halle. No longer limited to the binary debate between “jiggy” urban pop and earthy neo-soul that dominated at the dawn of the millennium, today’s R&B world is as diverse as any other.\u003c/p>\n\u003cp>However, it seems like it’s the women who are truly expanding the genre’s vocabulary. Many of them have evolved into musical diarists. No longer limiting themselves to the endless tumult of love and sexual relationships, they write about their fears with disarming vulnerability. You can hear that inner voice take hold on Kehlani’s \u003cem>SweetSexySavage\u003c/em>. On “Piece of Mind,” she bravely discusses a \u003ca href=\"http://www.essence.com/celebrity/hot-topics-celebrity/kehlani-suicide-attempt-not-victim\">highly-publicized suicide attempt\u003c/a>, which she has said was triggered by \u003ca href=\"https://bossip.com/1296939/shenanigans-singer-kehlani-caught-up-in-dirty-dog-love-triangle-between-partynextdoor-and-kyrie-irving/\">trolling\u003c/a> over her complicated love life. “Trying to forget all of the unnecessary thoughts from my head / Man it was pretty scary,” she sings. “At least I learned a thing or two / About me and you / What we went through.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LFNKhivBXF0\u003c/p>\n\u003cp>Sevyn Streeter’s just-released \u003cem>Girl Disrupted \u003c/em>opens with “Livin,” where she discusses her issues with depression. In \u003ca href=\"http://www.billboard.com/articles/news/lifestyle/7857987/sevyn-streeter-girl-disrupted-album-style-interview\">an interview with Billboard\u003c/a>, she noted, “All these artists at the top of the pop charts are dressed like R&B artists in their videos. They’re singing lyrics and melodies from R&B songs of the past. We’re a very influential genre, and I’m not mad at it. I just want people to accept it no matter who it comes from. I can’t say that that’s always the case.”\u003c/p>\n\u003cp>There are a few men who take a hyper-personal approach to songwriting, namely the incandescent Frank Ocean, who writes in rich, complex metaphors. But it seems like most aspire to the aesthetic masculinity of rappers. They talk-sing boasts in a wavy voice that threads the needle between melodic pop-rap and clubby, hard-edged trap music. It’s no surprise that listeners occasionally refer to the likes of Chris Brown, Bryson Tiller, and the Weeknd as rap stars — sometimes they dispense with singing altogether and spit actual bars, if only to underline their unbeatable virility.\u003c/p>\n\u003cp>Women aren’t above boasting, either. One of Kehlani’s fan favorites is \u003ca href=\"https://www.youtube.com/watch?v=o_0ceq6ewFg\">“N****s”\u003c/a> from her 2015 mixtape \u003cem>You Should Be Here\u003c/em>, where she barks back at unnamed paramours. “I’m not yours, never was,” she sings. “Too damn strong to let you get the best of me.”\u003c/p>\n\u003cp>But generally speaking, men dominate rap music — at least its most visible variant. So R&B women have subtly developed values and thematic ideas that contrast with corporate rap’s muscular displays of material wealth, opiate consumption, casual violence, and the necessary ability to steal your girl for a one-night escapade. It’s a compelling package that has yet to receive the industry support it deserves.\u003c/p>\n\u003cp>Tinashe has also tried to split the difference between artistic and commercial dictates, with uneven success. Her early, electronic-fused mixtapes had a wonderfully hermetic feel, as if she were singing quietly into a microphone on her laptop. On her 2014 major label debut \u003cem>Aquarius\u003c/em>, she leavened her dense, whispery meditations, like “Cold Sweat,” with swaggy and accessible confections, like “2 On,” a delirious celebration of over-drinking that climbed the upper reaches of the \u003cem>Billboard \u003c/em>top 40. But despite critical acclaim — Jon Caramanica of the \u003cem>New York Times \u003c/em>\u003ca href=\"https://www.nytimes.com/2017/02/09/arts/music/grammys-hip-hop-rb-categories\">called \u003cem>Aquarius\u003c/em>\u003c/a> “one of the most inventive R&B albums of recent years” — she hasn’t been able to score anything on the scale of “2 On.” Meanwhile, her long-delayed follow-up \u003cem>Joyride\u003c/em> remains unreleased, leading her fans to protest with the hashtag #FreeTinashe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-s7TCuCpB5c\u003c/p>\n\u003cp>In \u003ca href=\"https://www.theguardian.com/music/2017/jun/12/tinashe-if-black-singer-either-beyonce-rihanna\">a recent interview with \u003cem>The Guardian\u003c/em>\u003c/a>, Tinashe caused an uproar when she talked about “colorism,” and her worry that, as a black woman of mixed race, “sometimes I feel like I don’t fully fit into the black community.” While the comment seemed to address her personal experiences, some fans took it as sour grapes over her seemingly flailing career. Regardless, it was a moment of frustration for a wildly creative artist facing limited options. “There are hundreds of [male] rappers that all look the same, that sound the same, but if you’re a black woman, you’re either Beyoncé or Rihanna,” she said.\u003c/p>\n\u003cp>A similar quandary affected Solána “SZA” Rowe, the singer from New Jersey whose abstract, unclassifiable R&B initially seemed too non-commercial for mainstream consumption. Three years after her mixtape \u003cem>Z \u003c/em>caused a sensation in 2013, she publicly expressed frustration with her record label, TDE, which is best known for introducing West Coast rap lyricists like Kendrick Lamar and Schoolboy Q. “I actually quit,” she wrote on Twitter, upset that TDE wouldn’t release her debut album. (She later clarified it was her, not TDE, that caused her debut album’s long delay. Eventually, she told \u003cem>The Guardian\u003c/em>, “They just took my hard drive from me.”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PALMMqZLAQk\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The fact that the resulting \u003cem>Ctrl\u003c/em> debuted at No. 3 on the \u003cem>Billboard \u003c/em>charts upon its June 9 release speaks to how even an idiosyncratic, experimental artist like SZA can reach beyond the tastemakers who initially championed her. (It also doesn’t hurt that she’s signed to one of the hottest boutique record companies in the industry right now.) Major labels and radio executives may be hesitant to back this new wave of fearlessly adventurous R&B women — from the metaphysical love songs of SZA to the ’90s homage of Kehlani — with the promotional resources they deserve. But they seem to be finding an audience anyway, whether the pop market acknowledges them or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kehlani%2C+And+R%26B%27s+Women+Of+Color%2C+Struggle+To+Be+Heard+In+Pop+Market&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kehlani Parrish’s music isn’t meant to be a secret.\u003c/p>\n\u003cp>The singer, who was raised in Oakland and currently lives in Los Angeles, makes a winning sweet-and-sour blend of contemporary R&B. She can strike a confident yet self-aware pose. On her single “CRZY,” she boasts, “If I gotta be a bitch, I’ma be a bad one,” then adds, “I kill ’em, I kill ’em, I kill ’em with compassion.” Her music hearkens to the honeyed melodies typical of ’90s stars like SWV and TLC, homage-paying references to past hits like New Edition’s “If It Isn’t Love” and Akon’s “Don’t Matter,” and the ecstatic flights of melisma that suggest unfettered joy. Kehlani is a capable and surprisingly strong singer, too, though she often sticks to a strident middle range. When she professes her love, she tends to look for a roundabout way to do it. When she asks, “Do you want to be a distraction, baby?” on “Distraction,” her seduction doesn’t necessarily roll off the tongue. But it’s appealing all the same.\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/2d7U4CX0PHk'\n title='//www.youtube.com/embed/2d7U4CX0PHk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yet months after the January release of her retail debut \u003cem>SweetSexySavage\u003c/em>, Kehlani has evolved into a critic’s darling who can’t quite breach pop radio. Sean “Puffy” Combs has said that Kehlani “saved R&B.” When Solange accepted the Centric Award at the 2017 BET Music Awards, she shouted out the new wave of women in R&B. “I love Syd, and Kehlani, and SZA, and Kelela and all the new-school girls who are out here,” she said.\u003c/p>\n\u003cp>However, none of Kehlani’s singles have cracked the \u003cem>Billboard \u003c/em>top 40 so far. “Gangsta,” a trap-inflected number where she channels Harley Quinn from last year’s \u003cem>Suicide Squad\u003c/em>, came closest, earning a RIAA platinum certification yet paradoxically stalling at No. 41.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" loading=\"lazy\" class=\"size-full wp-image-95921 alignnone\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769.jpg 600w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/kehlani-album-cover_sq-5b2a80b063e158d5e124cde448f83a29affbb769-150x150.jpg 150w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/p>\n\u003cp>The moderate success of \u003cem>SweetSexySavage\u003c/em> has reignited conversations about whether the music industry is devaluing R&B artists and, specifically, talented women of color. Kehlani’s not alone: Sevyn Streeter, SZA and Mary J. Blige have also released superior major-label projects this year, only to find a muted reception on the pop charts.\u003c/p>\n\u003cp>The irony is that, as a genre, R&B has never been healthier. It teems with variety, whether it’s the neon-hazed, synthesized romance of H.E.R., the sun-dappled hip-hop funk of Anderson .Paak, the gauzy teenage fantasies of Khalid, or the airy, baroque star-gazing of Chloe x Halle. No longer limited to the binary debate between “jiggy” urban pop and earthy neo-soul that dominated at the dawn of the millennium, today’s R&B world is as diverse as any other.\u003c/p>\n\u003cp>However, it seems like it’s the women who are truly expanding the genre’s vocabulary. Many of them have evolved into musical diarists. No longer limiting themselves to the endless tumult of love and sexual relationships, they write about their fears with disarming vulnerability. You can hear that inner voice take hold on Kehlani’s \u003cem>SweetSexySavage\u003c/em>. On “Piece of Mind,” she bravely discusses a \u003ca href=\"http://www.essence.com/celebrity/hot-topics-celebrity/kehlani-suicide-attempt-not-victim\">highly-publicized suicide attempt\u003c/a>, which she has said was triggered by \u003ca href=\"https://bossip.com/1296939/shenanigans-singer-kehlani-caught-up-in-dirty-dog-love-triangle-between-partynextdoor-and-kyrie-irving/\">trolling\u003c/a> over her complicated love life. “Trying to forget all of the unnecessary thoughts from my head / Man it was pretty scary,” she sings. “At least I learned a thing or two / About me and you / What we went through.”\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/LFNKhivBXF0'\n title='//www.youtube.com/embed/LFNKhivBXF0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sevyn Streeter’s just-released \u003cem>Girl Disrupted \u003c/em>opens with “Livin,” where she discusses her issues with depression. In \u003ca href=\"http://www.billboard.com/articles/news/lifestyle/7857987/sevyn-streeter-girl-disrupted-album-style-interview\">an interview with Billboard\u003c/a>, she noted, “All these artists at the top of the pop charts are dressed like R&B artists in their videos. They’re singing lyrics and melodies from R&B songs of the past. We’re a very influential genre, and I’m not mad at it. I just want people to accept it no matter who it comes from. I can’t say that that’s always the case.”\u003c/p>\n\u003cp>There are a few men who take a hyper-personal approach to songwriting, namely the incandescent Frank Ocean, who writes in rich, complex metaphors. But it seems like most aspire to the aesthetic masculinity of rappers. They talk-sing boasts in a wavy voice that threads the needle between melodic pop-rap and clubby, hard-edged trap music. It’s no surprise that listeners occasionally refer to the likes of Chris Brown, Bryson Tiller, and the Weeknd as rap stars — sometimes they dispense with singing altogether and spit actual bars, if only to underline their unbeatable virility.\u003c/p>\n\u003cp>Women aren’t above boasting, either. One of Kehlani’s fan favorites is \u003ca href=\"https://www.youtube.com/watch?v=o_0ceq6ewFg\">“N****s”\u003c/a> from her 2015 mixtape \u003cem>You Should Be Here\u003c/em>, where she barks back at unnamed paramours. “I’m not yours, never was,” she sings. “Too damn strong to let you get the best of me.”\u003c/p>\n\u003cp>But generally speaking, men dominate rap music — at least its most visible variant. So R&B women have subtly developed values and thematic ideas that contrast with corporate rap’s muscular displays of material wealth, opiate consumption, casual violence, and the necessary ability to steal your girl for a one-night escapade. It’s a compelling package that has yet to receive the industry support it deserves.\u003c/p>\n\u003cp>Tinashe has also tried to split the difference between artistic and commercial dictates, with uneven success. Her early, electronic-fused mixtapes had a wonderfully hermetic feel, as if she were singing quietly into a microphone on her laptop. On her 2014 major label debut \u003cem>Aquarius\u003c/em>, she leavened her dense, whispery meditations, like “Cold Sweat,” with swaggy and accessible confections, like “2 On,” a delirious celebration of over-drinking that climbed the upper reaches of the \u003cem>Billboard \u003c/em>top 40. But despite critical acclaim — Jon Caramanica of the \u003cem>New York Times \u003c/em>\u003ca href=\"https://www.nytimes.com/2017/02/09/arts/music/grammys-hip-hop-rb-categories\">called \u003cem>Aquarius\u003c/em>\u003c/a> “one of the most inventive R&B albums of recent years” — she hasn’t been able to score anything on the scale of “2 On.” Meanwhile, her long-delayed follow-up \u003cem>Joyride\u003c/em> remains unreleased, leading her fans to protest with the hashtag #FreeTinashe.\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/-s7TCuCpB5c'\n title='//www.youtube.com/embed/-s7TCuCpB5c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In \u003ca href=\"https://www.theguardian.com/music/2017/jun/12/tinashe-if-black-singer-either-beyonce-rihanna\">a recent interview with \u003cem>The Guardian\u003c/em>\u003c/a>, Tinashe caused an uproar when she talked about “colorism,” and her worry that, as a black woman of mixed race, “sometimes I feel like I don’t fully fit into the black community.” While the comment seemed to address her personal experiences, some fans took it as sour grapes over her seemingly flailing career. Regardless, it was a moment of frustration for a wildly creative artist facing limited options. “There are hundreds of [male] rappers that all look the same, that sound the same, but if you’re a black woman, you’re either Beyoncé or Rihanna,” she said.\u003c/p>\n\u003cp>A similar quandary affected Solána “SZA” Rowe, the singer from New Jersey whose abstract, unclassifiable R&B initially seemed too non-commercial for mainstream consumption. Three years after her mixtape \u003cem>Z \u003c/em>caused a sensation in 2013, she publicly expressed frustration with her record label, TDE, which is best known for introducing West Coast rap lyricists like Kendrick Lamar and Schoolboy Q. “I actually quit,” she wrote on Twitter, upset that TDE wouldn’t release her debut album. (She later clarified it was her, not TDE, that caused her debut album’s long delay. Eventually, she told \u003cem>The Guardian\u003c/em>, “They just took my hard drive from me.”)\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/PALMMqZLAQk'\n title='//www.youtube.com/embed/PALMMqZLAQk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fact that the resulting \u003cem>Ctrl\u003c/em> debuted at No. 3 on the \u003cem>Billboard \u003c/em>charts upon its June 9 release speaks to how even an idiosyncratic, experimental artist like SZA can reach beyond the tastemakers who initially championed her. (It also doesn’t hurt that she’s signed to one of the hottest boutique record companies in the industry right now.) Major labels and radio executives may be hesitant to back this new wave of fearlessly adventurous R&B women — from the metaphysical love songs of SZA to the ’90s homage of Kehlani — with the promotional resources they deserve. But they seem to be finding an audience anyway, whether the pop market acknowledges them or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kehlani%2C+And+R%26B%27s+Women+Of+Color%2C+Struggle+To+Be+Heard+In+Pop+Market&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Best Thing at Last Night's VMAs Was a Guy Named Kyle",
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"content": "\u003cp>There were many strange and confusing things about Sunday's MTV VMAs. The evening's events left the entire country with some serious head-scratchers: Who told Jared Leto that his \u003ca href=\"https://img.huffingtonpost.com/asset/59a361c024000036004b9fb0.jpeg?ops=scalefit_720_noupscale\">sequined cape\u003c/a> looked good? Did we hallucinate it or did Miley Cyrus end up with \u003ca href=\"https://media1.popsugar-assets.com/files/thumbor/HU9QXClcIj2JzvXPIXG3I3uwEWg/fit-in/1024x1024/filters:format_auto-!!-:strip_icc-!!-/2017/08/27/114/n/1922153/af43fbdee2768178_GettyImages-840000738/i/Miley-Cyrus-2017-VMA-Hannah-Montana-Hair.jpg\">\u003cem>more\u003c/em>\u003c/a> clothes on than when \u003ca href=\"https://media1.popsugar-assets.com/files/thumbor/AXFrC3ffB0x31LCCAU7lyO8VLOo/fit-in/1024x1024/filters:format_auto-!!-:strip_icc-!!-/2017/08/27/113/n/1922153/9e699ad2d9a2a654_GettyImages-839998306_1_/i/Miley-Cyrus-2017-VMA-Hannah-Montana-Hair.jpg\">she started\u003c/a> singing? Did being \"in space\" make Katy Perry think these jokes were \u003ca href=\"https://twitter.com/stidoudou/status/901961257137397760?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.huffingtonpost.com%2Fentry%2Fkaty-perry-mtv-vmas-hosting_us_599744afe4b01f6e801eaca6\">funny\u003c/a>? On what planet is Ed Sheeran 'Artist of the Year' over Kendrick Lamar? How did Kendrick's ninja sidekick stay on (literal) fire for so damn long?\u003c/p>\n\u003cp>The biggest mystery of all though, had to be: What the hell is up with that Kyle dude?\u003c/p>\n\u003cp>It all happened so fast. I barely had a chance to wonder why someone would choose \"Kyle\" as a stage name and there he was: resplendent in lilac double denim and yellow One Stars, not unlike an 8-year-old girl's favorite outfit from 1991. It looked for a moment like Kyle might be a parody of a too-enthusiastic pop star, with a demeanor so sunny, it bordered on the obnoxious. It was almost impossible not to wonder: \"Is this guy for real? Or is America getting \u003ca href=\"http://www.imdb.com/title/tt0361227/\">\u003cem>Punk'd\u003c/em>\u003c/a> right now?\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=l6Ja_JhACjY\u003c/p>\n\u003cp>MTV's live feed cut off Kyle halfway through his performance to go to commercial break. And my feelings of \"Thank God that's over\" rapidly transformed into \"Uh-oh. I miss Kyle.\" Like a living Jackson 5 song, as soon as he was gone, I wanted him back. Never has an artist transformed feelings of confused revulsion into an overwhelming sense of pure joy, in such a short space of time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I was compelled to hit Google immediately. And it turns out Kyle's entire persona looks, on first inspection, a lot like a \u003ca href=\"https://en.wikipedia.org/wiki/List_of_programs_broadcast_by_Cartoon_Network\">Cartoon Network\u003c/a> show. He used to go by the name of K.i.D. and I kind of wish he still did. According to Wikipedia, he overcame a speech impediment in his formative years. He hangs out and collaborates with -- this isn't a joke, honestly -- the \u003ca href=\"https://twitter.com/superdupercrew_?lang=en\">Super Duper Crew\u003c/a>. Other members include \u003ca href=\"https://www.facebook.com/SUPERDUPERBRICK-117806814980911/\">Super Duper Brick\u003c/a>, \u003ca href=\"https://twitter.com/jesusttw?lang=en\">Super Duper Jesus\u003c/a>, and \u003ca href=\"https://twitter.com/SuperDuperMaxx?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Super Duper Maxx\u003c/a>.\u003c/p>\n\u003cp>Then I hit YouTube to check out Kyle's non-\u003ca href=\"https://www.youtube.com/watch?v=5XK4v2fgMPU\">\"iSpy\"\u003c/a> work, and it didn't disappoint. \"Nothing 2 Lose\" is unfiltered optimism in song form with a sunny video that features even more brightly colored double denim:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UYG7Q8NYrcc\u003c/p>\n\u003cp>\"Just a Picture\" ft. Kehlani is about the annoyance of people spending too much time on their phones (VALID!):\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jAmkHypH_-A\u003c/p>\n\u003cp>\"Doubt It\" is basically a motivational speech:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BWdbMtTCEi0\u003c/p>\n\u003cp>And \"Keep it Real\" is about staying true to yourself and down-to-earth:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qhei5QrLihs\u003c/p>\n\u003cp>It's true that when Kyle collaborates with other dudes, things can get dark really fast; his track with G-Eazy, \u003ca href=\"https://www.youtube.com/watch?v=gCsWtQkiD74\">\"King Wavy,\"\u003c/a> is awash with macho posturing, and \u003ca href=\"https://www.youtube.com/watch?v=EgB5QEEis1o\">\"Remember Me?\"\u003c/a> with Chance the Rapper is about the pain of parental neglect. At one point, mid-song, he raps, \"Hey, look, the happy rapper’s not so happy now.”\u003c/p>\n\u003cp>Shut up, Kyle. Post-VMAs, you're gonna have to be the nation's happy rapper forever... or, at the very least, until we reach a point in time that is less politically turbulent and terrifying than the one we're in right now. Turns out, Kyle, you are the artist we didn't know we needed right now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kyle is not exactly a secret -- his videos already have millions of views on YouTube -- but, last night, the VMAs cut off probably the brightest performer of the night. Kyle might just be the ray of sunshine that can lift America's spirits right now. MTV should have let him shine.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There were many strange and confusing things about Sunday's MTV VMAs. The evening's events left the entire country with some serious head-scratchers: Who told Jared Leto that his \u003ca href=\"https://img.huffingtonpost.com/asset/59a361c024000036004b9fb0.jpeg?ops=scalefit_720_noupscale\">sequined cape\u003c/a> looked good? Did we hallucinate it or did Miley Cyrus end up with \u003ca href=\"https://media1.popsugar-assets.com/files/thumbor/HU9QXClcIj2JzvXPIXG3I3uwEWg/fit-in/1024x1024/filters:format_auto-!!-:strip_icc-!!-/2017/08/27/114/n/1922153/af43fbdee2768178_GettyImages-840000738/i/Miley-Cyrus-2017-VMA-Hannah-Montana-Hair.jpg\">\u003cem>more\u003c/em>\u003c/a> clothes on than when \u003ca href=\"https://media1.popsugar-assets.com/files/thumbor/AXFrC3ffB0x31LCCAU7lyO8VLOo/fit-in/1024x1024/filters:format_auto-!!-:strip_icc-!!-/2017/08/27/113/n/1922153/9e699ad2d9a2a654_GettyImages-839998306_1_/i/Miley-Cyrus-2017-VMA-Hannah-Montana-Hair.jpg\">she started\u003c/a> singing? Did being \"in space\" make Katy Perry think these jokes were \u003ca href=\"https://twitter.com/stidoudou/status/901961257137397760?ref_src=twsrc%5Etfw&ref_url=http%3A%2F%2Fwww.huffingtonpost.com%2Fentry%2Fkaty-perry-mtv-vmas-hosting_us_599744afe4b01f6e801eaca6\">funny\u003c/a>? On what planet is Ed Sheeran 'Artist of the Year' over Kendrick Lamar? How did Kendrick's ninja sidekick stay on (literal) fire for so damn long?\u003c/p>\n\u003cp>The biggest mystery of all though, had to be: What the hell is up with that Kyle dude?\u003c/p>\n\u003cp>It all happened so fast. I barely had a chance to wonder why someone would choose \"Kyle\" as a stage name and there he was: resplendent in lilac double denim and yellow One Stars, not unlike an 8-year-old girl's favorite outfit from 1991. It looked for a moment like Kyle might be a parody of a too-enthusiastic pop star, with a demeanor so sunny, it bordered on the obnoxious. It was almost impossible not to wonder: \"Is this guy for real? Or is America getting \u003ca href=\"http://www.imdb.com/title/tt0361227/\">\u003cem>Punk'd\u003c/em>\u003c/a> right 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/l6Ja_JhACjY'\n title='//www.youtube.com/embed/l6Ja_JhACjY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>MTV's live feed cut off Kyle halfway through his performance to go to commercial break. And my feelings of \"Thank God that's over\" rapidly transformed into \"Uh-oh. I miss Kyle.\" Like a living Jackson 5 song, as soon as he was gone, I wanted him back. Never has an artist transformed feelings of confused revulsion into an overwhelming sense of pure joy, in such a short space of time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I was compelled to hit Google immediately. And it turns out Kyle's entire persona looks, on first inspection, a lot like a \u003ca href=\"https://en.wikipedia.org/wiki/List_of_programs_broadcast_by_Cartoon_Network\">Cartoon Network\u003c/a> show. He used to go by the name of K.i.D. and I kind of wish he still did. According to Wikipedia, he overcame a speech impediment in his formative years. He hangs out and collaborates with -- this isn't a joke, honestly -- the \u003ca href=\"https://twitter.com/superdupercrew_?lang=en\">Super Duper Crew\u003c/a>. Other members include \u003ca href=\"https://www.facebook.com/SUPERDUPERBRICK-117806814980911/\">Super Duper Brick\u003c/a>, \u003ca href=\"https://twitter.com/jesusttw?lang=en\">Super Duper Jesus\u003c/a>, and \u003ca href=\"https://twitter.com/SuperDuperMaxx?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">Super Duper Maxx\u003c/a>.\u003c/p>\n\u003cp>Then I hit YouTube to check out Kyle's non-\u003ca href=\"https://www.youtube.com/watch?v=5XK4v2fgMPU\">\"iSpy\"\u003c/a> work, and it didn't disappoint. \"Nothing 2 Lose\" is unfiltered optimism in song form with a sunny video that features even more brightly colored double denim:\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/UYG7Q8NYrcc'\n title='//www.youtube.com/embed/UYG7Q8NYrcc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Just a Picture\" ft. Kehlani is about the annoyance of people spending too much time on their phones (VALID!):\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/jAmkHypH_-A'\n title='//www.youtube.com/embed/jAmkHypH_-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"Doubt It\" is basically a motivational speech:\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/BWdbMtTCEi0'\n title='//www.youtube.com/embed/BWdbMtTCEi0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And \"Keep it Real\" is about staying true to yourself and down-to-earth:\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/Qhei5QrLihs'\n title='//www.youtube.com/embed/Qhei5QrLihs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's true that when Kyle collaborates with other dudes, things can get dark really fast; his track with G-Eazy, \u003ca href=\"https://www.youtube.com/watch?v=gCsWtQkiD74\">\"King Wavy,\"\u003c/a> is awash with macho posturing, and \u003ca href=\"https://www.youtube.com/watch?v=EgB5QEEis1o\">\"Remember Me?\"\u003c/a> with Chance the Rapper is about the pain of parental neglect. At one point, mid-song, he raps, \"Hey, look, the happy rapper’s not so happy now.”\u003c/p>\n\u003cp>Shut up, Kyle. Post-VMAs, you're gonna have to be the nation's happy rapper forever... or, at the very least, until we reach a point in time that is less politically turbulent and terrifying than the one we're in right now. Turns out, Kyle, you are the artist we didn't know we needed right now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kyle is not exactly a secret -- his videos already have millions of views on YouTube -- but, last night, the VMAs cut off probably the brightest performer of the night. Kyle might just be the ray of sunshine that can lift America's spirits right now. MTV should have let him shine.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Taylor Swift is Releasing New Music Tomorrow and the World Just Basically Stopped Turning",
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"content": "\u003cp>We thought the only time this week that the nation would collectively stop and stare slack-jawed at something was on Monday, during the eclipse. But that was before Taylor Swift announced she had new music coming out this week, with this:\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-95800 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM.png\" alt=\"\" width=\"555\" height=\"554\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM.png 555w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-160x160.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-240x240.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-375x374.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-520x519.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-150x150.png 150w\" sizes=\"(max-width: 555px) 100vw, 555px\">\u003c/p>\n\u003cp>And also this:\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-95801 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM.png\" alt=\"\" width=\"555\" height=\"511\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM.png 555w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM-160x147.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM-240x221.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM-375x345.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM-520x479.png 520w\" sizes=\"(max-width: 555px) 100vw, 555px\">\u003c/p>\n\u003cp>And most tantalizingly of all, this:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-95802 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM.png\" alt=\"\" width=\"552\" height=\"555\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM.png 552w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM-160x161.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM-240x241.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM-375x377.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM-520x523.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.55.46-AM-150x150.png 150w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003c/p>\n\u003cp>The world knew something was up yesterday, when she posted a couple of shadowy \u003ca href=\"https://twitter.com/taylorswift13/status/900357555289034752\">videos of snakes\u003c/a>, but now we've got ratty-sweater, greasy-hair, that-choker-looks-a-bit-tight-but-the-lipstick-is-still-perfection Taylor Swift, hysteria has fully kicked in.\u003c/p>\n\u003cp>She looks pissed, you guys, and -- as the long history of talking smack about her exes in song form proves -- Swift is at her best when she's pissed.\u003c/p>\n\u003cp>Predictably, Twitter had a lot to say for itself:\u003c/p>\n\u003cp>https://twitter.com/managewski/status/900399823408463872\u003c/p>\n\u003cp>https://twitter.com/SimplySFans/status/900399771445317633\u003c/p>\n\u003cp>https://twitter.com/probIemoutsoId/status/900413480838344704\u003c/p>\n\u003cp>https://twitter.com/gilbertjasono/status/900405827537960960\u003c/p>\n\u003cp>https://twitter.com/CraigSJ/status/900399653727940608\u003c/p>\n\u003cp>https://twitter.com/BrennaCarin1/status/900394804873273345\u003c/p>\n\u003cp>https://twitter.com/RickyPDillon/status/900384463766511617\u003c/p>\n\u003cp>https://twitter.com/paigehettinger/status/900429836770041858\u003c/p>\n\u003cp>https://twitter.com/just_trees13/status/900420002679050240\u003c/p>\n\u003cp>https://twitter.com/fearlessleigh/status/900418976425103360\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hang onto your butts -- a new era is coming.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We thought the only time this week that the nation would collectively stop and stare slack-jawed at something was on Monday, during the eclipse. But that was before Taylor Swift announced she had new music coming out this week, with this:\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-95800 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM.png\" alt=\"\" width=\"555\" height=\"554\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM.png 555w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-160x160.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-240x240.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-375x374.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-520x519.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.52.57-AM-150x150.png 150w\" sizes=\"(max-width: 555px) 100vw, 555px\">\u003c/p>\n\u003cp>And also this:\u003c/p>\n\u003cp>\u003cimg class=\"size-full wp-image-95801 aligncenter\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM.png\" alt=\"\" width=\"555\" height=\"511\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM.png 555w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM-160x147.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM-240x221.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM-375x345.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/Screen-Shot-2017-08-23-at-11.54.26-AM-520x479.png 520w\" sizes=\"(max-width: 555px) 100vw, 555px\">\u003c/p>\n\u003cp>And most tantalizingly of all, this:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>Hang onto your butts -- a new era is coming.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last month, \u003ca href=\"https://en.wikipedia.org/wiki/Lola_Kirke\">Lola Kirke\u003c/a> premiered her new music video -- for the country-tinged, \"Not Used\" -- starring and directed by her sister, \u003ca href=\"http://www.imdb.com/title/tt1723816/?ref_=nv_sr_4\">\u003cem>Girls\u003c/em>\u003c/a> star Jemima Kirke. The three-minute clip is refreshingly raw; Jemima is quite clearly doing a real workout, make-up free, with dirty hair, even stopping for a smoke break in the middle, in what looks like everybody's aunt's spare room:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OQoN4aO7iD0&t=56s\u003c/p>\n\u003cp>It's a distinctly DIY-flavored, Millennial take on what has become a music video regular: the workout clip. This undying trend was initially started by Olivia Newton John in 1981, with the release of her song \"Physical\" -- a track that was probably initially supposed to be super-sexy, but ended up transformed into little more than an aerobics soundtrack that your grandma still likes.\u003c/p>\n\u003cp>The video for \"Physical\" was capitalizing on what were -- in 1980s terms -- new and modern exercise trends. It came out the same year that Jane Fonda started a home fitness revolution with her \u003ca href=\"https://en.wikipedia.org/wiki/Jane_Fonda%27s_Workout_Book\">\u003cem>Workout Book\u003c/em>\u003c/a>. \"Physical\" shamelessly objectified muscle men, while also fat-shaming out-of-shape ones. It is oily and outrageous but happily contains what was probably one of the the first non-judgmental depictions of gay men in a straight pop video ever. (Wait 'til the end...)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vWz9VN40nCA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Madonna put together the post-modern video for her 2005 single \"Hung Up,\" she used an \u003ca href=\"https://www.youtube.com/watch?v=3wCK6INQcHs\">ABBA sample\u003c/a> in the song as a jumping-off point. Madge's feathered hairdo and pink leotard scream of the late-'70s more than \"Physical,\" but the things that firmly put this clip in the time it actually came out is that pesky \u003ca href=\"https://en.wikipedia.org/wiki/Dance_Dance_Revolution\">Dance Dance Revolution\u003c/a> machine at the end, and the use of \u003ca href=\"https://en.wikipedia.org/wiki/Parkour\">parkour\u003c/a>. Parkour has since become the butt of so many jokes (see: \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=vaUSAnpGfv0\">The Office\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=wxXvComrb_Q\">22 Jump Street\u003c/a>\u003c/em> etc.), it's hard to remember when it was still considered cool.\u003c/p>\n\u003cp>Thanks to the parts filmed in London, the video for \"Hung Up\" also joyously takes us back to that awesome period when Madonna's \u003ca href=\"https://www.youtube.com/watch?v=H0gkgzEvwHE\">fake British accent\u003c/a> was peaking. (#NeverForget)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EDwb9jOVRtU\u003c/p>\n\u003cp>Though Madonna managed to keep it (surprisingly) clean, workout videos can sometimes have a hard time staying tasteful (to put it mildly). Kylie Minogue's \u003ca href=\"https://www.youtube.com/watch?v=j3VjJKKVNew\">\"Sexercise\"\u003c/a> video manages to pull off the sexy workout most successfully (though simultaneously changes the way we look at pilates balls forever). By far the worst offender is 2004's \u003ca href=\"https://www.youtube.com/watch?v=7ou6MoKmxFQ\">\"Call On Me\"\u003c/a> by Eric Prydz -- a video so brazenly sexual, it's borderline NSFW.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7ou6MoKmxFQ\u003c/p>\n\u003cp>More recently, Ariana Grande got a team of scantily-clad ladies to do a spin class in heels for her \"Side to Side\" video. Maybe the stationary bikes were inspired by David Banner's super-creepy 2005 video for \u003ca href=\"https://www.youtube.com/watch?v=qld7WvHa5kc\">\"Play,\"\u003c/a> but the lasting impression \"Side to Side\" leaves is most definitely butt-related. The focus on rear ends is absolutely unrelenting, each new scene offering a new and interesting way to get mesmerized by butts doing things in unison.\u003c/p>\n\u003cp>Arguably, \"Call on Me,\" \"Side to Side,\" and \"Play\" are all solid representations of the post-internet \u003ca href=\"https://www.glamour.com/story/rashida-jones-major-dont-the-pornification-of-everything\">pornification of mainstream pop culture. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=SXiSVQZLje8\u003c/p>\n\u003cp>Back in 2004, Kanye West was on a totally different track with the unabashedly cynical video for \"The New Workout Plan.\" It's a remarkable time capsule, featuring \u003ca href=\"https://en.wikipedia.org/wiki/Anna_Nicole_Smith\">Anna Nicole Smith\u003c/a> (RIP) and critiquing a culture that tells women they can \"pull an NBA player\" if their bodies look a certain way. It's impossible to escape the irony that Kanye has since married into a family famous for almost nothing but incredibly sculpted bodies and penchant for dating athletes.\u003c/p>\n\u003cp>What's more, the handbag-clutching L.A. stereotype that appears two and a half minutes in is basically a Kim Kardashian parody, three years before anyone even knew who Kim Kardashian was. One can't help but wonder if Kanye ever looks back at this thing and wonders how he ended up where he is now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ua61XY84gGg\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It's true that all music videos go some way to capturing the essence of the time in which they're made, but there is something about the workout music video that makes them age a lot more rapidly. Not that it tends to matter; the enduring popularity of the theme would seem to suggest that the opportunity to show plenty of exposed flesh and sculpted bodies cancels out any negatives for video producers and artists. As long as there are music videos, there will be an eternal excuse for more spandex and stretching caught on tape.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last month, \u003ca href=\"https://en.wikipedia.org/wiki/Lola_Kirke\">Lola Kirke\u003c/a> premiered her new music video -- for the country-tinged, \"Not Used\" -- starring and directed by her sister, \u003ca href=\"http://www.imdb.com/title/tt1723816/?ref_=nv_sr_4\">\u003cem>Girls\u003c/em>\u003c/a> star Jemima Kirke. The three-minute clip is refreshingly raw; Jemima is quite clearly doing a real workout, make-up free, with dirty hair, even stopping for a smoke break in the middle, in what looks like everybody's aunt's spare room:\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/OQoN4aO7iD0'\n title='//www.youtube.com/embed/OQoN4aO7iD0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's a distinctly DIY-flavored, Millennial take on what has become a music video regular: the workout clip. This undying trend was initially started by Olivia Newton John in 1981, with the release of her song \"Physical\" -- a track that was probably initially supposed to be super-sexy, but ended up transformed into little more than an aerobics soundtrack that your grandma still likes.\u003c/p>\n\u003cp>The video for \"Physical\" was capitalizing on what were -- in 1980s terms -- new and modern exercise trends. It came out the same year that Jane Fonda started a home fitness revolution with her \u003ca href=\"https://en.wikipedia.org/wiki/Jane_Fonda%27s_Workout_Book\">\u003cem>Workout Book\u003c/em>\u003c/a>. \"Physical\" shamelessly objectified muscle men, while also fat-shaming out-of-shape ones. It is oily and outrageous but happily contains what was probably one of the the first non-judgmental depictions of gay men in a straight pop video ever. (Wait 'til the end...)\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/vWz9VN40nCA'\n title='//www.youtube.com/embed/vWz9VN40nCA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When Madonna put together the post-modern video for her 2005 single \"Hung Up,\" she used an \u003ca href=\"https://www.youtube.com/watch?v=3wCK6INQcHs\">ABBA sample\u003c/a> in the song as a jumping-off point. Madge's feathered hairdo and pink leotard scream of the late-'70s more than \"Physical,\" but the things that firmly put this clip in the time it actually came out is that pesky \u003ca href=\"https://en.wikipedia.org/wiki/Dance_Dance_Revolution\">Dance Dance Revolution\u003c/a> machine at the end, and the use of \u003ca href=\"https://en.wikipedia.org/wiki/Parkour\">parkour\u003c/a>. Parkour has since become the butt of so many jokes (see: \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=vaUSAnpGfv0\">The Office\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=wxXvComrb_Q\">22 Jump Street\u003c/a>\u003c/em> etc.), it's hard to remember when it was still considered cool.\u003c/p>\n\u003cp>Thanks to the parts filmed in London, the video for \"Hung Up\" also joyously takes us back to that awesome period when Madonna's \u003ca href=\"https://www.youtube.com/watch?v=H0gkgzEvwHE\">fake British accent\u003c/a> was peaking. (#NeverForget)\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/EDwb9jOVRtU'\n title='//www.youtube.com/embed/EDwb9jOVRtU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though Madonna managed to keep it (surprisingly) clean, workout videos can sometimes have a hard time staying tasteful (to put it mildly). Kylie Minogue's \u003ca href=\"https://www.youtube.com/watch?v=j3VjJKKVNew\">\"Sexercise\"\u003c/a> video manages to pull off the sexy workout most successfully (though simultaneously changes the way we look at pilates balls forever). By far the worst offender is 2004's \u003ca href=\"https://www.youtube.com/watch?v=7ou6MoKmxFQ\">\"Call On Me\"\u003c/a> by Eric Prydz -- a video so brazenly sexual, it's borderline NSFW.\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/7ou6MoKmxFQ'\n title='//www.youtube.com/embed/7ou6MoKmxFQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>More recently, Ariana Grande got a team of scantily-clad ladies to do a spin class in heels for her \"Side to Side\" video. Maybe the stationary bikes were inspired by David Banner's super-creepy 2005 video for \u003ca href=\"https://www.youtube.com/watch?v=qld7WvHa5kc\">\"Play,\"\u003c/a> but the lasting impression \"Side to Side\" leaves is most definitely butt-related. The focus on rear ends is absolutely unrelenting, each new scene offering a new and interesting way to get mesmerized by butts doing things in unison.\u003c/p>\n\u003cp>Arguably, \"Call on Me,\" \"Side to Side,\" and \"Play\" are all solid representations of the post-internet \u003ca href=\"https://www.glamour.com/story/rashida-jones-major-dont-the-pornification-of-everything\">pornification of mainstream pop culture. \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/SXiSVQZLje8'\n title='//www.youtube.com/embed/SXiSVQZLje8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Back in 2004, Kanye West was on a totally different track with the unabashedly cynical video for \"The New Workout Plan.\" It's a remarkable time capsule, featuring \u003ca href=\"https://en.wikipedia.org/wiki/Anna_Nicole_Smith\">Anna Nicole Smith\u003c/a> (RIP) and critiquing a culture that tells women they can \"pull an NBA player\" if their bodies look a certain way. It's impossible to escape the irony that Kanye has since married into a family famous for almost nothing but incredibly sculpted bodies and penchant for dating athletes.\u003c/p>\n\u003cp>What's more, the handbag-clutching L.A. stereotype that appears two and a half minutes in is basically a Kim Kardashian parody, three years before anyone even knew who Kim Kardashian was. One can't help but wonder if Kanye ever looks back at this thing and wonders how he ended up where he is 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/Ua61XY84gGg'\n title='//www.youtube.com/embed/Ua61XY84gGg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>It's true that all music videos go some way to capturing the essence of the time in which they're made, but there is something about the workout music video that makes them age a lot more rapidly. Not that it tends to matter; the enduring popularity of the theme would seem to suggest that the opportunity to show plenty of exposed flesh and sculpted bodies cancels out any negatives for video producers and artists. As long as there are music videos, there will be an eternal excuse for more spandex and stretching caught on tape.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "\"Despacito\" Wasn't a Fluke: \"Mi Gente\" Proves Pop Fans No Longer Care About Language Barriers",
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"content": "\u003cp>For the second time in one summer, a Spanish-language pop song is skyrocketing to worldwide popularity in jaw-dropping numbers. \"Mi Gente\" (\"My People\") by Colombian-born \u003ca href=\"http://jbalvin.com/\">J Balvin\u003c/a> and featuring French artist \u003ca href=\"https://www.facebook.com/willywilliamofficiel/\">Willy William\u003c/a>, has fans once again ignoring language barriers and going for the grooves.\u003c/p>\n\u003cp>While the remixed \"Despacito\" features Spanglish, \"Mi Gente\" is in full-on\u003cem> español\u003c/em>, which is making the music industry pay even closer attention.\u003c/p>\n\u003cp>So, what's going on here?\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wnJ6LuUFpMo\u003c/p>\n\u003cp>First of all, let's examine the music. Both songs are fueled by reggaeton, a genre birthed in Puerto Rico and Panama. Along with bachata, from the Dominican Republic, they have been the dominant sounds of Spanish-language radio across the country for some time. And while early reggaeton was frowned upon for its angry, lurid and misogynistic tones, its \"softer\" second generation has become a pan-Latin worldwide favorite.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then there's J Balvin.\u003c/p>\n\u003cp>After just four albums, Balvin has quickly become a major figure in Latin popular music with his \u003ca href=\"https://www.latingrammy.com/en\">Latin Grammy Award\u003c/a>-winning blend of rock, reggaeton and hip-hop. His song \u003ca href=\"https://www.youtube.com/watch?v=TapXs54Ah3E\">\"Ay Vamos\"\u003c/a> from 2014 has generated more than a billion views on YouTube, becoming the first Latin urban song to do so, as \u003ca href=\"http://www.billboard.com/articles/columns/latin/7557723/j-balvin-billion-views-youtube-ay-vamos\">reported\u003c/a> by \u003cem>Billboard\u003c/em>. Following that, Balvin's \u003ca href=\"https://www.youtube.com/watch?v=zZjSX01P5dE\">\"Ginza\"\u003c/a> had the longest stay at No. 1 on \u003cem>Billboard\u003c/em>'s Hot Latin Songs chart ever by a single artist — 22 weeks, landing a mention in the \u003ca href=\"http://www.guinnessworldrecords.com/world-records/460475-longest-stay-at-no-1-on-the-us-hot-latin-songs-chart-by-a-single-artist\">Guinness Book of World Records\u003c/a>. His successes have led to numerous Gold and Platinum \u003ca href=\"https://www.riaa.com/gold-platinum/?tab_active=default-award&se=balvin&col=highest_level&ord=desc#search_section\">awards\u003c/a> and collaborations with major artists like Pitbull, Ariana Grande, Justin Bieber, Major Lazer and Pharrell Williams, and a feature on \u003cem>The Fate and the Furious\u003c/em> film soundtrack.\u003c/p>\n\u003cp>During a recent interview with \u003cem>Alt.Latino\u003c/em>, Balvin speculated on why Spanish-language pop-reggaeton is so popular.\u003c/p>\n\u003cp>\"I think it's the beat and the melodies and the love that we put into the music; the good vibes,\" he said, adding that streaming is changing the game in a way that gives artists like him the power to expand their fan base. \"Streaming is what people are looking for.\"\u003c/p>\n\u003cp>The fast rise of \"Mi Gente,\" and the importance of streaming to a song's success these days, is reflected in the fact that just four weeks after its release in late June, \"Mi Gente\" hit the peak of Spotify's \u003ca href=\"https://open.spotify.com/user/spotifycharts/playlist/37i9dQZEVXbMDoHDwVN2tF\">Global Top 50 chart\u003c/a> (and remains there two-and-a-half weeks later), bypassing the wildly popular remix of Luis Fonsi and Daddy Yankee's \"Despacito,\" featuring Justin Bieber. As of today, \"Mi Gente\" is the \u003ca href=\"https://www.shazam.com/charts/top-100/world\">most-Shazamed song\u003c/a> worldwide in the past week with over three million tags. As of mid-afternoon yesterday Aug. 15, \"Mi Gente\" had generated 409.3 million views while \"Despacito\" had drawn over 3.2 \u003cem>billion \u003c/em>plays.\u003c/p>\n\u003cp>We looked into some of the numbers for Latin music sales published by The \u003ca href=\"https://www.riaa.com/\">Recording Industry Association of America (RIAA)\u003c/a>. It \u003ca href=\"https://www.riaa.com/wp-content/uploads/2017/04/RIAA-Latin-Music-2017-News-Notes-1.pdf\">reports\u003c/a> that while CDs and digital downloads have declined, the strong growth from streaming, particularly subscriptions, is driving the \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\">first revenue increases\u003c/a> that the recording industry has seen in some time.\u003c/p>\n\u003cp>As for \"Mi Gente\" climbing charts worldwide, Balvin says, \"Being Latino and taking it globally was a big challenge. If it wasn't for the other music we wouldn't be in this beautiful position right now. You grow every day. You have to earn the respect of the industry and the respect of the people, hit after hit until you go global. It's a process to make No. 1. To get the right sound. To make people fall in love with the beat.\"\u003c/p>\n\u003cp>At this stage in Balvin's — and Luis Fonsi's — career, that love no longer requires having to perform in English to reach a crossover audience, instead following whatever sound or language makes him happy.\u003c/p>\n\u003cp>\"I think we're showing the world that it's cool to make English music, but it's better to make it in Spanish because that's where I'm from,\" he said, \"this is my roots — who I am, and I cannot lose that.\"\u003c/p>\n\u003cp>\"Mi Gente\" is a testament to celebrating people and culture without walls. As his lyrics say, \"\u003cem>mi musica no discrimina a nadie\u003c/em>\" (\"my music doesn't discriminate anybody\"), and that's the way J Balvin likes to roll with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>J Balvin's upcoming \"Energía\" tour runs September 14th through October 13th throughout the US.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=J+Balvin+Talks+%27Mi+Gente%27+And+Spanish-Language+Pop%27s+Summer+Of+Mega+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the second time in one summer, a Spanish-language pop song is skyrocketing to worldwide popularity in jaw-dropping numbers. \"Mi Gente\" (\"My People\") by Colombian-born \u003ca href=\"http://jbalvin.com/\">J Balvin\u003c/a> and featuring French artist \u003ca href=\"https://www.facebook.com/willywilliamofficiel/\">Willy William\u003c/a>, has fans once again ignoring language barriers and going for the grooves.\u003c/p>\n\u003cp>While the remixed \"Despacito\" features Spanglish, \"Mi Gente\" is in full-on\u003cem> español\u003c/em>, which is making the music industry pay even closer attention.\u003c/p>\n\u003cp>So, what's going on here?\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/wnJ6LuUFpMo'\n title='//www.youtube.com/embed/wnJ6LuUFpMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>First of all, let's examine the music. Both songs are fueled by reggaeton, a genre birthed in Puerto Rico and Panama. Along with bachata, from the Dominican Republic, they have been the dominant sounds of Spanish-language radio across the country for some time. And while early reggaeton was frowned upon for its angry, lurid and misogynistic tones, its \"softer\" second generation has become a pan-Latin worldwide favorite.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then there's J Balvin.\u003c/p>\n\u003cp>After just four albums, Balvin has quickly become a major figure in Latin popular music with his \u003ca href=\"https://www.latingrammy.com/en\">Latin Grammy Award\u003c/a>-winning blend of rock, reggaeton and hip-hop. His song \u003ca href=\"https://www.youtube.com/watch?v=TapXs54Ah3E\">\"Ay Vamos\"\u003c/a> from 2014 has generated more than a billion views on YouTube, becoming the first Latin urban song to do so, as \u003ca href=\"http://www.billboard.com/articles/columns/latin/7557723/j-balvin-billion-views-youtube-ay-vamos\">reported\u003c/a> by \u003cem>Billboard\u003c/em>. Following that, Balvin's \u003ca href=\"https://www.youtube.com/watch?v=zZjSX01P5dE\">\"Ginza\"\u003c/a> had the longest stay at No. 1 on \u003cem>Billboard\u003c/em>'s Hot Latin Songs chart ever by a single artist — 22 weeks, landing a mention in the \u003ca href=\"http://www.guinnessworldrecords.com/world-records/460475-longest-stay-at-no-1-on-the-us-hot-latin-songs-chart-by-a-single-artist\">Guinness Book of World Records\u003c/a>. His successes have led to numerous Gold and Platinum \u003ca href=\"https://www.riaa.com/gold-platinum/?tab_active=default-award&se=balvin&col=highest_level&ord=desc#search_section\">awards\u003c/a> and collaborations with major artists like Pitbull, Ariana Grande, Justin Bieber, Major Lazer and Pharrell Williams, and a feature on \u003cem>The Fate and the Furious\u003c/em> film soundtrack.\u003c/p>\n\u003cp>During a recent interview with \u003cem>Alt.Latino\u003c/em>, Balvin speculated on why Spanish-language pop-reggaeton is so popular.\u003c/p>\n\u003cp>\"I think it's the beat and the melodies and the love that we put into the music; the good vibes,\" he said, adding that streaming is changing the game in a way that gives artists like him the power to expand their fan base. \"Streaming is what people are looking for.\"\u003c/p>\n\u003cp>The fast rise of \"Mi Gente,\" and the importance of streaming to a song's success these days, is reflected in the fact that just four weeks after its release in late June, \"Mi Gente\" hit the peak of Spotify's \u003ca href=\"https://open.spotify.com/user/spotifycharts/playlist/37i9dQZEVXbMDoHDwVN2tF\">Global Top 50 chart\u003c/a> (and remains there two-and-a-half weeks later), bypassing the wildly popular remix of Luis Fonsi and Daddy Yankee's \"Despacito,\" featuring Justin Bieber. As of today, \"Mi Gente\" is the \u003ca href=\"https://www.shazam.com/charts/top-100/world\">most-Shazamed song\u003c/a> worldwide in the past week with over three million tags. As of mid-afternoon yesterday Aug. 15, \"Mi Gente\" had generated 409.3 million views while \"Despacito\" had drawn over 3.2 \u003cem>billion \u003c/em>plays.\u003c/p>\n\u003cp>We looked into some of the numbers for Latin music sales published by The \u003ca href=\"https://www.riaa.com/\">Recording Industry Association of America (RIAA)\u003c/a>. It \u003ca href=\"https://www.riaa.com/wp-content/uploads/2017/04/RIAA-Latin-Music-2017-News-Notes-1.pdf\">reports\u003c/a> that while CDs and digital downloads have declined, the strong growth from streaming, particularly subscriptions, is driving the \u003ca href=\"http://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\">first revenue increases\u003c/a> that the recording industry has seen in some time.\u003c/p>\n\u003cp>As for \"Mi Gente\" climbing charts worldwide, Balvin says, \"Being Latino and taking it globally was a big challenge. If it wasn't for the other music we wouldn't be in this beautiful position right now. You grow every day. You have to earn the respect of the industry and the respect of the people, hit after hit until you go global. It's a process to make No. 1. To get the right sound. To make people fall in love with the beat.\"\u003c/p>\n\u003cp>At this stage in Balvin's — and Luis Fonsi's — career, that love no longer requires having to perform in English to reach a crossover audience, instead following whatever sound or language makes him happy.\u003c/p>\n\u003cp>\"I think we're showing the world that it's cool to make English music, but it's better to make it in Spanish because that's where I'm from,\" he said, \"this is my roots — who I am, and I cannot lose that.\"\u003c/p>\n\u003cp>\"Mi Gente\" is a testament to celebrating people and culture without walls. As his lyrics say, \"\u003cem>mi musica no discrimina a nadie\u003c/em>\" (\"my music doesn't discriminate anybody\"), and that's the way J Balvin likes to roll with it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>J Balvin's upcoming \"Energía\" tour runs September 14th through October 13th throughout the US.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=J+Balvin+Talks+%27Mi+Gente%27+And+Spanish-Language+Pop%27s+Summer+Of+Mega+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There should be a rule designating that \u003ca href=\"https://twitter.com/hashtag/NationalRollerCoasterDay?src=hash\">National Roller Coaster Day\u003c/a> always, always, always lands on a weekend. Throwing this tantalizing reminder of fun at America on a Wednesday, when most people are trapped indoors at work — or at the very least, stuck on regular, old, boring, flat ground — is, at best, cruel and unusual punishment.\u003c/p>\n\u003cp>So, for all of you desperate to join in but hopelessly unable to, we've compiled some music videos featuring pretty pop stars riding roller coasters and acting like they don't feel like puking because of it. Celebrities: Turns out they're NOT just like you and me.\u003c/p>\n\u003cp>Here's Mariah Carey, building up to her roller coaster ride via the medium of rollerblades (because: 1995) in the \"Fantasy\" video. We assume she got pretty sweaty in the process too, because clearly no one wants to sit next to her armpits on the ride. You have to freshen up after rollerblade-based exertion, Mariah! Or, you know... Just lower your arms or something...\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qq09UkPRdFY\u003c/p>\n\u003cp>Another lady having trouble putting her arms down is Beyoncé in the video for \"XO,\" filmed on location at Brooklyn's magnificent Coney Island. This time around, no one cares (Bey \u003cem>has\u003c/em> a rollercoaster buddy, thanks) -- probably because if anyone ever needed a guide on How to Look Inhumanly Amazing at a Funfair, it's basically this video. Look how Bey rides the Cyclone all laughing and relaxed, like that rickety thing hasn't been there since 1927. (It's \u003cem>90\u003c/em>, for God's sake!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3xUfCUFPL-8\u003c/p>\n\u003cp>And look, filming in Coney Island doesn't instantly make music videos cool. Bon Jovi shot one there for their track \"\u003ca href=\"https://www.youtube.com/watch?v=b_q7HDWgiHE\">Rollercoaster \u003c/a>\" and it was decidedly underwhelming. (Strangely, given the song title, it didn't actually feature anyone on a roller coaster, which feels a lot like cheating.)\u003c/p>\n\u003cp>While Beyoncé manages to stay #flawless during her roller coaster ride, you'll not find a human more composed while upside down than Ms. Katy Perry. Earlier this year, she came up with what can only be described as the Hunger Games of Amusement Parks for her \"Chained to the Rhythm\" video, and promptly mimed along perfectly to her track while riding quite a serious coaster.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=236&v=Um7pMggPnug\u003c/p>\n\u003cp>Major props to Perry for that. To put it in some perspective, consider that 50 Cent's \"\u003ca href=\"https://www.youtube.com/watch?time_continue=91&v=TulMjeExtgk\">Amusement Park\u003c/a>\" video not only doesn't feature Fiddy on any rides at all, but includes two women who are supposed to be on a roller coaster but are, in fact, just sitting in a stationary car, attached to nothing, placed neatly in front of a photo depiction of what a roller coaster track might look like in real life. What a bunch of wusses! You show 'em, Perry!\u003c/p>\n\u003cp>Truly, the ladies run rings around the dudes on riding roller coasters for the sake of their art. For \"Love Rollercoaster,\" the Red Hot Chili Peppers just had the whole thing animated. Sure, that lined up with the fact that the song was on the \u003cem>Beavis and Butthead Do America\u003c/em> soundtrack, but we all know, deep down, getting on a coaster would have messed with Dave Navarro's eyeliner and immovable chin-beard something awful.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N1cbsLKXasQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hopefully, all of the above will have made you feel a little better about your lack of proximity to a roller coaster on this most special of days. If not, try to keep in mind that not every coaster will put a smile on your face. Just ask Billy Corgan from Smashing Pumpkins...\u003c/p>\n\u003cfigure id=\"attachment_95702\" class=\"wp-caption aligncenter\" style=\"max-width: 495px\">\u003cimg class=\"size-full wp-image-95702\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/smashing-pumpkins.png\" alt=\"\" width=\"495\" height=\"499\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins.png 495w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-160x161.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-240x242.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-375x378.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-150x150.png 150w\" sizes=\"(max-width: 495px) 100vw, 495px\">\u003cfigcaption class=\"wp-caption-text\">Instagram.com/esquire\u003c/figcaption>\u003c/figure>\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/3xUfCUFPL-8'\n title='//www.youtube.com/embed/3xUfCUFPL-8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And look, filming in Coney Island doesn't instantly make music videos cool. Bon Jovi shot one there for their track \"\u003ca href=\"https://www.youtube.com/watch?v=b_q7HDWgiHE\">Rollercoaster \u003c/a>\" and it was decidedly underwhelming. (Strangely, given the song title, it didn't actually feature anyone on a roller coaster, which feels a lot like cheating.)\u003c/p>\n\u003cp>While Beyoncé manages to stay #flawless during her roller coaster ride, you'll not find a human more composed while upside down than Ms. Katy Perry. Earlier this year, she came up with what can only be described as the Hunger Games of Amusement Parks for her \"Chained to the Rhythm\" video, and promptly mimed along perfectly to her track while riding quite a serious coaster.\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/Um7pMggPnug'\n title='//www.youtube.com/embed/Um7pMggPnug'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Major props to Perry for that. To put it in some perspective, consider that 50 Cent's \"\u003ca href=\"https://www.youtube.com/watch?time_continue=91&v=TulMjeExtgk\">Amusement Park\u003c/a>\" video not only doesn't feature Fiddy on any rides at all, but includes two women who are supposed to be on a roller coaster but are, in fact, just sitting in a stationary car, attached to nothing, placed neatly in front of a photo depiction of what a roller coaster track might look like in real life. What a bunch of wusses! You show 'em, Perry!\u003c/p>\n\u003cp>Truly, the ladies run rings around the dudes on riding roller coasters for the sake of their art. For \"Love Rollercoaster,\" the Red Hot Chili Peppers just had the whole thing animated. Sure, that lined up with the fact that the song was on the \u003cem>Beavis and Butthead Do America\u003c/em> soundtrack, but we all know, deep down, getting on a coaster would have messed with Dave Navarro's eyeliner and immovable chin-beard something awful.\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/N1cbsLKXasQ'\n title='//www.youtube.com/embed/N1cbsLKXasQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Hopefully, all of the above will have made you feel a little better about your lack of proximity to a roller coaster on this most special of days. If not, try to keep in mind that not every coaster will put a smile on your face. Just ask Billy Corgan from Smashing Pumpkins...\u003c/p>\n\u003cfigure id=\"attachment_95702\" class=\"wp-caption aligncenter\" style=\"max-width: 495px\">\u003cimg class=\"size-full wp-image-95702\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/08/smashing-pumpkins.png\" alt=\"\" width=\"495\" height=\"499\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins.png 495w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-160x161.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-240x242.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-375x378.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-32x32.png 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-50x50.png 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-64x64.png 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-96x96.png 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-128x128.png 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/08/smashing-pumpkins-150x150.png 150w\" sizes=\"(max-width: 495px) 100vw, 495px\">\u003cfigcaption class=\"wp-caption-text\">Instagram.com/esquire\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "The Most Creepily Problematic Sexy Songs of the 1990s",
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"content": "\u003cp>Since the dawn of rock and pop music, there have been songs specifically designed to shock, or at the very least cause some discomfort. Before you listen to a song like \u003ca href=\"https://www.youtube.com/watch?v=3rS6mZUo3fg\">\"Rape Me\"\u003c/a> by Nirvana or The Prodigy's \u003ca href=\"https://www.youtube.com/watch?v=zgcHbNV_DL4\">\"Smack My B***h Up,\"\u003c/a> you know well in advance that you're about to listen to something that might make you uncomfortable.\u003c/p>\n\u003cp>But what about the songs that, on the surface, seem perfectly normal but are, in fact, drenched in creepdom? These jams catch you off guard, engage your gag reflex, and make you wonder how you heard a song so many times before and never realized how gross it was. Here's a selection of some of the worst offenders from the 1990s. Prepare to shudder.\u003c/p>\n\u003cp>\u003cstrong>\"Semi-Charmed Life\" by Third Eye Blind (1997)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=beINamVRGy4\u003c/p>\n\u003cp>Careful now. Watching Stephan Jenkins in this video, rolling up Valencia Street, past \u003ca href=\"http://boogaloossf.com/\">Boogaloo's\u003c/a> and \u003ca href=\"http://www.valenciacyclery.com/\">Valencia Cyclery\u003c/a>, can be quite distracting if you're a San Francisco resident. Even if you're not, the jauntiness of the doo-doo-doo's and the stupidly catchy chorus will have a similar effect, lulling you into a false sense of security about the niceness of this song. And then one day you notice -- bam! -- Stephan Jenkins is singing about being a cocaine-addled sex pest. The drug use in this song isn't even subtle once you finally notice it: \"...a bump for the drop, And then I bumped up, I took the hit I was given, Then I bumped again, And then I bumped again.\" Then there's the creepy talk of \"little red panties,\" pushing a woman \"face down on the mattress,\" and -- this is peak stalker -- \"not listening when you say goodbye.\" Major creepsville.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>\"Age Ain't Nothing But a Number\" by Aaliyah (1994)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rRwhm-B6yNI\u003c/p>\n\u003cp>The first time you hear the smooth grooves of \"Age Ain't Nothing But a Number,\" it's undoubtedly seductive. Because of her vocal prowess, it's easy to forget that Aaliyah was only 15 when this track came out, but think of a 15-year-old in your life singing this track to an older suitor for a second, and it immediately ceases to be a romantic jam. Then when you find out that R. Kelly -- a man whose \u003ca href=\"http://www.spin.com/2013/12/r-kelly-sex-crimes-jim-derogatis/\">predilection for underage girls\u003c/a>, and possibly even\u003ca href=\"https://www.buzzfeed.com/jimderogatis/parents-told-police-r-kelly-is-keeping-women-in-a-cult?utm_term=.oda9j11p9#.bb2yMnnOy\"> cults\u003c/a>, is well-documented -- wrote it, it basically stops being a song and starts sounding like the open planning of a sex crime. The world misses you, Aaliyah, but... no.\u003c/p>\n\u003cp>\u003cstrong>\"...Baby One More Time\" by Britney Spears (1998)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C-u5WLJ9Yk4\u003c/p>\n\u003cp>Ever wonder why the name of this song is so awkward? With the ellipses and everything? It's probably because someone in Jive Records' marketing department noticed that this record cover would become instantly problematic if it had the words \"Hit Me\" on it.\u003cimg class=\"aligncenter wp-image-86206 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/britney.jpg\" alt=\"\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/britney.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/britney-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/britney-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/britney-375x281.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>\"Do Me!\" by Bel Biv Devoe (1990)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZieygZyvw4A\u003c/p>\n\u003cp>Before you think this one is too obvious -- and yes, it is crazy obvious on the general this-song-is-definitely-about-gross-sex front -- the problem here is not all the talk of smacking, flipping, and doing. It's not even all the sex noises peppered throughout (though they do bring a general creep vibe to the thing). No, the reason this dumb song about sex is on this list is because of the sneaky statutory rape hidden in the middle of it: \"Take off your clothes and leave on your shoes, Would you mind if I looked at you for a moment? Before I make sweet love. Backstage, underage, adolescent.\" Not as funny now, is it?\u003c/p>\n\u003cp>\u003cstrong>\"Crash Into Me\" by Dave Matthews Band (1996)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k7in-9E3ImQ\u003c/p>\n\u003cp>Awww, what a beautiful song about love, infatuation, and the art of heterosexual lovemaking! What a quintessentially '90s music video full of technicolor trees and elegant ladies dancing in slow motion! You just know that, all across the world, \"Crash Into Me\" has probably soundtracked an awful lot of white people's sexy times. And all of those couples probably never noticed the part at the very end of this song when Matthews' protagonist changes his tone: \"Hike up your skirt a little bit,\" he demands. \"Oh, I watch you there, through the window, and I stare at you.\" It's a song about a peeping Tom, everyone. Artfully done, Matthews. Artfully done.\u003c/p>\n\u003cp>\u003cstrong>\"Kiss Me\" by Sixpence None the Richer (1998)\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8N-qO3sPMjc\u003c/p>\n\u003cp>The prettiest, most innocent little song about young, rural love? Or a song featuring many thinly-veiled references to cunnilingus?** \u003ca href=\"https://play.google.com/music/preview/Tdmbo5gdxrtt4ye7aj6gbn276fe?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics\">Study the lyrics\u003c/a> and you decide!\u003c/p>\n\u003cp>[**This unsubstantiated theory brought forth to you by someone I went to college with, who believed wholeheartedly that \"Kiss Me\" was not as innocuous as it seemed. You will never hear it the same again.]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Got any secretly creepy '90s songs of your own? Leave them in the comments!\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Since the dawn of rock and pop music, there have been songs specifically designed to shock, or at the very least cause some discomfort. Before you listen to a song like \u003ca href=\"https://www.youtube.com/watch?v=3rS6mZUo3fg\">\"Rape Me\"\u003c/a> by Nirvana or The Prodigy's \u003ca href=\"https://www.youtube.com/watch?v=zgcHbNV_DL4\">\"Smack My B***h Up,\"\u003c/a> you know well in advance that you're about to listen to something that might make you uncomfortable.\u003c/p>\n\u003cp>But what about the songs that, on the surface, seem perfectly normal but are, in fact, drenched in creepdom? These jams catch you off guard, engage your gag reflex, and make you wonder how you heard a song so many times before and never realized how gross it was. Here's a selection of some of the worst offenders from the 1990s. Prepare to shudder.\u003c/p>\n\u003cp>\u003cstrong>\"Semi-Charmed Life\" by Third Eye Blind (1997)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/beINamVRGy4'\n title='//www.youtube.com/embed/beINamVRGy4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Careful now. Watching Stephan Jenkins in this video, rolling up Valencia Street, past \u003ca href=\"http://boogaloossf.com/\">Boogaloo's\u003c/a> and \u003ca href=\"http://www.valenciacyclery.com/\">Valencia Cyclery\u003c/a>, can be quite distracting if you're a San Francisco resident. Even if you're not, the jauntiness of the doo-doo-doo's and the stupidly catchy chorus will have a similar effect, lulling you into a false sense of security about the niceness of this song. And then one day you notice -- bam! -- Stephan Jenkins is singing about being a cocaine-addled sex pest. The drug use in this song isn't even subtle once you finally notice it: \"...a bump for the drop, And then I bumped up, I took the hit I was given, Then I bumped again, And then I bumped again.\" Then there's the creepy talk of \"little red panties,\" pushing a woman \"face down on the mattress,\" and -- this is peak stalker -- \"not listening when you say goodbye.\" Major creepsville.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\"Age Ain't Nothing But a Number\" by Aaliyah (1994)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rRwhm-B6yNI'\n title='//www.youtube.com/embed/rRwhm-B6yNI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first time you hear the smooth grooves of \"Age Ain't Nothing But a Number,\" it's undoubtedly seductive. Because of her vocal prowess, it's easy to forget that Aaliyah was only 15 when this track came out, but think of a 15-year-old in your life singing this track to an older suitor for a second, and it immediately ceases to be a romantic jam. Then when you find out that R. Kelly -- a man whose \u003ca href=\"http://www.spin.com/2013/12/r-kelly-sex-crimes-jim-derogatis/\">predilection for underage girls\u003c/a>, and possibly even\u003ca href=\"https://www.buzzfeed.com/jimderogatis/parents-told-police-r-kelly-is-keeping-women-in-a-cult?utm_term=.oda9j11p9#.bb2yMnnOy\"> cults\u003c/a>, is well-documented -- wrote it, it basically stops being a song and starts sounding like the open planning of a sex crime. The world misses you, Aaliyah, but... no.\u003c/p>\n\u003cp>\u003cstrong>\"...Baby One More Time\" by Britney Spears (1998)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/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>Ever wonder why the name of this song is so awkward? With the ellipses and everything? It's probably because someone in Jive Records' marketing department noticed that this record cover would become instantly problematic if it had the words \"Hit Me\" on it.\u003cimg class=\"aligncenter wp-image-86206 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/britney.jpg\" alt=\"\" width=\"400\" height=\"300\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/britney.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/britney-160x120.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/britney-240x180.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/britney-375x281.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003cstrong>\"Do Me!\" by Bel Biv Devoe (1990)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZieygZyvw4A'\n title='//www.youtube.com/embed/ZieygZyvw4A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before you think this one is too obvious -- and yes, it is crazy obvious on the general this-song-is-definitely-about-gross-sex front -- the problem here is not all the talk of smacking, flipping, and doing. It's not even all the sex noises peppered throughout (though they do bring a general creep vibe to the thing). No, the reason this dumb song about sex is on this list is because of the sneaky statutory rape hidden in the middle of it: \"Take off your clothes and leave on your shoes, Would you mind if I looked at you for a moment? Before I make sweet love. Backstage, underage, adolescent.\" Not as funny now, is it?\u003c/p>\n\u003cp>\u003cstrong>\"Crash Into Me\" by Dave Matthews Band (1996)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/k7in-9E3ImQ'\n title='//www.youtube.com/embed/k7in-9E3ImQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Awww, what a beautiful song about love, infatuation, and the art of heterosexual lovemaking! What a quintessentially '90s music video full of technicolor trees and elegant ladies dancing in slow motion! You just know that, all across the world, \"Crash Into Me\" has probably soundtracked an awful lot of white people's sexy times. And all of those couples probably never noticed the part at the very end of this song when Matthews' protagonist changes his tone: \"Hike up your skirt a little bit,\" he demands. \"Oh, I watch you there, through the window, and I stare at you.\" It's a song about a peeping Tom, everyone. Artfully done, Matthews. Artfully done.\u003c/p>\n\u003cp>\u003cstrong>\"Kiss Me\" by Sixpence None the Richer (1998)\u003c/strong>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8N-qO3sPMjc'\n title='//www.youtube.com/embed/8N-qO3sPMjc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The prettiest, most innocent little song about young, rural love? Or a song featuring many thinly-veiled references to cunnilingus?** \u003ca href=\"https://play.google.com/music/preview/Tdmbo5gdxrtt4ye7aj6gbn276fe?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-lyrics\">Study the lyrics\u003c/a> and you decide!\u003c/p>\n\u003cp>[**This unsubstantiated theory brought forth to you by someone I went to college with, who believed wholeheartedly that \"Kiss Me\" was not as innocuous as it seemed. You will never hear it the same again.]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Got any secretly creepy '90s songs of your own? Leave them in the comments!\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Coldplay Can't Stop Covering the Songs of the Recently Deceased",
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"content": "\u003cp>After almost two decades together, Coldplay might still be one of the most divisive bands on the planet. Depending on who you ask, the quartet is either the \u003ca href=\"https://www.thetoptens.com/rock-bands/coldplay-44316.asp\">\"best band of the 21st century\"\u003c/a> (Jay-Z recently compared frontman Chris Martin to \u003ca href=\"http://www.independent.co.uk/arts-entertainment/music/jay-z-chris-martin-coldplay-william-shakespeare-songwriter-live-band-a7872451.html\">\"a modern-day Shakespeare\"\u003c/a>), or it makes middle of the road \u003ca href=\"https://www.theguardian.com/friday_review/story/0,,347745,00.html\">\"bedwetters' music\"\u003c/a> for boring people (Bono once called Chris Martin a \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-1157358/U2-singer-Bono-apologises-foul-mouthed-insult-Coldplays-Chris-Martin.html\">\"wanker\"\u003c/a> live on BBC Radio).\u003c/p>\n\u003cp>In the past few years though, Chris, Will, Jonny, and Guy have started stretching themselves in a rather morbid direction: cover songs for recently deceased famous people. Last week, the band garnered attention for Chris Martin's solo cover of Linkin Park's \"Crawling,\" following the death of frontman Chester Bennington.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=pFj2jKnFM0g\u003c/p>\n\u003cp>Moving though it was, \"Crawling\" is the latest in an increasingly long line of cover tributes. It started in earnest in 2009, after the death of Michael Jackson. Coldplay spent the rest of the year incorporating a cover of \"Billie Jean\" into live sets.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VchZzMZLaPo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then, two months after David Bowie's death, Chris Martin got together with Jimmy Fallon and performed a deeply uncomfortable rendition of \"Life On Mars?\" The problem? Fallon did a hokey Bowie impersonation all the way through.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0OcHOBenPFc\u003c/p>\n\u003cp>Shortly afterwards, Coldplay started incorporating \"Heroes\" into their set on the regular, despite the fact that David Bowie had rejected an offer to collaborate with the band while he was still alive. \"One time I sent [Bowie] a song to ask him to sing on it,” Chris Martin told the \u003ca href=\"http://www.billboard.com/articles/news/6406310/david-bowie-chris-martin-coldplay-collaborate-diss\">BBC Music Awards\u003c/a> in 2014. “He called me and said, 'It's not one of your best.' He's got very high standards and I appreciate that. It inspires the rest of us to keep our standards high.\"\u003c/p>\n\u003cp>Here's the band ignoring Bowie's shade and paying tribute to him anyway:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=oOzplfOMKJ0\u003c/p>\n\u003cp>You'll notice at the beginning of that clip, Martin references not just Bowie, but Prince too. And literally one night after the above Bowie cover, the band got together with the host of \u003cem>The Late, Late Show\u003c/em> (and lover of his own singing voice) \u003ca href=\"https://twitter.com/JKCorden?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">James Corden\u003c/a> to do a rendition of \"Nothing Compares 2 U.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mak_Cu9Wl6w\u003c/p>\n\u003cp>It could be argued that bringing a comedian onstage to pay tribute to a recently-deceased megastar, who was notoriously protective of how his music was presented, wasn't particularly sensitive. In life, Prince actively \u003ca href=\"https://ww2.kqed.org/pop/2017/07/10/princes-music-videos-are-back-online/\">removed even fan-generated videos\u003c/a> from the internet, so he may not have appreciated being covered by a chat show host at what was surely a still-solemn time for Prince's family, friends, and fans.\u003c/p>\n\u003cp>Earlier this year, at the 2017 BRIT Awards, two months after George Michael's death, Coldplay performed Wham!'s \"A Different Corner.\" It started beautifully enough, but, halfway through, unexpectedly turned into a duet with a video of George Michael also performing the song. Martin was visibly and genuinely emotional about the whole thing, but it undoubtedly bordered on the macabre.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iPoKzxTS80g\u003c/p>\n\u003cp>It's not just deceased musicians Coldplay pay tribute to either. The day of Gene Wilder's death in 2016, the band worked \"Pure Imagination\" into the end of \"The Scientist\" at a concert in Denver.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7yZCRsCfc5I\u003c/p>\n\u003cp>It's fair to say that the members of Coldplay most probably have their hearts in the right place when they perform these tributes to their fellow fallen musicians. Audiences also often need that moment of catharsis to bid their heroes goodbye in the wake of a tragic death. But when there are this many tributes, and some of them are performed with a veneer of insensitivity, it is occasionally difficult not to question the band's motives. It's also now so unusual for Coldplay to skip a tribute, rightly or wrongly it's hard not to wonder why Chris Cornell, for example, didn't get one.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, fans must trust that the band really do just want to honor their heroes; it would probably just mean more if they did it less often and with fewer comedians involved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After almost two decades together, Coldplay might still be one of the most divisive bands on the planet. Depending on who you ask, the quartet is either the \u003ca href=\"https://www.thetoptens.com/rock-bands/coldplay-44316.asp\">\"best band of the 21st century\"\u003c/a> (Jay-Z recently compared frontman Chris Martin to \u003ca href=\"http://www.independent.co.uk/arts-entertainment/music/jay-z-chris-martin-coldplay-william-shakespeare-songwriter-live-band-a7872451.html\">\"a modern-day Shakespeare\"\u003c/a>), or it makes middle of the road \u003ca href=\"https://www.theguardian.com/friday_review/story/0,,347745,00.html\">\"bedwetters' music\"\u003c/a> for boring people (Bono once called Chris Martin a \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-1157358/U2-singer-Bono-apologises-foul-mouthed-insult-Coldplays-Chris-Martin.html\">\"wanker\"\u003c/a> live on BBC Radio).\u003c/p>\n\u003cp>In the past few years though, Chris, Will, Jonny, and Guy have started stretching themselves in a rather morbid direction: cover songs for recently deceased famous people. Last week, the band garnered attention for Chris Martin's solo cover of Linkin Park's \"Crawling,\" following the death of frontman Chester Bennington.\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/pFj2jKnFM0g'\n title='//www.youtube.com/embed/pFj2jKnFM0g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moving though it was, \"Crawling\" is the latest in an increasingly long line of cover tributes. It started in earnest in 2009, after the death of Michael Jackson. Coldplay spent the rest of the year incorporating a cover of \"Billie Jean\" into live sets.\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/VchZzMZLaPo'\n title='//www.youtube.com/embed/VchZzMZLaPo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then, two months after David Bowie's death, Chris Martin got together with Jimmy Fallon and performed a deeply uncomfortable rendition of \"Life On Mars?\" The problem? Fallon did a hokey Bowie impersonation all the way through.\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/0OcHOBenPFc'\n title='//www.youtube.com/embed/0OcHOBenPFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shortly afterwards, Coldplay started incorporating \"Heroes\" into their set on the regular, despite the fact that David Bowie had rejected an offer to collaborate with the band while he was still alive. \"One time I sent [Bowie] a song to ask him to sing on it,” Chris Martin told the \u003ca href=\"http://www.billboard.com/articles/news/6406310/david-bowie-chris-martin-coldplay-collaborate-diss\">BBC Music Awards\u003c/a> in 2014. “He called me and said, 'It's not one of your best.' He's got very high standards and I appreciate that. It inspires the rest of us to keep our standards high.\"\u003c/p>\n\u003cp>Here's the band ignoring Bowie's shade and paying tribute to him anyway:\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/oOzplfOMKJ0'\n title='//www.youtube.com/embed/oOzplfOMKJ0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>You'll notice at the beginning of that clip, Martin references not just Bowie, but Prince too. And literally one night after the above Bowie cover, the band got together with the host of \u003cem>The Late, Late Show\u003c/em> (and lover of his own singing voice) \u003ca href=\"https://twitter.com/JKCorden?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Eauthor\">James Corden\u003c/a> to do a rendition of \"Nothing Compares 2 U.\"\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/mak_Cu9Wl6w'\n title='//www.youtube.com/embed/mak_Cu9Wl6w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It could be argued that bringing a comedian onstage to pay tribute to a recently-deceased megastar, who was notoriously protective of how his music was presented, wasn't particularly sensitive. In life, Prince actively \u003ca href=\"https://ww2.kqed.org/pop/2017/07/10/princes-music-videos-are-back-online/\">removed even fan-generated videos\u003c/a> from the internet, so he may not have appreciated being covered by a chat show host at what was surely a still-solemn time for Prince's family, friends, and fans.\u003c/p>\n\u003cp>Earlier this year, at the 2017 BRIT Awards, two months after George Michael's death, Coldplay performed Wham!'s \"A Different Corner.\" It started beautifully enough, but, halfway through, unexpectedly turned into a duet with a video of George Michael also performing the song. Martin was visibly and genuinely emotional about the whole thing, but it undoubtedly bordered on the macabre.\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/iPoKzxTS80g'\n title='//www.youtube.com/embed/iPoKzxTS80g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's not just deceased musicians Coldplay pay tribute to either. The day of Gene Wilder's death in 2016, the band worked \"Pure Imagination\" into the end of \"The Scientist\" at a concert in Denver.\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/7yZCRsCfc5I'\n title='//www.youtube.com/embed/7yZCRsCfc5I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It's fair to say that the members of Coldplay most probably have their hearts in the right place when they perform these tributes to their fellow fallen musicians. Audiences also often need that moment of catharsis to bid their heroes goodbye in the wake of a tragic death. But when there are this many tributes, and some of them are performed with a veneer of insensitivity, it is occasionally difficult not to question the band's motives. It's also now so unusual for Coldplay to skip a tribute, rightly or wrongly it's hard not to wonder why Chris Cornell, for example, didn't get one.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, fans must trust that the band really do just want to honor their heroes; it would probably just mean more if they did it less often and with fewer comedians involved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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