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srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>[aside postid='arts_13910810']That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YlPxt33aC_4\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>[aside postid='pop_97337']Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"A new film explores the controversial star’s cultural impact — and what it took to make the best-selling album of all time.","status":"publish","parent":0,"modified":1705535577,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":949},"headData":{"title":"‘Thriller 40’ Review: Remembering Michael Jackson’s Early Magic | KQED","description":"A new film explores the controversial star’s cultural impact — and what it took to make the best-selling album of all time.","ogTitle":"‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies","ogDescription":"","ogImgId":"","twTitle":"‘Thriller 40’ Revels in the Magic of Early Michael Jackson — and Sidesteps His Controversies","twDescription":"","twImgId":"","socialTitle":"‘Thriller 40’ Review: Remembering Michael Jackson’s Early Magic%%page%% %%sep%% KQED"},"sticky":false,"templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","articleAge":"0","path":"/arts/13938155/thriller-40-michael-jackson-showtime-documentary-cbs-mary-j-blige","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13938565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13938565\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg\" alt=\"\" width=\"800\" height=\"664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-800x664.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1020x847.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1536x1275.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-2048x1700.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/GettyImages-88696481-1920x1594.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Michael Jackson about to win 12 Grammys for ‘Thriller’ at the 1984 awards. At his side is his date Brooke Shields. At the time, says Mary J. Blige in a new documentary, Jackson was considered ‘super-duper-duper sexy.’ \u003ccite>(Ron Galella/ Ron Galella Collection via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2023, thinking about Michael Jackson in any kind of meaningful way is thoroughly depressing. There are the \u003ca href=\"https://www.kqed.org/pop/108623/why-the-new-michael-jackson-documentary-wont-have-the-impact-surviving-r-kelly-did\">sexual abuse allegations against him\u003c/a>, the strange and isolated life he led, the way he died, the grief of the children he left behind, his extraordinary \u003ca href=\"https://www.newsweek.com/was-michael-jackson-debt-he-died-look-king-pops-finances-1349255#:~:text=The%20musician's%20extreme%20debt%20started,of%20his%20famous%20Neverland%20Ranch.\">amassing of debts\u003c/a> despite a lifetime of success. All of it is sad. So sad, in fact, that sometimes it’s tough to remember the sheer amount of joy that Jackson brought audiences during his early solo career.\u003c/p>\n\u003cp>In a choice that’s sure to anger some viewers and delight others, \u003ca href=\"https://www.sho.com/titles/3524363/thriller-40\">\u003cem>Thriller 40\u003c/em>\u003c/a>, a new documentary from Showtime and Paramount+, willfully sidesteps all of the most discomfiting elements about Jackson. Instead, the film takes us back to that time — roughly 1979 to 1984 — when he was still in the middle of transforming himself into the King of Pop. The biggest challenges Jackson faced back then were escaping the shadow of The Jackson 5, winning as many Grammys as he thought he deserved and dealing with MTV at a time when the channel refused to play videos by Black artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13910810","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>That final hurdle is particularly astonishing when one considers the lasting cultural jolt provided by the videos that eventually emerged from 1982’s \u003cem>Thriller\u003c/em> album — and just how much they boosted MTV’s audience. (If you ask anyone who was alive in the ’80s where they were when they first saw Michael Jackson’s “Thriller” video, they can usually tell you. That degree of impact — usually reserved for national tragedies — had never happened before \u003cem>Thriller,\u003c/em> and it hasn’t happened on that scale since.)\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> explains the infuriating lengths to which Jackson and his team had to go to get his videos played. At one point, Walter Yetnikoff — then group president of CBS Records — threatened to pull all of the label’s artists from the channel if MTV didn’t start playing Jackson. Yetnikoff is heard in the film explaining in voiceover: “I screamed bloody murder when MTV refused to air his videos. They argued that their format, white rock, excluded Michael’s music. I argued that they were racist assholes. I’ve never been more forceful or obnoxious.”\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/YlPxt33aC_4'\n title='//www.youtube.com/embed/YlPxt33aC_4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Between this and other telling anecdotes, \u003cem>Thriller 40 \u003c/em>illustrates what it took for Jackson to be considered a true “crossover artist” — a mainstream pop star rather than an R&B one — at a time when racial divisions in the industry were uncompromising, to put it mildly. His duet with Paul McCartney, “The Girl Is Mine,” wasn’t just the first single released from \u003cem>Thriller\u003c/em> because of McCartney’s musical cache; it was about what the Beatle represented and the demographics of his audience. When Jackson asked Jane Fonda to introduce him at a press conference in 1983, she was chosen for similar reasons.\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is first and foremost, however, a documentary about the \u003cem>Thriller\u003c/em> album. That means a wealth of behind-the-scenes footage, the chance to hear a few original demos (the one for “Billie Jean” is a particular treat) and present-day interviews with the session musicians involved in making it. There are also reflections on how influential the album was from artists including Mary J. Blige, Usher, Maxwell, Mark Ronson and Tony! Toni! Toné!’s Raphael Saddiq.\u003c/p>\n\u003cp>For younger generations, \u003cem>Thriller 40\u003c/em> is a modern history lesson in how pop music once worked: how it was controlled by a small group of gatekeepers, but also had the power to seep into every aspect of the culture. For those who lived through that period, \u003cem>Thriller 40\u003c/em> offers an immersive nostalgia and a reminder of one of the last points in pop culture before it felt like we’d seen everything. For me — a childhood Jackson fan who hasn’t willingly listened to his music since the sexual assault allegations first started — there was something soothing about revisiting this very specific, more innocent moment in time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_97337","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Regardless of how you feel about what Jackson became later in his life, there is no escaping the fact that \u003cem>Thriller\u003c/em> was and remains the best-selling album of all time — a record unlikely to ever be beaten. According to the film, 100 million copies have been sold around the world, and the album is now streamed over 2.6 billion times annually. There’s also no denying what Jackson’s extraordinary talent, tenacity and (borderline maniacal) ambition yielded for other Black artists and the wider culture.\u003c/p>\n\u003cp>Producer Nelson George — who also directed the documentary — sums up \u003cem>Thriller’\u003c/em>s impact perfectly just before the movie comes to an end. “That idea,” George says, “that I can take dance, music and visuals and turn the world on its ear? That idea that [Jackson] crystalized with \u003cem>Thriller\u003c/em> has not gone away. I don’t think it’s ever going to go away.”\u003c/p>\n\u003cp>\u003cem>Thriller 40\u003c/em> is a gentle reminder of where it came from in the first place.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Thriller 40’ begins streaming on Showtime and Paramount+ on Dec. 2, 2023.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13938155/thriller-40-michael-jackson-showtime-documentary-cbs-mary-j-blige","authors":["11242"],"programs":["arts_140"],"categories":["arts_1","arts_74","arts_69","arts_75"],"tags":["arts_10493","arts_13672","arts_10278","arts_4919","arts_925","arts_769","arts_8404","arts_585"],"featImg":"arts_13938611","label":"arts_140"},"arts_13910584":{"type":"posts","id":"arts_13910584","meta":{"index":"posts_1591205157","site":"arts","id":"13910584","score":null,"sort":[1647367716000]},"guestAuthors":[],"slug":"gen-x-cultural-ties-to-russia-were-deliberate-and-hopeful-now-thats-eroding","title":"Gen-X Cultural Ties to Russia Were Deliberate and Hopeful. Now, That's Eroding","publishDate":1647367716,"format":"standard","headTitle":"Gen-X Cultural Ties to Russia Were Deliberate and Hopeful. Now, That’s Eroding | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>As a Gen-X kid, I have to admit there was particular poignancy to the news that, following the Russian invasion of Ukraine,\u003ca href=\"https://www.npr.org/2022/03/03/1084303033/hollywood-refuses-to-open-biggest-films-in-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Russia isn’t getting \u003cem>The Batman\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>It’s part of a much, much bigger and more important story, of course—several much, much bigger, much more important stories. NPR’s Anastasia Tsioulcas has reported on many \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2022/03/03/1084246378/arts-organizations-putin-supporters\" target=\"_blank\" rel=\"noopener noreferrer\">severed relationships in arts\u003c/a> in recent weeks.\u003c/p>\n\u003cp>[aside postid='arts_13909903']Most of these have been attributed not simply to being Russian in and of itself, but to ties to Putin, or to a refusal to repudiate him—and to funding that comes from the Russian government. Some artists have\u003ca href=\"https://www.npr.org/2022/02/28/1083496491/russian-performers-speak-out-putin-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> actively spoken against him\u003c/a> and against the invasion, but many have not. It’s in opera, it’s in classical concerts, but it’s affecting other things, too: Russia is \u003ca href=\"https://www.npr.org/2022/02/25/1083095335/eurovision-russia-banned\" target=\"_blank\" rel=\"noopener noreferrer\">not being permitted to participate in \u003cem>Eurovision\u003c/em>\u003c/a>, where it debuted in 1994. Western musicians have been\u003ca href=\"https://www.npr.org/2022/03/02/1083981946/live-nation-entertainment-is-ceasing-business-with-russia-and-acts-cancel-dates-\" target=\"_blank\" rel=\"noopener noreferrer\"> canceling Russian dates\u003c/a> ever since the war started. As Elizabeth Blair has reported,\u003ca href=\"https://www.npr.org/2022/03/01/1083694731/u-s-russian-cultural-organizations-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> Russian cultural organizations inside the U.S.\u003c/a> are anxious about possible effects on their own work.\u003c/p>\n\u003ch3>Connections to Russia were once optimistic\u003c/h3>\n\u003cp>These boycotts are perhaps even more jarring if you remember past periods in which pop culture tried to paint a picture of deliberate, optimistic, post-Cold-War thaw. In the 1980s, particularly in the wake of the policies of glasnost and perestroika in the former Soviet Union—which encouraged openness and reform—artists went to places they wouldn’t have gone ten or even five years before. It was in 1987, 35 years ago this July, that Billy Joel brought a big pop-rock show to Leningrad and Moscow; 1989 when Billy Crystal traveled to find his Russian relatives in an HBO special called \u003cem>Midnight Train to Moscow\u003c/em>. That year also brought the Moscow Music Peace Festival, with Ozzy Osbourne, Motley Crue, and Bon Jovi among the performers.\u003c/p>\n\u003cfigure id=\"attachment_13910586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap8908120226_custom-6b2dd48ee765ba6851550e657cdf4d6ea52753b6-800x563.jpg\" alt=\"An enthusiastic crowd sings along at a stadium concert, including one young woman on someone's shoulders, arms raised in joy.\" width=\"800\" height=\"563\">\u003cfigcaption class=\"wp-caption-text\">Bon Jovi, Motley Crue, and Ozzy Osbourne played at the Moscow Music Peace Festival in August, 1989. \u003ccite>(AP Photo/Robert Toning)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, all these things were presented through a lens of, for lack of a better word, a goal of international—and intentional—\u003cem>friendship\u003c/em>. Joel’s bond with an enthusiastic fan and circus clown named Viktor became one of the centerpieces of the\u003ca href=\"https://www.imdb.com/title/tt0392424/\" target=\"_blank\" rel=\"noopener noreferrer\"> documentary\u003c/a> about his trip and the basis for a later song called “Leningrad.” (“We never knew what friends we had until we came to Leningrad.”)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After Putin became president in 2000, some of these events continued. Paul McCartney played in Red Square in 2003 and met with Putin personally. Putin\u003ca href=\"https://www.theguardian.com/music/2003/dec/14/popandrock.paulmccartney\" target=\"_blank\" rel=\"noopener noreferrer\"> came to the show\u003c/a>. Even the popularity of the FX drama series \u003cem>The Americans\u003c/em>, which portrayed the Cold War through the eyes of KGB spies who felt just as righteous in their cause as Americans did in theirs, arguably continued this tradition of pop culture as pushing back against simplistic and antagonistic narratives of decades past.\u003c/p>\n\u003cp>And now all this.\u003c/p>\n\u003ch3>Even Levi’s has halted sales in Russia\u003c/h3>\n\u003cp>This severance of sometimes longstanding relationships isn’t only happening in the arts. It’s happening just as rapidly in sports, both in the real world and virtually. Russian athletes were barred from the Paralympic Games by the International Olympic Committee. FIFA has banned Russian teams from participating in its soccer matches. Russian teams have even been removed from the popular FIFA 22 video game, and may be removed from other games, too. President Vladimir Putin is seeing symbolic ties to sports withdrawn:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#international-judo-federation-strips-putin-of-his-honorary-titles\" target=\"_blank\" rel=\"noopener noreferrer\"> The International Judo Federation\u003c/a> stripped Putin of honorary titles in that sport, and World Taekwondo withdrew an honorary black belt.\u003c/p>\n\u003cp>[aside postid='arts_13909675']Businesses that one might paint into a mural representing American consumerism have been suspending business in Russia: McDonald’s, Coke, Pepsi, Starbucks, Disney. Wall Street saw its first big withdrawal when\u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-03-10#goldman-sachs-is-the-1st-major-wall-street-bank-to-pull-out-of-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Goldman Sachs\u003c/a> stopped operating there, and while that’s an economic move, it feels culturally significant, too. Hollywood studios, major music companies, all ceasing business in Russia—there are even ramifications for sales of one of the items that has often been referenced as a go-to symbol of American cultural presence in other countries:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#levis-halts-sales-in-russia-evoking-cold-war-scrambles-for-blue-jeans\" target=\"_blank\" rel=\"noopener noreferrer\"> blue jeans\u003c/a>.\u003c/p>\n\u003ch3>The impact of cultural boycotts\u003c/h3>\n\u003cp>Does all this matter? It probably depends on what you mean by “matter.” \u003ca href=\"https://www.theatlantic.com/international/archive/2022/03/ukraine-russia-culture-boycott-putin/623873/\" target=\"_blank\" rel=\"noopener noreferrer\">As Yasmeen Serhan wrote in \u003cem>The Atlantic\u003c/em> earlier this month:\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>“It’s easy to see cultural boycotts as more of a symbolic act than a serious threat to Moscow’s geopolitical standing. But by suspending Russia from the world’s largest sporting and cultural arenas, these institutions are sending a clear—and, for Putin, potentially damaging—message: If Russia acts beyond the bounds of the rules-based international order in Ukraine, it will be treated as an outsider by the rest of the world.”\u003c/p>\u003c/blockquote>\n\u003cp>The idea of culture and sports as stand-ins for the current political climate is obviously not new. I was an enthusiastic Olympics-watching kid during the boycott by the United States of the Moscow Summer Olympics in 1980 and the Soviet Union’s boycott of the Los Angeles Summer Olympics in 1984, both of which\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93334099\" target=\"_blank\" rel=\"noopener noreferrer\"> cost athletes dearly\u003c/a>, and both of which carried a heaviness, a sense of a hostile closed door that was consistent with the political rhetoric of the time. And in the last couple of years, the controversies around Russian athletes in the Olympics and the workaround under which sanctions for doping meant they couldn’t compete for Russia but only for the “Russian Olympic Committee” brought out some of the grumbling that has soured international competition in the past.\u003c/p>\n\u003cp>And it goes back much farther than that: In the documentary about his trip to Russia, Billy Joel says he was inspired to go partly because he remembered how important it felt to him when he was young and American pianist\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=87807262\" target=\"_blank\" rel=\"noopener noreferrer\"> Van Cliburn won\u003c/a> the International Tchaikovsky Competition in Moscow in 1958. Joel says in the film that the event, and Russia’s embrace of Cliburn, changed his own sense of the country and its people, whom he felt he’d been taught to fear.\u003c/p>\n\u003cfigure id=\"attachment_13910588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap290362078513_custom-4d83bf923b7ffd8c62022f550410d56d0a804b43-800x637.jpg\" alt=\"A young man, wearing a tuxedo, sits at a grand Steinway piano.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Pianist Van Cliburn performing in the final round of Tchaikovsky International Competition in Moscow in 1958. Cliburn’s triumph helped thaw the Cold War. \u003ccite>(AP Photo, file)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These crossovers of diplomacy and art can be fortuitous or commercial, but they can also be fully orchestrated by governments, and they can be complicated for the artists involved: the U.S. State Department\u003ca href=\"https://www.npr.org/2018/05/05/608802931/-the-jazz-ambassadors-cold-war-diplomacy-and-civil-rights-in-conflict\" target=\"_blank\" rel=\"noopener noreferrer\"> sent jazz musicians, including Dizzy Gillespie and Louis Armstrong\u003c/a>, around the world in the 1950s to present a positive image of the United States, even as the country utterly failed to treat them equally.\u003c/p>\n\u003cp>The world has always done this—used culture and sports to communicate over and past and through and around politics and aggression—and the question of how important that is, and how productive it is, recurs.\u003c/p>\n\u003cp>The efficacy of cultural sanctions certainly remains an open question; Serhan argues that because of the particular shape of his chosen image, Putin will be far more personally bothered and functionally threatened by sports sanctions than by ones in the arts. But she says this, too: “If ordinary Russians can no longer enjoy many of the activities they love, including things as quotidian as watching their soccer teams play in international matches, seeing the latest films, and enjoying live concerts, their tolerance for their government’s isolationist policies will diminish.”\u003c/p>\n\u003ch3>By now, Russians have gotten used to global connections\u003c/h3>\n\u003cp>If that’s so, it may turn out that openness—not just concerts in the 1980s, but the growing presence of Hollywood films and the vibrancy of international competition in sports—is not just a cyclical opposite of this period of retraction we’ve so rapidly entered, but a logical predecessor to it. The idea of depriving ordinary Russians, as Serhan says, of sports and Hollywood films and live concerts by international performers would not be a potent threat had they not come to expect access to those things in the first place.\u003c/p>\n\u003cp>[aside postid='arts_13910742']In other words, if bands weren’t going to Russia, if world sports leagues weren’t thriving, if Hollywood movies weren’t earning big money from big audiences in Russia, these arts and sports sanctions would be empty. If you’re not part of\u003cem> Eurovision\u003c/em>, you can’t be excluded from \u003cem>Eurovision\u003c/em>. If people don’t have expectations of a relatively open cultural and sports world, they can’t be disappointed.\u003c/p>\n\u003cp>But this is not the way this openness was pitched in the pop culture of the 1980s and 1990s, as something that might be withdrawn later as a result of an invasion; it was pitched as hope, as comity, and as perhaps a permanent realignment. And as a wildly naive teenager, I did find the idea that anyone could rock out at a concert transformative, capable of papering over what remained deep and troubling problems in world affairs that existed in both my own country and others. Even in 1987, Joel was asked whether he was afraid that his visit would be used as cover for human rights issues. His response, so familiar to people who have watched artists navigate these issues, was that he was not a politician.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=br1Ddw0tNAM\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>There will likely be—there will hopefully be—at some time in the future, brought about by different conditions and an end to the war, another newsworthy return to Moscow for an American pop artist. There will be another reopening, another thaw in this cycle. The Gen-X kid in me, the one who remembers being sold hope in that way, anticipates this and will lean toward music and sports for signs of peace, even knowing it’s foolish. It isn’t that arts or sports are the important ties; it is that they are buoys that bob on the surface of world affairs, and when they move, in response to much greater forces underneath them, we notice.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Once%2C+cultural+ties+to+Russia+were+deliberate+and+hopeful.+Now%2C+they%27re+eroding&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Russia's growing isolation in the cultural world is poignant for those who remember optimistic outreach of the '80s and '90s.","status":"publish","parent":0,"modified":1705007091,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":22,"wordCount":1738},"headData":{"title":"Gen-X Cultural Ties to Russia Were Deliberate and Hopeful. Now, That's Eroding | KQED","description":"Russia's growing isolation in the cultural world is poignant for those who remember optimistic outreach of the '80s and '90s.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"ABC Photo Archives","nprByline":"Linda Holmes","nprImageAgency":"Disney General Entertainment Content/Getty Images","nprStoryId":"1085398208","nprApiLink":"http://api.npr.org/query?id=1085398208&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2022/03/13/1085398208/russia-ukraine-war-invasion-cultural-connections-hollywood-fifa-billy-joel?ft=nprml&f=1085398208","nprRetrievedStory":"1","nprPubDate":"Mon, 14 Mar 2022 09:44:00 -0400","nprStoryDate":"Sun, 13 Mar 2022 06:00:52 -0400","nprLastModifiedDate":"Mon, 14 Mar 2022 09:44:23 -0400","templateType":"standard","featuredImageType":"standard","excludeFromSiteSearch":"Include","showOnAuthorArchivePages":"No","path":"/arts/13910584/gen-x-cultural-ties-to-russia-were-deliberate-and-hopeful-now-thats-eroding","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a Gen-X kid, I have to admit there was particular poignancy to the news that, following the Russian invasion of Ukraine,\u003ca href=\"https://www.npr.org/2022/03/03/1084303033/hollywood-refuses-to-open-biggest-films-in-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Russia isn’t getting \u003cem>The Batman\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>It’s part of a much, much bigger and more important story, of course—several much, much bigger, much more important stories. NPR’s Anastasia Tsioulcas has reported on many \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2022/03/03/1084246378/arts-organizations-putin-supporters\" target=\"_blank\" rel=\"noopener noreferrer\">severed relationships in arts\u003c/a> in recent weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13909903","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Most of these have been attributed not simply to being Russian in and of itself, but to ties to Putin, or to a refusal to repudiate him—and to funding that comes from the Russian government. Some artists have\u003ca href=\"https://www.npr.org/2022/02/28/1083496491/russian-performers-speak-out-putin-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> actively spoken against him\u003c/a> and against the invasion, but many have not. It’s in opera, it’s in classical concerts, but it’s affecting other things, too: Russia is \u003ca href=\"https://www.npr.org/2022/02/25/1083095335/eurovision-russia-banned\" target=\"_blank\" rel=\"noopener noreferrer\">not being permitted to participate in \u003cem>Eurovision\u003c/em>\u003c/a>, where it debuted in 1994. Western musicians have been\u003ca href=\"https://www.npr.org/2022/03/02/1083981946/live-nation-entertainment-is-ceasing-business-with-russia-and-acts-cancel-dates-\" target=\"_blank\" rel=\"noopener noreferrer\"> canceling Russian dates\u003c/a> ever since the war started. As Elizabeth Blair has reported,\u003ca href=\"https://www.npr.org/2022/03/01/1083694731/u-s-russian-cultural-organizations-ukraine\" target=\"_blank\" rel=\"noopener noreferrer\"> Russian cultural organizations inside the U.S.\u003c/a> are anxious about possible effects on their own work.\u003c/p>\n\u003ch3>Connections to Russia were once optimistic\u003c/h3>\n\u003cp>These boycotts are perhaps even more jarring if you remember past periods in which pop culture tried to paint a picture of deliberate, optimistic, post-Cold-War thaw. In the 1980s, particularly in the wake of the policies of glasnost and perestroika in the former Soviet Union—which encouraged openness and reform—artists went to places they wouldn’t have gone ten or even five years before. It was in 1987, 35 years ago this July, that Billy Joel brought a big pop-rock show to Leningrad and Moscow; 1989 when Billy Crystal traveled to find his Russian relatives in an HBO special called \u003cem>Midnight Train to Moscow\u003c/em>. That year also brought the Moscow Music Peace Festival, with Ozzy Osbourne, Motley Crue, and Bon Jovi among the performers.\u003c/p>\n\u003cfigure id=\"attachment_13910586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910586\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap8908120226_custom-6b2dd48ee765ba6851550e657cdf4d6ea52753b6-800x563.jpg\" alt=\"An enthusiastic crowd sings along at a stadium concert, including one young woman on someone's shoulders, arms raised in joy.\" width=\"800\" height=\"563\">\u003cfigcaption class=\"wp-caption-text\">Bon Jovi, Motley Crue, and Ozzy Osbourne played at the Moscow Music Peace Festival in August, 1989. \u003ccite>(AP Photo/Robert Toning)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the time, all these things were presented through a lens of, for lack of a better word, a goal of international—and intentional—\u003cem>friendship\u003c/em>. Joel’s bond with an enthusiastic fan and circus clown named Viktor became one of the centerpieces of the\u003ca href=\"https://www.imdb.com/title/tt0392424/\" target=\"_blank\" rel=\"noopener noreferrer\"> documentary\u003c/a> about his trip and the basis for a later song called “Leningrad.” (“We never knew what friends we had until we came to Leningrad.”)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Putin became president in 2000, some of these events continued. Paul McCartney played in Red Square in 2003 and met with Putin personally. Putin\u003ca href=\"https://www.theguardian.com/music/2003/dec/14/popandrock.paulmccartney\" target=\"_blank\" rel=\"noopener noreferrer\"> came to the show\u003c/a>. Even the popularity of the FX drama series \u003cem>The Americans\u003c/em>, which portrayed the Cold War through the eyes of KGB spies who felt just as righteous in their cause as Americans did in theirs, arguably continued this tradition of pop culture as pushing back against simplistic and antagonistic narratives of decades past.\u003c/p>\n\u003cp>And now all this.\u003c/p>\n\u003ch3>Even Levi’s has halted sales in Russia\u003c/h3>\n\u003cp>This severance of sometimes longstanding relationships isn’t only happening in the arts. It’s happening just as rapidly in sports, both in the real world and virtually. Russian athletes were barred from the Paralympic Games by the International Olympic Committee. FIFA has banned Russian teams from participating in its soccer matches. Russian teams have even been removed from the popular FIFA 22 video game, and may be removed from other games, too. President Vladimir Putin is seeing symbolic ties to sports withdrawn:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#international-judo-federation-strips-putin-of-his-honorary-titles\" target=\"_blank\" rel=\"noopener noreferrer\"> The International Judo Federation\u003c/a> stripped Putin of honorary titles in that sport, and World Taekwondo withdrew an honorary black belt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13909675","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>Businesses that one might paint into a mural representing American consumerism have been suspending business in Russia: McDonald’s, Coke, Pepsi, Starbucks, Disney. Wall Street saw its first big withdrawal when\u003ca href=\"https://www.npr.org/live-updates/morning-edition-2022-03-10#goldman-sachs-is-the-1st-major-wall-street-bank-to-pull-out-of-russia\" target=\"_blank\" rel=\"noopener noreferrer\"> Goldman Sachs\u003c/a> stopped operating there, and while that’s an economic move, it feels culturally significant, too. Hollywood studios, major music companies, all ceasing business in Russia—there are even ramifications for sales of one of the items that has often been referenced as a go-to symbol of American cultural presence in other countries:\u003ca href=\"https://www.npr.org/live-updates/2022/03/07/ukraine-russia-nuclear-plants-humanitarian#levis-halts-sales-in-russia-evoking-cold-war-scrambles-for-blue-jeans\" target=\"_blank\" rel=\"noopener noreferrer\"> blue jeans\u003c/a>.\u003c/p>\n\u003ch3>The impact of cultural boycotts\u003c/h3>\n\u003cp>Does all this matter? It probably depends on what you mean by “matter.” \u003ca href=\"https://www.theatlantic.com/international/archive/2022/03/ukraine-russia-culture-boycott-putin/623873/\" target=\"_blank\" rel=\"noopener noreferrer\">As Yasmeen Serhan wrote in \u003cem>The Atlantic\u003c/em> earlier this month:\u003c/a>\u003c/p>\n\u003cblockquote>\u003cp>“It’s easy to see cultural boycotts as more of a symbolic act than a serious threat to Moscow’s geopolitical standing. But by suspending Russia from the world’s largest sporting and cultural arenas, these institutions are sending a clear—and, for Putin, potentially damaging—message: If Russia acts beyond the bounds of the rules-based international order in Ukraine, it will be treated as an outsider by the rest of the world.”\u003c/p>\u003c/blockquote>\n\u003cp>The idea of culture and sports as stand-ins for the current political climate is obviously not new. I was an enthusiastic Olympics-watching kid during the boycott by the United States of the Moscow Summer Olympics in 1980 and the Soviet Union’s boycott of the Los Angeles Summer Olympics in 1984, both of which\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=93334099\" target=\"_blank\" rel=\"noopener noreferrer\"> cost athletes dearly\u003c/a>, and both of which carried a heaviness, a sense of a hostile closed door that was consistent with the political rhetoric of the time. And in the last couple of years, the controversies around Russian athletes in the Olympics and the workaround under which sanctions for doping meant they couldn’t compete for Russia but only for the “Russian Olympic Committee” brought out some of the grumbling that has soured international competition in the past.\u003c/p>\n\u003cp>And it goes back much farther than that: In the documentary about his trip to Russia, Billy Joel says he was inspired to go partly because he remembered how important it felt to him when he was young and American pianist\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=87807262\" target=\"_blank\" rel=\"noopener noreferrer\"> Van Cliburn won\u003c/a> the International Tchaikovsky Competition in Moscow in 1958. Joel says in the film that the event, and Russia’s embrace of Cliburn, changed his own sense of the country and its people, whom he felt he’d been taught to fear.\u003c/p>\n\u003cfigure id=\"attachment_13910588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910588\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ap290362078513_custom-4d83bf923b7ffd8c62022f550410d56d0a804b43-800x637.jpg\" alt=\"A young man, wearing a tuxedo, sits at a grand Steinway piano.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Pianist Van Cliburn performing in the final round of Tchaikovsky International Competition in Moscow in 1958. Cliburn’s triumph helped thaw the Cold War. \u003ccite>(AP Photo, file)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>These crossovers of diplomacy and art can be fortuitous or commercial, but they can also be fully orchestrated by governments, and they can be complicated for the artists involved: the U.S. State Department\u003ca href=\"https://www.npr.org/2018/05/05/608802931/-the-jazz-ambassadors-cold-war-diplomacy-and-civil-rights-in-conflict\" target=\"_blank\" rel=\"noopener noreferrer\"> sent jazz musicians, including Dizzy Gillespie and Louis Armstrong\u003c/a>, around the world in the 1950s to present a positive image of the United States, even as the country utterly failed to treat them equally.\u003c/p>\n\u003cp>The world has always done this—used culture and sports to communicate over and past and through and around politics and aggression—and the question of how important that is, and how productive it is, recurs.\u003c/p>\n\u003cp>The efficacy of cultural sanctions certainly remains an open question; Serhan argues that because of the particular shape of his chosen image, Putin will be far more personally bothered and functionally threatened by sports sanctions than by ones in the arts. But she says this, too: “If ordinary Russians can no longer enjoy many of the activities they love, including things as quotidian as watching their soccer teams play in international matches, seeing the latest films, and enjoying live concerts, their tolerance for their government’s isolationist policies will diminish.”\u003c/p>\n\u003ch3>By now, Russians have gotten used to global connections\u003c/h3>\n\u003cp>If that’s so, it may turn out that openness—not just concerts in the 1980s, but the growing presence of Hollywood films and the vibrancy of international competition in sports—is not just a cyclical opposite of this period of retraction we’ve so rapidly entered, but a logical predecessor to it. The idea of depriving ordinary Russians, as Serhan says, of sports and Hollywood films and live concerts by international performers would not be a potent threat had they not come to expect access to those things in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13910742","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>In other words, if bands weren’t going to Russia, if world sports leagues weren’t thriving, if Hollywood movies weren’t earning big money from big audiences in Russia, these arts and sports sanctions would be empty. If you’re not part of\u003cem> Eurovision\u003c/em>, you can’t be excluded from \u003cem>Eurovision\u003c/em>. If people don’t have expectations of a relatively open cultural and sports world, they can’t be disappointed.\u003c/p>\n\u003cp>But this is not the way this openness was pitched in the pop culture of the 1980s and 1990s, as something that might be withdrawn later as a result of an invasion; it was pitched as hope, as comity, and as perhaps a permanent realignment. And as a wildly naive teenager, I did find the idea that anyone could rock out at a concert transformative, capable of papering over what remained deep and troubling problems in world affairs that existed in both my own country and others. Even in 1987, Joel was asked whether he was afraid that his visit would be used as cover for human rights issues. His response, so familiar to people who have watched artists navigate these issues, was that he was not a politician.\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/br1Ddw0tNAM'\n title='//www.youtube.com/embed/br1Ddw0tNAM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There will likely be—there will hopefully be—at some time in the future, brought about by different conditions and an end to the war, another newsworthy return to Moscow for an American pop artist. There will be another reopening, another thaw in this cycle. The Gen-X kid in me, the one who remembers being sold hope in that way, anticipates this and will lean toward music and sports for signs of peace, even knowing it’s foolish. It isn’t that arts or sports are the important ties; it is that they are buoys that bob on the surface of world affairs, and when they move, in response to much greater forces underneath them, we notice.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Once%2C+cultural+ties+to+Russia+were+deliberate+and+hopeful.+Now%2C+they%27re+eroding&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13910584/gen-x-cultural-ties-to-russia-were-deliberate-and-hopeful-now-thats-eroding","authors":["byline_arts_13910584"],"categories":["arts_1","arts_75"],"tags":["arts_2640","arts_3920","arts_925","arts_4090","arts_16761"],"affiliates":["arts_137"],"featImg":"arts_13910587","label":"arts_137"},"arts_13880931":{"type":"posts","id":"arts_13880931","meta":{"index":"posts_1591205157","site":"arts","id":"13880931","score":null,"sort":[1590173260000]},"guestAuthors":[],"slug":"lady-gaga-and-ariana-grande-get-exuberantly-dystopic-with-rain-on-me","title":"Lady Gaga and Ariana Grande Get Exuberantly Dystopic With \"Rain On Me\"","publishDate":1590173260,"format":"standard","headTitle":"Lady Gaga and Ariana Grande Get Exuberantly Dystopic With “Rain On Me” | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Lady Gaga released “Rain On Me,” the second single ahead of her upcoming album \u003cem>Chromatica\u003c/em> midnight Friday morning, followed by a music video Friday afternoon.\u003c/p>\n\u003cp>Featuring guest vocals from Ariana Grande, “Rain On Me” is Gaga at her electronic-dance-pop \u003cem>most\u003c/em>, with those signature booming vocals and even some dramatic spoken lyrics just before the drop, another Germanotta staple. Few can belt the way that Gaga can and Grande is one of them, giving this the kind of grand-event feel that makes this kind of pop superstar team-up hum.\u003c/p>\n\u003cp>Fitting in with the sort-of-cyberpunk aesthetic around \u003cem>Chromatica \u003c/em>as a whole, the video features Gaga and Grande clad in sci-fi-inspired plastic-and-leather-wear, dancing amidst a rainstorm in a morose, futuristic city. At one point, Gaga becomes a giant, \u003cem>Blade Runner\u003c/em>-style projection and—underscoring the song’s message of making the best of a bad situation—by the end turns the dystopia into a dance floor.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=AoAm4om0wTs&feature=emb_logo\u003c/p>\n\u003cp>(All of that said, only time will tell if it can topple Natasha Bedingfield’s “Unwritten” as the world’s foremost rain-based pop anthem.)\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Lady Gaga’s new album, \u003c/em>Chromatica\u003cem>, will be released May 29 on Interscope Records. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Their+First+Collaboration%2C+Lady+Gaga+And+Ariana+Grande+Get+Exuberantly+Dystopic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Lady Gaga shared her second single ahead of 'Chromatica', including a first-time feature from Ariana Grande. ","status":"publish","parent":0,"modified":1705020682,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":235},"headData":{"title":"Lady Gaga and Ariana Grande Get Exuberantly Dystopic With \"Rain On Me\" | KQED","description":"Lady Gaga shared her second single ahead of 'Chromatica', including a first-time feature from Ariana Grande. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprByline":"Jon Lewis","nprImageAgency":"Screenshot by NPR","nprStoryId":"860941566","nprApiLink":"http://api.npr.org/query?id=860941566&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/05/22/860941566/in-their-first-collaboration-lady-gaga-and-ariana-grande-get-exuberantly-dystopi?ft=nprml&f=860941566","nprRetrievedStory":"1","nprPubDate":"Fri, 22 May 2020 13:42:00 -0400","nprStoryDate":"Fri, 22 May 2020 13:29:31 -0400","nprLastModifiedDate":"Fri, 22 May 2020 13:42:20 -0400","templateType":"standard","featuredImageType":"standard","path":"/arts/13880931/lady-gaga-and-ariana-grande-get-exuberantly-dystopic-with-rain-on-me","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Lady Gaga released “Rain On Me,” the second single ahead of her upcoming album \u003cem>Chromatica\u003c/em> midnight Friday morning, followed by a music video Friday afternoon.\u003c/p>\n\u003cp>Featuring guest vocals from Ariana Grande, “Rain On Me” is Gaga at her electronic-dance-pop \u003cem>most\u003c/em>, with those signature booming vocals and even some dramatic spoken lyrics just before the drop, another Germanotta staple. Few can belt the way that Gaga can and Grande is one of them, giving this the kind of grand-event feel that makes this kind of pop superstar team-up hum.\u003c/p>\n\u003cp>Fitting in with the sort-of-cyberpunk aesthetic around \u003cem>Chromatica \u003c/em>as a whole, the video features Gaga and Grande clad in sci-fi-inspired plastic-and-leather-wear, dancing amidst a rainstorm in a morose, futuristic city. At one point, Gaga becomes a giant, \u003cem>Blade Runner\u003c/em>-style projection and—underscoring the song’s message of making the best of a bad situation—by the end turns the dystopia into a dance floor.\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/AoAm4om0wTs'\n title='//www.youtube.com/embed/AoAm4om0wTs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>(All of that said, only time will tell if it can topple Natasha Bedingfield’s “Unwritten” as the world’s foremost rain-based pop anthem.)\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Lady Gaga’s new album, \u003c/em>Chromatica\u003cem>, will be released May 29 on Interscope Records. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Their+First+Collaboration%2C+Lady+Gaga+And+Ariana+Grande+Get+Exuberantly+Dystopic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13880931/lady-gaga-and-ariana-grande-get-exuberantly-dystopic-with-rain-on-me","authors":["byline_arts_13880931"],"categories":["arts_1","arts_69"],"tags":["arts_2797","arts_925","arts_6012"],"affiliates":["arts_137"],"featImg":"arts_13880932","label":"arts_137"},"arts_13879858":{"type":"posts","id":"arts_13879858","meta":{"index":"posts_1591205157","site":"arts","id":"13879858","score":null,"sort":[1588793649000]},"guestAuthors":[],"slug":"co-founder-of-kraftwerk-florian-schneider-has-died","title":"Co-Founder of Kraftwerk, Florian Schneider, Has Died","publishDate":1588793649,"format":"standard","headTitle":"Co-Founder of Kraftwerk, Florian Schneider, Has Died | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Florian Schneider, one of the founders of the pioneering and highly influential German electronic music group Kraftwerk, has died. He was 73 years old.\u003c/p>\n\u003cp>His death was confirmed by his former bandmate, Ralf Hütter, in a statement issued Wednesday. Hütter said that Schneider died “from a short cancer disease just a few days after his seventy-third birthday.” No other details were provided.\u003c/p>\n\u003cp>Schneider was the son of the well-known German modernist architect \u003ca href=\"https://www.deutsche-biographie.de/sfz114511.html\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schneider-Esleben\u003c/a>. He began playing with Hütter, Kraftwerk’s other founder, in 1968 when both were students at the Robert Schumann Conservatory. Originally, they teamed up as the group Organisation; under that name, they released an album, \u003ca href=\"https://www.youtube.com/watch?v=s-wNx-6mMkU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tone Float\u003c/em>\u003c/a>, in 1969.\u003c/p>\n\u003cp>The following year, they reshaped their musical vision into Kraftwerk (“power station” in German), and opened a studio, Kling Klang, in their home city of Dusseldorf. That was also when the band released its first, eponymously titled album.\u003c/p>\n\u003cp>Schneider sang and played a variety of instruments, including synthesizer, electric flute, electric guitar and violin. Hütter sang and played keyboards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kraftwerk—which Hütter described in Wednesday’s statement as a “multi-media project” rather than a band—offered a new, industrialized, robotic sound. In an \u003ca href=\"https://daily.redbullmusicacademy.com/2012/08/kraftwerk-interview\" target=\"_blank\" rel=\"noopener noreferrer\">2010 interview\u003c/a> with Red Bull Music Academy, Hütter said Kraftwerk was very much linked to the political and artistic atmosphere not just of post-war Germany, but also specifically the upheavals of \u003ca href=\"https://www.npr.org/series/576782307/1968-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">1968\u003c/a>.\u003c/p>\n\u003cp>“We had no father figures, no continuous tradition of entertainment,” Hütter said. “Through the 50s and 60s everything was Americanized, directed towards consumer behavior. So, we were part of this ’68 movement, where suddenly there were possibilities, and we performed at happenings and art situations.”\u003c/p>\n\u003cp>Of their recordings, only one album, 1974’s \u003cem>Autobahn\u003c/em>, became a certified hit in the U.S.; its title tune cracked the Top 40. But through their performances and ten studio albums, the band influenced a dizzying array—and generations—of musicians who followed. Kraftwerk’s music had a significant impact on new wave, rock, pop, industrial, hip-hop, and of course electronic dance music.\u003c/p>\n\u003cp>On his \u003cem>Heroes\u003c/em> album, David Bowie paid homage to Kraftwerk’s co-founder on his song “V-2 Schneider,” and Kraftwerk has been sampled in hundreds of other artists’ songs, including music by Afrika Bambaataa, New Order, Madonna, Jay-Z and Coldplay.\u003c/p>\n\u003cp>Schneider left the group at the end of 2008. In 2014, he, along with the band’s other members, were given a Grammy \u003ca href=\"https://www.grammy.com/grammys/news/lifetime-achievement-award-kraftwerk\" target=\"_blank\" rel=\"noopener noreferrer\">Lifetime Achievement\u003c/a> Award. In its citation, the Recording Academy said: “Along came this music that sounded as mechanized as a Ford assembly plant … and music would never be the same.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OQIYEPe6DWY\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Co-Founder+of+Kraftwerk%2C+Florian+Schneider%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"The multi-instrumentalist and vocalist who co-founded the enormously influential German band Kraftwerk, died just a few days after his 73rd birthday.","status":"publish","parent":0,"modified":1705020797,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":496},"headData":{"title":"Co-Founder of Kraftwerk, Florian Schneider, Has Died | KQED","description":"The multi-instrumentalist and vocalist who co-founded the enormously influential German band Kraftwerk, died just a few days after his 73rd birthday.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Hülzer/ullstein bild","nprByline":"Anastasia Tsioulcas","nprImageAgency":"Getty Images","nprStoryId":"851343980","nprApiLink":"http://api.npr.org/query?id=851343980&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2020/05/06/851343980/co-founder-of-kraftwerk-florian-schneider-has-died?ft=nprml&f=851343980","nprRetrievedStory":"1","nprPubDate":"Wed, 06 May 2020 14:17:00 -0400","nprStoryDate":"Wed, 06 May 2020 14:17:57 -0400","nprLastModifiedDate":"Wed, 06 May 2020 14:18:19 -0400","templateType":"standard","featuredImageType":"standard","path":"/arts/13879858/co-founder-of-kraftwerk-florian-schneider-has-died","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Florian Schneider, one of the founders of the pioneering and highly influential German electronic music group Kraftwerk, has died. He was 73 years old.\u003c/p>\n\u003cp>His death was confirmed by his former bandmate, Ralf Hütter, in a statement issued Wednesday. Hütter said that Schneider died “from a short cancer disease just a few days after his seventy-third birthday.” No other details were provided.\u003c/p>\n\u003cp>Schneider was the son of the well-known German modernist architect \u003ca href=\"https://www.deutsche-biographie.de/sfz114511.html\" target=\"_blank\" rel=\"noopener noreferrer\">Paul Schneider-Esleben\u003c/a>. He began playing with Hütter, Kraftwerk’s other founder, in 1968 when both were students at the Robert Schumann Conservatory. Originally, they teamed up as the group Organisation; under that name, they released an album, \u003ca href=\"https://www.youtube.com/watch?v=s-wNx-6mMkU\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Tone Float\u003c/em>\u003c/a>, in 1969.\u003c/p>\n\u003cp>The following year, they reshaped their musical vision into Kraftwerk (“power station” in German), and opened a studio, Kling Klang, in their home city of Dusseldorf. That was also when the band released its first, eponymously titled album.\u003c/p>\n\u003cp>Schneider sang and played a variety of instruments, including synthesizer, electric flute, electric guitar and violin. Hütter sang and played keyboards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kraftwerk—which Hütter described in Wednesday’s statement as a “multi-media project” rather than a band—offered a new, industrialized, robotic sound. In an \u003ca href=\"https://daily.redbullmusicacademy.com/2012/08/kraftwerk-interview\" target=\"_blank\" rel=\"noopener noreferrer\">2010 interview\u003c/a> with Red Bull Music Academy, Hütter said Kraftwerk was very much linked to the political and artistic atmosphere not just of post-war Germany, but also specifically the upheavals of \u003ca href=\"https://www.npr.org/series/576782307/1968-how-we-got-here\" target=\"_blank\" rel=\"noopener noreferrer\">1968\u003c/a>.\u003c/p>\n\u003cp>“We had no father figures, no continuous tradition of entertainment,” Hütter said. “Through the 50s and 60s everything was Americanized, directed towards consumer behavior. So, we were part of this ’68 movement, where suddenly there were possibilities, and we performed at happenings and art situations.”\u003c/p>\n\u003cp>Of their recordings, only one album, 1974’s \u003cem>Autobahn\u003c/em>, became a certified hit in the U.S.; its title tune cracked the Top 40. But through their performances and ten studio albums, the band influenced a dizzying array—and generations—of musicians who followed. Kraftwerk’s music had a significant impact on new wave, rock, pop, industrial, hip-hop, and of course electronic dance music.\u003c/p>\n\u003cp>On his \u003cem>Heroes\u003c/em> album, David Bowie paid homage to Kraftwerk’s co-founder on his song “V-2 Schneider,” and Kraftwerk has been sampled in hundreds of other artists’ songs, including music by Afrika Bambaataa, New Order, Madonna, Jay-Z and Coldplay.\u003c/p>\n\u003cp>Schneider left the group at the end of 2008. In 2014, he, along with the band’s other members, were given a Grammy \u003ca href=\"https://www.grammy.com/grammys/news/lifetime-achievement-award-kraftwerk\" target=\"_blank\" rel=\"noopener noreferrer\">Lifetime Achievement\u003c/a> Award. In its citation, the Recording Academy said: “Along came this music that sounded as mechanized as a Ford assembly plant … and music would never be the same.”\u003c/p>\n\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/OQIYEPe6DWY'\n title='//www.youtube.com/embed/OQIYEPe6DWY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Co-Founder+of+Kraftwerk%2C+Florian+Schneider%2C+Has+Died&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13879858/co-founder-of-kraftwerk-florian-schneider-has-died","authors":["byline_arts_13879858"],"categories":["arts_1","arts_1564"],"tags":["arts_1501","arts_925"],"affiliates":["arts_137"],"featImg":"arts_13879859","label":"arts_137"},"arts_13871285":{"type":"posts","id":"arts_13871285","meta":{"index":"posts_1591205157","site":"arts","id":"13871285","score":null,"sort":[1576018038000]},"guestAuthors":[],"slug":"roxettes-marie-fredriksson-dead-at-61","title":"Roxette's Marie Fredriksson Dead at 61","publishDate":1576018038,"format":"standard","headTitle":"Roxette’s Marie Fredriksson Dead at 61 | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Singer Marie Fredriksson, who co-founded the hitmaking Swedish pop group Roxette, died yesterday in Sweden. She was 61 years old.\u003c/p>\n\u003cp>Before she became one of the most recognizable voices of her era, Fredricksson grew up in a tiny village, where her mom was a factory worker and her dad a postman. There wasn’t any day care, so he’d take her along while delivering mail and sing to her—the experience was formative.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=k2C5TjS2sh4\u003c/p>\n\u003cp>Fredriksson \u003ca href=\"http://www.mariefredriksson.se/bio.php\">began\u003c/a> her music career in earnest as a teenager, performing in bands before going solo. But later, as half of Roxette, Fredriksson scored half a dozen hits—including the one above—and sold around 75 million albums. Frederiksson was diagnosed with brain cancer seventeen years ago, but she kept recording and touring until 2016, when her illness eventually forced her and bandmate Per Gessle to \u003ca href=\"https://www.thelocal.se/20160418/swedish-roxette-cancel-europe-summer-tour\">cancel\u003c/a> an upcoming summer tour.\u003c/p>\n\u003cp>Speaking in 2015, Fredriksson \u003ca href=\"https://vi.se/artikel/srwAdMdB-a0Ev3DKW-e491b\">recalled\u003c/a>, to the Swedish magazine \u003cem>Vi\u003c/em>, of her extended period of sickness: “When things were at their most difficult… even if nobody else believed in me, I believed in myself. Felt I had to.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yCC_b5WHLX0\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Roxette%27s+Marie+Fredriksson+Dead+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"As half of Roxette, Fredriksson was one of Sweden's most notable pop exports, selling tens of millions of albums and garnering several hit songs.","status":"publish","parent":0,"modified":1705021695,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":6,"wordCount":216},"headData":{"title":"Roxette's Marie Fredriksson Dead at 61 | KQED","description":"As half of Roxette, Fredriksson was one of Sweden's most notable pop exports, selling tens of millions of albums and garnering several hit songs.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Patrik Stollarz","nprByline":"Neda Ulaby","nprImageAgency":"AFP via Getty Images","nprStoryId":"786678163","nprApiLink":"http://api.npr.org/query?id=786678163&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/12/10/786678163/marie-fredriksson-of-pop-group-roxette-dead-at-61?ft=nprml&f=786678163","nprRetrievedStory":"1","nprPubDate":"Tue, 10 Dec 2019 14:22:00 -0500","nprStoryDate":"Tue, 10 Dec 2019 11:57:00 -0500","nprLastModifiedDate":"Tue, 10 Dec 2019 14:22:30 -0500","templateType":"standard","featuredImageType":"standard","path":"/arts/13871285/roxettes-marie-fredriksson-dead-at-61","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer Marie Fredriksson, who co-founded the hitmaking Swedish pop group Roxette, died yesterday in Sweden. She was 61 years old.\u003c/p>\n\u003cp>Before she became one of the most recognizable voices of her era, Fredricksson grew up in a tiny village, where her mom was a factory worker and her dad a postman. There wasn’t any day care, so he’d take her along while delivering mail and sing to her—the experience was formative.\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/k2C5TjS2sh4'\n title='//www.youtube.com/embed/k2C5TjS2sh4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fredriksson \u003ca href=\"http://www.mariefredriksson.se/bio.php\">began\u003c/a> her music career in earnest as a teenager, performing in bands before going solo. But later, as half of Roxette, Fredriksson scored half a dozen hits—including the one above—and sold around 75 million albums. Frederiksson was diagnosed with brain cancer seventeen years ago, but she kept recording and touring until 2016, when her illness eventually forced her and bandmate Per Gessle to \u003ca href=\"https://www.thelocal.se/20160418/swedish-roxette-cancel-europe-summer-tour\">cancel\u003c/a> an upcoming summer tour.\u003c/p>\n\u003cp>Speaking in 2015, Fredriksson \u003ca href=\"https://vi.se/artikel/srwAdMdB-a0Ev3DKW-e491b\">recalled\u003c/a>, to the Swedish magazine \u003cem>Vi\u003c/em>, of her extended period of sickness: “When things were at their most difficult… even if nobody else believed in me, I believed in myself. Felt I had to.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\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/yCC_b5WHLX0'\n title='//www.youtube.com/embed/yCC_b5WHLX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Roxette%27s+Marie+Fredriksson+Dead+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13871285/roxettes-marie-fredriksson-dead-at-61","authors":["byline_arts_13871285"],"categories":["arts_69","arts_235"],"tags":["arts_925"],"affiliates":["arts_137"],"featImg":"arts_13871288","label":"arts_137"},"arts_13870385":{"type":"posts","id":"arts_13870385","meta":{"index":"posts_1591205157","site":"arts","id":"13870385","score":null,"sort":[1574777018000]},"guestAuthors":[],"slug":"princes-1999-is-remastered-reissued-and-packed-with-35-new-songs","title":"Prince's '1999' is Remastered, Reissued and Packed With 35 New Songs","publishDate":1574777018,"format":"standard","headTitle":"Prince’s ‘1999’ is Remastered, Reissued and Packed With 35 New Songs | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i_o69a9ZFFA\u003c/p>\n\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vAdboa7jWZo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Prince archivist Michael Howe says: \"The guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand.\"","status":"publish","parent":0,"modified":1705021772,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":12,"wordCount":520},"headData":{"title":"Prince's '1999' is Remastered, Reissued and Packed With 35 New Songs | KQED","description":"Prince archivist Michael Howe says: "The guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand."","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Allan Beaulieu","nprByline":"Michel Martin, Robert Baldwin III","nprImageAgency":"Courtesy of the artist.","nprStoryId":"782469032","nprApiLink":"http://api.npr.org/query?id=782469032&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/11/24/782469032/prince-archivist-to-re-release-1999?ft=nprml&f=782469032","nprRetrievedStory":"1","nprPubDate":"Mon, 25 Nov 2019 11:27:00 -0500","nprStoryDate":"Sun, 24 Nov 2019 17:23:00 -0500","nprLastModifiedDate":"Mon, 25 Nov 2019 11:27:40 -0500","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/11/20191124_atc_prince_archivist_to_re-release_1999.mp3?orgId=1&topicId=1106&d=313&p=2&story=782469032&ft=nprml&f=782469032","nprAudioM3u":"http://api.npr.org/m3u/1782469033-742a7c.m3u?orgId=1&topicId=1106&d=313&p=2&story=782469032&ft=nprml&f=782469032","audioTrackLength":313,"templateType":"standard","featuredImageType":"standard","path":"/arts/13870385/princes-1999-is-remastered-reissued-and-packed-with-35-new-songs","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/atc/2019/11/20191124_atc_prince_archivist_to_re-release_1999.mp3?orgId=1&topicId=1106&d=313&p=2&story=782469032&ft=nprml&f=782469032","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\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/i_o69a9ZFFA'\n title='//www.youtube.com/embed/i_o69a9ZFFA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\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/vAdboa7jWZo'\n title='//www.youtube.com/embed/vAdboa7jWZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13870385/princes-1999-is-remastered-reissued-and-packed-with-35-new-songs","authors":["byline_arts_13870385"],"categories":["arts_69","arts_75"],"tags":["arts_925","arts_1424","arts_9293"],"affiliates":["arts_137"],"featImg":"arts_13870391","label":"arts_137"},"arts_13859371":{"type":"posts","id":"arts_13859371","meta":{"index":"posts_1591205157","site":"arts","id":"13859371","score":null,"sort":[1560206803000]},"guestAuthors":[],"slug":"alone-together-robyns-dancing-on-my-own-opens-the-corners-of-community","title":"Alone Together: Robyn's 'Dancing On My Own' Opens The Corners Of Community","publishDate":1560206803,"format":"standard","headTitle":"Alone Together: Robyn’s ‘Dancing On My Own’ Opens The Corners Of Community | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>“Dancing on My Own” starts with one of the most visceral, propelling four-to-the-floor beats of the past few decades. The tempo is perfectly situated right around 118 beats per minute, pretty close to what scientists say is the preferred walking tempo for humans. The one-five-four chord progression is immediately familiar, like it’s been around since the beginning of time. Everything about it is meant to make you smile and move and dance. It could easily be a perfect teen pop song, especially considering \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn \u003c/a>got her start making just that.\u003c/p>\n\u003cp>But “Dancing on My Own” is more than that. When the lyrics start, you realize she’s tricked you, that it’s all one big bait and switch. This is a breakup song:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Somebody said you got a new friend\u003cbr>\nDoes she love you better than I can?\u003cbr>\nThere’s a big black sky over my town\u003cbr>\nI know where you’re at, I bet she’s around\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>In lesser hands, it might be confusing. When Robyn does it, it’s human. Contrary emotions wrapped up in one package, happiness and sadness living together in a groove: Everything about this song is a juxtaposition. That’s what makes it an anthem.\u003c/p>\n\u003cp>[aside postID='pop_109670' hero='https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/robyn-1020x574.jpg' target='_blank']\u003c/p>\n\u003cp>When I decided to make “Dancing on My Own” my pick for NPR’s American Anthem series, I went to social media and asked anyone who saw the request to send me their stories about the song. I heard a little bit of everything.\u003c/p>\n\u003cp>There were the DJs who spin it at wedding receptions, knowing it will get everyone on the floor. People who have played it for hours in one sitting, or kept it on repeat for a road trip hundreds of miles long, or made it the last dance at every house party they’ve ever thrown. People who insist it can be a queer anthem: “\u003cem>Is she singing ‘I’m not the GIRL you’re taking home’ or ‘I’m not the GUY you’re taking home’? Who knows! Maybe she MEANT it that way? ROBYN IS A GENIUS\u003c/em>,” they said, more or less. The ones who have used it to get through not just breakups, but cancer, or death, or a lot more, who love that decadent drum fill toward the end more than life.\u003c/p>\n\u003cp>All stories of juxtaposition. People finding community in a song all about being solo.\u003c/p>\n\u003cp>https://youtu.be/CcNo07Xp8aQ\u003c/p>\n\u003cp>In the late 1990s, when she was still a teenager, Robyn had two U.S. Top 10 singles. “\u003ca href=\"https://www.youtube.com/watch?v=bhWEI6-_w9E\">Show Me Love\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z4n6ymEMQmk\">Do You Know (What It Takes)\u003c/a>” were in line with the rest of the teen pop from those days, adjacent in sound to the Backstreet Boys and ‘N Sync and Britney Spears. Less than 10 years later, Robyn had left all that behind, made her own label, Konichiwa Records, changed up her image and started making pop with an edge.\u003c/p>\n\u003cp>“It was a big, big change for me,” \u003ca href=\"https://www.npr.org/sections/therecord/2010/08/05/129012343/robyn-says-her-business-decisions-are-really-selfish\">Robyn told NPR\u003c/a> in 2010, “but I really didn’t feel like I had another option. For me it was like the last, last thing to try, before I was going to quit music.”\u003c/p>\n\u003cp>It worked. Robyn’s self-titled album and its follow-up, the three-part \u003cem>Body Talk\u003c/em> series, made her a star in Europe and a cult favorite in the States. Music critic Sasha Geffen says in this new phase of her career, Robyn succeeds because she still has teen pop in her heart, even if she broke up with that part of the industry.\u003c/p>\n\u003cp>“It’s important to see her as a teenager who survived,” Geffen says. “She has kind of learned to carry the intensity of teenage emotion into perfectly adult pop songs … which I think is incredible.”\u003c/p>\n\u003cp>Patrik Berger, who co-wrote and produced the song with Robyn, told me the lyrics were the hardest part. The chords and the track and the melody came together pretty quickly, but every single word took its time.\u003c/p>\n\u003cp>“I think we spent, like, a couple of days on each line,” Berger says. “I remember we were texting each other for, like, weeks on lines. I have a notebook [full] of lyrics that we scrapped.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. [/pullquote]\u003c/p>\n\u003cp>The result is only around 130 words, with a simple, accessible story. A woman ends up at the same club as her ex. She sees him across the floor, dancing with someone new. She’s hurt, but she keeps dancing, over a floor full of stiletto heels and broken bottles. Drum break. Repeat.\u003c/p>\n\u003cp>Nate Sloan, a musicologist at the University of Southern California and host of the music podcast \u003ca href=\"https://www.switchedonpop.com/\">Switched On Pop\u003c/a>, says the miracle of those lyrics is their sparseness. “[There’s] like six seconds of silence between each line in the verse,” Sloan says. “Which is not a lot of time in the abstract, but on a pop song, that’s like eons.”\u003c/p>\n\u003cp>[aside postID='arts_13839666' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/08/ttt-robyn_custom-886e1f4c19aec3e192b3965d40d4351f0242ef32-1180x813.jpg' target='_blank']\u003c/p>\n\u003cp>It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. Berger says his favorite line is one that gets at an extremely teenage feeling:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Yeah, I know it’s stupid\u003cbr>\nI just gotta see it for myself\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’re not being the smartest person on the planet,” he says, unpacking the words. “You’re not being the nicest, you’re not being the best. You’re just a loser — and that’s fine.”\u003c/p>\n\u003cp>Though “Dancing on My Own” was never a radio hit in the states (I’ve never heard it on the radio once), it has had a long shelf life. Lena Dunham and Allison Williams danced to it in an episode of HBO’s \u003cem>Girls\u003c/em>, pushing through their characters’ mid-20s pain. Just this year, it ran under the credits of the Charlize Theron/Seth Rogen rom-com \u003cem>Long Shot\u003c/em> and was a major plot point in the Elle Fanning pop fable \u003cem>Teen Spirit\u003c/em>. In 2016, \u003cem>Britain’s Got Talent\u003c/em> contestant Calum Scott took his slowed-down acoustic cover to No. 2 in the U.K., a higher peak than that of Robyn’s original recording.\u003c/p>\n\u003cp>https://youtu.be/q31tGyBJhRY\u003c/p>\n\u003cp>But whenever the song has popped up in the close to 10 years since its release, the moral of its story has remained the same. Everything I’ve found in the months I’ve spent thinking about it, talking to people about it, working it into my bones, has shown that this song, all about being alone, has helped people find community and togetherness.\u003c/p>\n\u003cp>Nora McInerny is one such example. “That whole album [\u003cem>Body Talk\u003c/em>] reminds me of it being October in Minnesota,” she says. “The sun shining, this really blue crisp sky. The air is cold, the leaves are turning but it hasn’t snowed yet, and I’m driving down the freeway, listening to these songs that are so hopeful and energetic. It just feels like falling in love when I hear those songs.”\u003c/p>\n\u003cp>Nora is a writer and host of the podcast \u003ca href=\"https://www.ttfa.org/\">Terrible, Thanks For Asking\u003c/a>. She says the moment she met her husband, Aaron, he had one question for her: “Do you like Robyn?”\u003c/p>\n\u003cp>Aaron made Nora consume the singer’s entire discography, and it became the soundtrack to their courtship. She says she remembers him killing Robyn’s songs at karaoke, or dancing so wildly to them that he once caused a good friend to tear his ACL on the dance floor: “Strangers would applaud him.” When they got married, they walked down the aisle to a Robyn song.\u003c/p>\n\u003cp>But a few years after their relationship began, it ended. Aaron was diagnosed with brain cancer. Robyn’s music became a soundtrack to a different part of their lives.\u003c/p>\n\u003cp>Before Aaron died, he made Nora a playlist of songs to play at his funeral. She says about 1,000 people showed up to the “makeshift” ceremony, put together in a big studio space in Minneapolis. When the crowd had thinned out to about 100, the music, hand-selected by the man whose life they were there to honor, was still playing. Nora, a little drunk by then, found herself dancing with her friends to “Dancing on My Own.”\u003c/p>\n\u003cp>To this day, she says, there’s a moment in the song that makes her cry:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>So far away, but still so near\u003cbr>\nThe lights go on, the music dies\u003cbr>\nBut you don’t see me standing here\u003cbr>\nI just came to say goodbye\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“What’s true of most human experiences is that you’re going to have more than one emotion at a time,” she says. “It’s very rare to have all of that in a song.”\u003c/p>\n\u003cp>These days, she says, hearing “Dancing on My Own” makes her think of the friends she was with that night, or of how she now loves to pull her and Aaron’s son out onto the dance floor at parties. She thinks about being in communion with others, finding some way to get through it all.\u003c/p>\n\u003cp>Nora, of course, is not alone. Go down the rabbit hole of live videos and you’ll see crowds \u003ca href=\"https://www.youtube.com/watch?v=NWqRNIAVZwM\">bursting into the chorus\u003c/a> a cappella, singing perfectly and earnestly like a children’s choir. Or the one where dozens of Robyn concertgoers wait on a subway platform after a show in New York: bundled up, crammed shoulder to shoulder, \u003ca href=\"https://www.youtube.com/watch?v=wLm4PwYuF8I\">singing “Dancing on My Own,” together\u003c/a>.\u003c/p>\n\u003cp>This is what’s so confusing, so endearing and so lovable about this song. When I talk to people about it, they tell me how it always manages to make them feel less lost — eager to dance themselves toward the next day, or the next party, or the next lover. It’s a song about loneliness, but the moment you hear it, you instantly feel less alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n","blocks":[],"excerpt":"The magic of Robyn's millennial anthem is its bait and switch: It's a fun, energetic dance song about being lonely and heartbroken. And yet, the minute you hear it, you instantly feel less alone.","status":"publish","parent":0,"modified":1705026062,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":37,"wordCount":1867},"headData":{"title":"Alone Together: Robyn's 'Dancing On My Own' Opens The Corners Of Community | KQED","description":"The magic of Robyn's millennial anthem is its bait and switch: It's a fun, energetic dance song about being lonely and heartbroken. And yet, the minute you hear it, you instantly feel less alone.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Charley Gallay","nprByline":"Sam Sanders","nprImageAgency":"Getty Images","nprStoryId":"730641583","nprApiLink":"http://api.npr.org/query?id=730641583&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/06/10/730641583/robyn-dancing-on-my-own-alone-together-american-anthem?ft=nprml&f=730641583","nprRetrievedStory":"1","nprPubDate":"Mon, 10 Jun 2019 12:31:00 -0400","nprStoryDate":"Mon, 10 Jun 2019 05:03:00 -0400","nprLastModifiedDate":"Mon, 10 Jun 2019 12:31:34 -0400","nprAudio":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/06/20190610_me_alone_together_robyns_dancing_on_my_own_opens_the_corners_of_community.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=415&p=3&story=730641583&ft=nprml&f=730641583","nprAudioM3u":"http://api.npr.org/m3u/1731196362-26350b.m3u?orgId=1&topicId=613820055&aggIds=622671774&d=415&p=3&story=730641583&ft=nprml&f=730641583","audioTrackLength":415,"path":"/arts/13859371/alone-together-robyns-dancing-on-my-own-opens-the-corners-of-community","audioUrl":"https://ondemand.npr.org/anon.npr-mp3/npr/me/2019/06/20190610_me_alone_together_robyns_dancing_on_my_own_opens_the_corners_of_community.mp3?orgId=1&topicId=613820055&aggIds=622671774&d=415&p=3&story=730641583&ft=nprml&f=730641583","parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at\u003c/em> \u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">NPR.org/Anthem\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>“Dancing on My Own” starts with one of the most visceral, propelling four-to-the-floor beats of the past few decades. The tempo is perfectly situated right around 118 beats per minute, pretty close to what scientists say is the preferred walking tempo for humans. The one-five-four chord progression is immediately familiar, like it’s been around since the beginning of time. Everything about it is meant to make you smile and move and dance. It could easily be a perfect teen pop song, especially considering \u003ca href=\"https://www.npr.org/artists/90029878/robyn\">Robyn \u003c/a>got her start making just that.\u003c/p>\n\u003cp>But “Dancing on My Own” is more than that. When the lyrics start, you realize she’s tricked you, that it’s all one big bait and switch. This is a breakup song:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Somebody said you got a new friend\u003cbr>\nDoes she love you better than I can?\u003cbr>\nThere’s a big black sky over my town\u003cbr>\nI know where you’re at, I bet she’s around\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>In lesser hands, it might be confusing. When Robyn does it, it’s human. Contrary emotions wrapped up in one package, happiness and sadness living together in a groove: Everything about this song is a juxtaposition. That’s what makes it an anthem.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"pop_109670","hero":"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/02/robyn-1020x574.jpg","target":"_blank","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I decided to make “Dancing on My Own” my pick for NPR’s American Anthem series, I went to social media and asked anyone who saw the request to send me their stories about the song. I heard a little bit of everything.\u003c/p>\n\u003cp>There were the DJs who spin it at wedding receptions, knowing it will get everyone on the floor. People who have played it for hours in one sitting, or kept it on repeat for a road trip hundreds of miles long, or made it the last dance at every house party they’ve ever thrown. People who insist it can be a queer anthem: “\u003cem>Is she singing ‘I’m not the GIRL you’re taking home’ or ‘I’m not the GUY you’re taking home’? Who knows! Maybe she MEANT it that way? ROBYN IS A GENIUS\u003c/em>,” they said, more or less. The ones who have used it to get through not just breakups, but cancer, or death, or a lot more, who love that decadent drum fill toward the end more than life.\u003c/p>\n\u003cp>All stories of juxtaposition. People finding community in a song all about being solo.\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/CcNo07Xp8aQ'\n title='//www.youtube.com/embed/CcNo07Xp8aQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the late 1990s, when she was still a teenager, Robyn had two U.S. Top 10 singles. “\u003ca href=\"https://www.youtube.com/watch?v=bhWEI6-_w9E\">Show Me Love\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=z4n6ymEMQmk\">Do You Know (What It Takes)\u003c/a>” were in line with the rest of the teen pop from those days, adjacent in sound to the Backstreet Boys and ‘N Sync and Britney Spears. Less than 10 years later, Robyn had left all that behind, made her own label, Konichiwa Records, changed up her image and started making pop with an edge.\u003c/p>\n\u003cp>“It was a big, big change for me,” \u003ca href=\"https://www.npr.org/sections/therecord/2010/08/05/129012343/robyn-says-her-business-decisions-are-really-selfish\">Robyn told NPR\u003c/a> in 2010, “but I really didn’t feel like I had another option. For me it was like the last, last thing to try, before I was going to quit music.”\u003c/p>\n\u003cp>It worked. Robyn’s self-titled album and its follow-up, the three-part \u003cem>Body Talk\u003c/em> series, made her a star in Europe and a cult favorite in the States. Music critic Sasha Geffen says in this new phase of her career, Robyn succeeds because she still has teen pop in her heart, even if she broke up with that part of the industry.\u003c/p>\n\u003cp>“It’s important to see her as a teenager who survived,” Geffen says. “She has kind of learned to carry the intensity of teenage emotion into perfectly adult pop songs … which I think is incredible.”\u003c/p>\n\u003cp>Patrik Berger, who co-wrote and produced the song with Robyn, told me the lyrics were the hardest part. The chords and the track and the melody came together pretty quickly, but every single word took its time.\u003c/p>\n\u003cp>“I think we spent, like, a couple of days on each line,” Berger says. “I remember we were texting each other for, like, weeks on lines. I have a notebook [full] of lyrics that we scrapped.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":" It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. ","name":"pullquote","attributes":{"named":{"size":"medium","align":"right","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The result is only around 130 words, with a simple, accessible story. A woman ends up at the same club as her ex. She sees him across the floor, dancing with someone new. She’s hurt, but she keeps dancing, over a floor full of stiletto heels and broken bottles. Drum break. Repeat.\u003c/p>\n\u003cp>Nate Sloan, a musicologist at the University of Southern California and host of the music podcast \u003ca href=\"https://www.switchedonpop.com/\">Switched On Pop\u003c/a>, says the miracle of those lyrics is their sparseness. “[There’s] like six seconds of silence between each line in the verse,” Sloan says. “Which is not a lot of time in the abstract, but on a pop song, that’s like eons.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13839666","hero":"https://ww2.kqed.org/wp-content/uploads/sites/2/2018/08/ttt-robyn_custom-886e1f4c19aec3e192b3965d40d4351f0242ef32-1180x813.jpg","target":"_blank","label":""},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It’s as if Robyn wants you to live in that space — to give you time to insert all of your emotions and stories and feelings into the seconds between the lines. Berger says his favorite line is one that gets at an extremely teenage feeling:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>Yeah, I know it’s stupid\u003cbr>\nI just gotta see it for myself\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“You’re not being the smartest person on the planet,” he says, unpacking the words. “You’re not being the nicest, you’re not being the best. You’re just a loser — and that’s fine.”\u003c/p>\n\u003cp>Though “Dancing on My Own” was never a radio hit in the states (I’ve never heard it on the radio once), it has had a long shelf life. Lena Dunham and Allison Williams danced to it in an episode of HBO’s \u003cem>Girls\u003c/em>, pushing through their characters’ mid-20s pain. Just this year, it ran under the credits of the Charlize Theron/Seth Rogen rom-com \u003cem>Long Shot\u003c/em> and was a major plot point in the Elle Fanning pop fable \u003cem>Teen Spirit\u003c/em>. In 2016, \u003cem>Britain’s Got Talent\u003c/em> contestant Calum Scott took his slowed-down acoustic cover to No. 2 in the U.K., a higher peak than that of Robyn’s original recording.\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/q31tGyBJhRY'\n title='//www.youtube.com/embed/q31tGyBJhRY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But whenever the song has popped up in the close to 10 years since its release, the moral of its story has remained the same. Everything I’ve found in the months I’ve spent thinking about it, talking to people about it, working it into my bones, has shown that this song, all about being alone, has helped people find community and togetherness.\u003c/p>\n\u003cp>Nora McInerny is one such example. “That whole album [\u003cem>Body Talk\u003c/em>] reminds me of it being October in Minnesota,” she says. “The sun shining, this really blue crisp sky. The air is cold, the leaves are turning but it hasn’t snowed yet, and I’m driving down the freeway, listening to these songs that are so hopeful and energetic. It just feels like falling in love when I hear those songs.”\u003c/p>\n\u003cp>Nora is a writer and host of the podcast \u003ca href=\"https://www.ttfa.org/\">Terrible, Thanks For Asking\u003c/a>. She says the moment she met her husband, Aaron, he had one question for her: “Do you like Robyn?”\u003c/p>\n\u003cp>Aaron made Nora consume the singer’s entire discography, and it became the soundtrack to their courtship. She says she remembers him killing Robyn’s songs at karaoke, or dancing so wildly to them that he once caused a good friend to tear his ACL on the dance floor: “Strangers would applaud him.” When they got married, they walked down the aisle to a Robyn song.\u003c/p>\n\u003cp>But a few years after their relationship began, it ended. Aaron was diagnosed with brain cancer. Robyn’s music became a soundtrack to a different part of their lives.\u003c/p>\n\u003cp>Before Aaron died, he made Nora a playlist of songs to play at his funeral. She says about 1,000 people showed up to the “makeshift” ceremony, put together in a big studio space in Minneapolis. When the crowd had thinned out to about 100, the music, hand-selected by the man whose life they were there to honor, was still playing. Nora, a little drunk by then, found herself dancing with her friends to “Dancing on My Own.”\u003c/p>\n\u003cp>To this day, she says, there’s a moment in the song that makes her cry:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>So far away, but still so near\u003cbr>\nThe lights go on, the music dies\u003cbr>\nBut you don’t see me standing here\u003cbr>\nI just came to say goodbye\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“What’s true of most human experiences is that you’re going to have more than one emotion at a time,” she says. “It’s very rare to have all of that in a song.”\u003c/p>\n\u003cp>These days, she says, hearing “Dancing on My Own” makes her think of the friends she was with that night, or of how she now loves to pull her and Aaron’s son out onto the dance floor at parties. She thinks about being in communion with others, finding some way to get through it all.\u003c/p>\n\u003cp>Nora, of course, is not alone. Go down the rabbit hole of live videos and you’ll see crowds \u003ca href=\"https://www.youtube.com/watch?v=NWqRNIAVZwM\">bursting into the chorus\u003c/a> a cappella, singing perfectly and earnestly like a children’s choir. Or the one where dozens of Robyn concertgoers wait on a subway platform after a show in New York: bundled up, crammed shoulder to shoulder, \u003ca href=\"https://www.youtube.com/watch?v=wLm4PwYuF8I\">singing “Dancing on My Own,” together\u003c/a>.\u003c/p>\n\u003cp>This is what’s so confusing, so endearing and so lovable about this song. When I talk to people about it, they tell me how it always manages to make them feel less lost — eager to dance themselves toward the next day, or the next party, or the next lover. It’s a song about loneliness, but the moment you hear it, you instantly feel less alone.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13859371/alone-together-robyns-dancing-on-my-own-opens-the-corners-of-community","authors":["byline_arts_13859371"],"categories":["arts_69","arts_75"],"tags":["arts_596","arts_925","arts_6012"],"affiliates":["arts_137"],"featImg":"arts_13859373","label":"arts_137"},"arts_13849897":{"type":"posts","id":"arts_13849897","meta":{"index":"posts_1591205157","site":"arts","id":"13849897","score":null,"sort":[1549049899000]},"guestAuthors":[],"slug":"oh-yes-son-theyre-talking-to-you-20-years-of-no-scrubs","title":"Oh Yes Son, They're Talking To You: 20 Years Of 'No Scrubs'","publishDate":1549049899,"format":"standard","headTitle":"Oh Yes Son, They’re Talking To You: 20 Years Of ‘No Scrubs’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>In 1998, songwriter Kandi Burruss — on hiatus from her R&B group, Xscape — took a drive around Atlanta with a girlfriend, looking for inspiration. In the car, Burruss was playing tracks she’d gotten from a fellow songwriter, Kevin “She’kspere” Briggs, a few days earlier.\u003c/p>\n\u003cp>“No lyrics, no melody, just the music,” Burruss says. “I always like to listen to tracks in my car because I come up with my best ideas when I’m driving.”\u003c/p>\n\u003cp>As Burruss tells it, she and her friend were also trash-talking the guys they were dating at the time. “So I started freestylin’ over the track,” she says. “And I was just like, ‘\u003cem>A scrub is a guy who thinks he’s fly, and is also known as a busta / Always talking about what he wants, and just sits on his fat ass\u003c/em>.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”JZv1mmAiy8qO5eD59P5YMiOuSBAKIk8z”]\u003c/p>\n\u003cp>She knew she had something there. For a title, she remembered something she’d scribbled in her songwriting notebook. The phrase “No Scrubs” came from a term popular in Atlanta at the time, slang for a guy with no purpose, no prospects, no couth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burruss took her idea to fellow Xscape member Tameka “Tiny” Cottle, who loved the freestyle. Together, they quickly fleshed out the entire song and recorded a demo, thinking they’d keep it for their own upcoming joint project. But once the demo was passed to a few other industry figures, the two were persuaded to sell the song to a bigger group — who would end up running with it.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"TLC - No Scrubs (Official HD Video)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/FrLequ6dUdM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15807876/tlc\">TLC\u003c/a>, also from Atlanta, already had its own formula for success. Early hits like “\u003ca href=\"https://www.youtube.com/watch?v=LlZydtG3xqI\">Creep\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=8WEtxJ4-sh4\">Waterfalls\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=XmH4_pr6mH0\">Ain’t 2 Proud 2 Beg\u003c/a>” cultivated an image of being socially aware, and Rozonda “Chilli” Thomas, Tionne “T-Boz” Watkins and Lisa “Left Eye” Lopes were known as bold, confident, independent young women. So when “No Scrubs” landed in their court, a few words were changed to suit that image and make the song their own. (Among them, “fat ass” became “broke ass,” making clear the group’s problem was with men who lacked not just coin, but ambition.)\u003c/p>\n\u003cp>“No Scrubs” was released in early 1999 as the lead single of TLC’s third studio album, \u003cem>FanMail\u003c/em>. The track locked up the No. 1 position on Billboard’s Hot 100 for four weeks and stayed on the chart for months. Chilli Thomas says she knew it would be a hit the first time she heard it, because even though the term was regional, the idea was universal. “A scrub is just a bum guy, you know?” she says. “You don’t want to bring him home.”\u003c/p>\n\u003cp>[contextly_sidebar id=”xuLhWTJpOFn0gzJRyeRcgiHk38kJye3Y”]\u003c/p>\n\u003cp>At the time TLC hadn’t dropped an album in over four years, but two things helped “No Scrubs” take off commercially. For one, it was bolstered by a dope, futuristic \u003ca href=\"https://www.youtube.com/watch?v=FrLequ6dUdM\">video\u003c/a> helmed by director Hype Williams. The visual found the trio in a cruising spaceship and each lady, decked out in a swishy space suit, got the chance to show her individual personality. Chilli remembers the challenges of that now-iconic shoot, in which she performed her verses on a giant swinging platform.\u003c/p>\n\u003cp>“I was looking at it and it’s ginormous — I’m like, ‘Who’s supposed to get on the swing?’ ” Chilli says. “I was so intimidated, but eventually, I did it. I mean, I got on there and I got comfortable, and then I got \u003cem>real\u003c/em> comfortable.” The video would earn TLC a MTV Video Music Award for best group video, \u003ca href=\"https://www.youtube.com/watch?v=4TYosRJA0FU\">beating out\u003c/a> the all-male competition in a category that included both ‘NSync and the Backstreet Boys at their height.\u003c/p>\n\u003cp>Second, LaFace Records was smart about marketing the single. “No Scrubs” was released in two versions, one with Left Eye’s rap verse and one without. This strategy ensured the song would get airplay on a variety of radio stations, regardless of format.\u003c/p>\n\u003cp>[contextly_sidebar id=”lE9sp0yLHtaDLT7BQNVfMGlWTArlXtSH”]\u003c/p>\n\u003cp>While some of the most popular late ’90s hip-hop and R&B tracks were saturated with misogyny and damsel-in-distress plotlines, Burruss says, “No Scrubs” helped flip the script. “This song almost made it to where guys felt they couldn’t ride to an event together anymore,” she remembers.\u003c/p>\n\u003cp>And men weren’t just stopping short of carpooling to the club. “No Scrubs” was a wake-up call for guys like Sean Armstrong, aka DJ Face of the radio station \u003ca href=\"https://mymajicdc.com/\">Majic 102.3\u003c/a>. He remembers hearing the song for the first time at a Baltimore record store and spinning it at D.C.-area clubs when it first came out.\u003c/p>\n\u003cp>“Guys started checking themselves, like, ‘Am I a scrub?,’ ” Face remembers. “You had to really think: ‘I don’t really lean out the window, you know, hollerin’ at women. I have my own car. I got a job. I’m not a scrub.’ Like, you had to take yourself off the list.”\u003c/p>\n\u003cp>Chilli says it’s not guys like DJ Face who have to worry. “I always say, the guys getting upset are the scrubs. If you’re not a scrub, then … a hit dog will holler, right?” she laughs. “So, if that’s not who you are, then you shouldn’t be getting upset.”\u003c/p>\n\u003cp>The feathers of Yonkers, N.Y. rap group Sporty Thievz were so ruffled, the trio released its own response track, “No Pigeons,” in May 1999, a month after “No Scrubs” hit No. 1. But even if some perceived “No Pigeons” as a diss to the song’s originators, it used the same melody as “No Scrubs” — so Burruss, Briggs and Cottle still got paid.\u003c/p>\n\u003cp>“That was a check,” Burruss says. “I thought it was clever. I love the fact that they flipped the song and gave the male point of view. And plus, we ended up getting all the royalties from it.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sporty Thievz - No Pigeons (Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/pP33_uFlzTM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the two decades since the song was released, it’s never really gone away. In 2017, Ed Sheeran added the songwriters of “No Scrubs” to the credits of his own No. 1 hit, “Shape of You,” after some \u003ca href=\"https://www.billboard.com/articles/columns/pop/7735550/ed-sheeran-tlc-no-scrubs-writers-shape-of-you-credits\">drew comparisons\u003c/a> between the two songs’ \u003ca href=\"https://www.youtube.com/watch?v=8OrT52ZToUk\">melodies\u003c/a>. And it’s inspired covers across all genres. British R&B singer Jorja Smith keeps her version \u003ca href=\"https://www.youtube.com/watch?v=XoD8smiAXPI\">stripped down\u003c/a>, while country star Kacey Musgraves adds \u003ca href=\"https://www.youtube.com/watch?v=kdlAZHdAfZc\">a bit of twang\u003c/a>. In January, the four men of Weezer released a \u003ca href=\"https://www.youtube.com/watch?v=55UtG-1os_s\">rock cover\u003c/a>, with all gender pronouns left intact.\u003c/p>\n\u003cp>But at the end of the day, the original is still popular. On Spotify, “No Scrubs” has over 300 million streams to date. NPR intern Sophie Fouladi was born in the early 2000s and says the song was a hit at her junior prom in Northern Virginia just last spring.\u003c/p>\n\u003cp>“I thought it was really interesting that a throwback song was something that got everyone really excited,” Fouladi says. “There was just screams of recognition from a bunch of girls, and they were pulling each other to the dance floor. These are people who were born after the song was released.”\u003c/p>\n\u003cp>[contextly_sidebar id=”05CiLETtYYTrisZV6xEJxG5nBa6jYZQj”]\u003c/p>\n\u003cp>Will Eastman hosts a recurring \u003ca href=\"https://www.930.com/event/1717617-no-scrubs-90s-dance-party-washington/\">90’s dance party\u003c/a> called “No Scrubs” at Washington, D.C.’s 9:30 Club, and says he knows exactly the response he’ll get when he drops the song. “There’s an electricity that exists in the room,” he says. “You can feel it wash over the crowd, and for that three or four minutes, we’re all in it together.”\u003c/p>\n\u003cp>After playing the song for years, Eastman says he finally gets its message: “It’s a pop song, it’s an R&B song, but there’s also a subversive element to ‘No Scrubs’ which is taken from a position of, ‘Look, you are not in charge here. I’m in charge. I have agency here.’ That resonates with people.’ ”\u003c/p>\n\u003cp>[contextly_sidebar id=”JWY1bRLv8Jd3JIZYbWKW5i0sQKHllZ7Z”]\u003c/p>\n\u003cp>Chilli says she recognized the power of “No Scrubs” back when TLC first recorded it, and she’s proud of its legacy. “I feel really happy because I know that — even though you can jam to it, you dance to it — lyrically, I know that the girls are listening, you know? And the guys are, too,” she says.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Kandi Burruss agrees. “As women, we go through things every day, \u003cem>all day\u003c/em>,” she says. “No matter where we go, somebody is gonna try to push up or try to holler at you, and they’re not always a gentleman about it. So I feel like this song put it out there … and it just made women be a little bit more outspoken.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oh+Yes+Son%2C+They%27re+Talking+To+You%3A+20+Years+Of+%27No+Scrubs%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"TLC's 1999 smash was a song women loved about the men they wouldn't put up with. Two decades later, fans still take its message to heart when scrubs run amok.","status":"publish","parent":0,"modified":1705026670,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":33,"wordCount":1639},"headData":{"title":"Oh Yes Son, They're Talking To You: 20 Years Of 'No Scrubs' | KQED","description":"TLC's 1999 smash was a song women loved about the men they wouldn't put up with. Two decades later, fans still take its message to heart when scrubs run amok.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Henny Ray Abrams","nprByline":"Sidney Madden","nprImageAgency":"AFP/Getty Images","nprStoryId":"689703447","nprApiLink":"http://api.npr.org/query?id=689703447&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/02/01/689703447/tlc-no-scrubs-20-years-american-anthem?ft=nprml&f=689703447","nprRetrievedStory":"1","nprPubDate":"Fri, 01 Feb 2019 10:58:00 -0500","nprStoryDate":"Fri, 01 Feb 2019 07:00:53 -0500","nprLastModifiedDate":"Fri, 01 Feb 2019 10:58:33 -0500","path":"/arts/13849897/oh-yes-son-theyre-talking-to-you-20-years-of-no-scrubs","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of American Anthem, a yearlong series on songs that rouse, unite, celebrate and call to action. Find more at \u003c/em>\u003ca href=\"https://www.npr.org/series/622671774/american-anthem\">\u003cem>NPR.org/Anthem\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>In 1998, songwriter Kandi Burruss — on hiatus from her R&B group, Xscape — took a drive around Atlanta with a girlfriend, looking for inspiration. In the car, Burruss was playing tracks she’d gotten from a fellow songwriter, Kevin “She’kspere” Briggs, a few days earlier.\u003c/p>\n\u003cp>“No lyrics, no melody, just the music,” Burruss says. “I always like to listen to tracks in my car because I come up with my best ideas when I’m driving.”\u003c/p>\n\u003cp>As Burruss tells it, she and her friend were also trash-talking the guys they were dating at the time. “So I started freestylin’ over the track,” she says. “And I was just like, ‘\u003cem>A scrub is a guy who thinks he’s fly, and is also known as a busta / Always talking about what he wants, and just sits on his fat ass\u003c/em>.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>She knew she had something there. For a title, she remembered something she’d scribbled in her songwriting notebook. The phrase “No Scrubs” came from a term popular in Atlanta at the time, slang for a guy with no purpose, no prospects, no couth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burruss took her idea to fellow Xscape member Tameka “Tiny” Cottle, who loved the freestyle. Together, they quickly fleshed out the entire song and recorded a demo, thinking they’d keep it for their own upcoming joint project. But once the demo was passed to a few other industry figures, the two were persuaded to sell the song to a bigger group — who would end up running with it.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"TLC - No Scrubs (Official HD Video)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/FrLequ6dUdM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15807876/tlc\">TLC\u003c/a>, also from Atlanta, already had its own formula for success. Early hits like “\u003ca href=\"https://www.youtube.com/watch?v=LlZydtG3xqI\">Creep\u003c/a>,” “\u003ca href=\"https://www.youtube.com/watch?v=8WEtxJ4-sh4\">Waterfalls\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=XmH4_pr6mH0\">Ain’t 2 Proud 2 Beg\u003c/a>” cultivated an image of being socially aware, and Rozonda “Chilli” Thomas, Tionne “T-Boz” Watkins and Lisa “Left Eye” Lopes were known as bold, confident, independent young women. So when “No Scrubs” landed in their court, a few words were changed to suit that image and make the song their own. (Among them, “fat ass” became “broke ass,” making clear the group’s problem was with men who lacked not just coin, but ambition.)\u003c/p>\n\u003cp>“No Scrubs” was released in early 1999 as the lead single of TLC’s third studio album, \u003cem>FanMail\u003c/em>. The track locked up the No. 1 position on Billboard’s Hot 100 for four weeks and stayed on the chart for months. Chilli Thomas says she knew it would be a hit the first time she heard it, because even though the term was regional, the idea was universal. “A scrub is just a bum guy, you know?” she says. “You don’t want to bring him home.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>At the time TLC hadn’t dropped an album in over four years, but two things helped “No Scrubs” take off commercially. For one, it was bolstered by a dope, futuristic \u003ca href=\"https://www.youtube.com/watch?v=FrLequ6dUdM\">video\u003c/a> helmed by director Hype Williams. The visual found the trio in a cruising spaceship and each lady, decked out in a swishy space suit, got the chance to show her individual personality. Chilli remembers the challenges of that now-iconic shoot, in which she performed her verses on a giant swinging platform.\u003c/p>\n\u003cp>“I was looking at it and it’s ginormous — I’m like, ‘Who’s supposed to get on the swing?’ ” Chilli says. “I was so intimidated, but eventually, I did it. I mean, I got on there and I got comfortable, and then I got \u003cem>real\u003c/em> comfortable.” The video would earn TLC a MTV Video Music Award for best group video, \u003ca href=\"https://www.youtube.com/watch?v=4TYosRJA0FU\">beating out\u003c/a> the all-male competition in a category that included both ‘NSync and the Backstreet Boys at their height.\u003c/p>\n\u003cp>Second, LaFace Records was smart about marketing the single. “No Scrubs” was released in two versions, one with Left Eye’s rap verse and one without. This strategy ensured the song would get airplay on a variety of radio stations, regardless of format.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>While some of the most popular late ’90s hip-hop and R&B tracks were saturated with misogyny and damsel-in-distress plotlines, Burruss says, “No Scrubs” helped flip the script. “This song almost made it to where guys felt they couldn’t ride to an event together anymore,” she remembers.\u003c/p>\n\u003cp>And men weren’t just stopping short of carpooling to the club. “No Scrubs” was a wake-up call for guys like Sean Armstrong, aka DJ Face of the radio station \u003ca href=\"https://mymajicdc.com/\">Majic 102.3\u003c/a>. He remembers hearing the song for the first time at a Baltimore record store and spinning it at D.C.-area clubs when it first came out.\u003c/p>\n\u003cp>“Guys started checking themselves, like, ‘Am I a scrub?,’ ” Face remembers. “You had to really think: ‘I don’t really lean out the window, you know, hollerin’ at women. I have my own car. I got a job. I’m not a scrub.’ Like, you had to take yourself off the list.”\u003c/p>\n\u003cp>Chilli says it’s not guys like DJ Face who have to worry. “I always say, the guys getting upset are the scrubs. If you’re not a scrub, then … a hit dog will holler, right?” she laughs. “So, if that’s not who you are, then you shouldn’t be getting upset.”\u003c/p>\n\u003cp>The feathers of Yonkers, N.Y. rap group Sporty Thievz were so ruffled, the trio released its own response track, “No Pigeons,” in May 1999, a month after “No Scrubs” hit No. 1. But even if some perceived “No Pigeons” as a diss to the song’s originators, it used the same melody as “No Scrubs” — so Burruss, Briggs and Cottle still got paid.\u003c/p>\n\u003cp>“That was a check,” Burruss says. “I thought it was clever. I love the fact that they flipped the song and gave the male point of view. And plus, we ended up getting all the royalties from it.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Sporty Thievz - No Pigeons (Video)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/pP33_uFlzTM?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>In the two decades since the song was released, it’s never really gone away. In 2017, Ed Sheeran added the songwriters of “No Scrubs” to the credits of his own No. 1 hit, “Shape of You,” after some \u003ca href=\"https://www.billboard.com/articles/columns/pop/7735550/ed-sheeran-tlc-no-scrubs-writers-shape-of-you-credits\">drew comparisons\u003c/a> between the two songs’ \u003ca href=\"https://www.youtube.com/watch?v=8OrT52ZToUk\">melodies\u003c/a>. And it’s inspired covers across all genres. British R&B singer Jorja Smith keeps her version \u003ca href=\"https://www.youtube.com/watch?v=XoD8smiAXPI\">stripped down\u003c/a>, while country star Kacey Musgraves adds \u003ca href=\"https://www.youtube.com/watch?v=kdlAZHdAfZc\">a bit of twang\u003c/a>. In January, the four men of Weezer released a \u003ca href=\"https://www.youtube.com/watch?v=55UtG-1os_s\">rock cover\u003c/a>, with all gender pronouns left intact.\u003c/p>\n\u003cp>But at the end of the day, the original is still popular. On Spotify, “No Scrubs” has over 300 million streams to date. NPR intern Sophie Fouladi was born in the early 2000s and says the song was a hit at her junior prom in Northern Virginia just last spring.\u003c/p>\n\u003cp>“I thought it was really interesting that a throwback song was something that got everyone really excited,” Fouladi says. “There was just screams of recognition from a bunch of girls, and they were pulling each other to the dance floor. These are people who were born after the song was released.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Will Eastman hosts a recurring \u003ca href=\"https://www.930.com/event/1717617-no-scrubs-90s-dance-party-washington/\">90’s dance party\u003c/a> called “No Scrubs” at Washington, D.C.’s 9:30 Club, and says he knows exactly the response he’ll get when he drops the song. “There’s an electricity that exists in the room,” he says. “You can feel it wash over the crowd, and for that three or four minutes, we’re all in it together.”\u003c/p>\n\u003cp>After playing the song for years, Eastman says he finally gets its message: “It’s a pop song, it’s an R&B song, but there’s also a subversive element to ‘No Scrubs’ which is taken from a position of, ‘Look, you are not in charge here. I’m in charge. I have agency here.’ That resonates with people.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Chilli says she recognized the power of “No Scrubs” back when TLC first recorded it, and she’s proud of its legacy. “I feel really happy because I know that — even though you can jam to it, you dance to it — lyrically, I know that the girls are listening, you know? And the guys are, too,” she says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kandi Burruss agrees. “As women, we go through things every day, \u003cem>all day\u003c/em>,” she says. “No matter where we go, somebody is gonna try to push up or try to holler at you, and they’re not always a gentleman about it. So I feel like this song put it out there … and it just made women be a little bit more outspoken.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Oh+Yes+Son%2C+They%27re+Talking+To+You%3A+20+Years+Of+%27No+Scrubs%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13849897/oh-yes-son-theyre-talking-to-you-20-years-of-no-scrubs","authors":["byline_arts_13849897"],"categories":["arts_835","arts_69","arts_235","arts_75"],"tags":["arts_6475","arts_596","arts_925"],"affiliates":["arts_137"],"featImg":"arts_13849901","label":"arts_137"},"arts_13849823":{"type":"posts","id":"arts_13849823","meta":{"index":"posts_1591205157","site":"arts","id":"13849823","score":null,"sort":[1548956631000]},"guestAuthors":[],"slug":"instant-photos-capture-tiny-desk-artists-offstage-flaws-dust-specks-and-all","title":"Instant Photos Capture Tiny Desk Artists Offstage, 'Flaws, Dust Specks and All'","publishDate":1548956631,"format":"image","headTitle":"Instant Photos Capture Tiny Desk Artists Offstage, ‘Flaws, Dust Specks and All’ | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. I hope these images — flaws, dust specks and all — help the viewer see those real people a little more clearly.\u003c/p>\n\u003cfigure id=\"attachment_13849830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg\" alt=\"Left to right: Big K.R.I.T., DAWN, PJ Morton.\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1200x628.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1920x1005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Big K.R.I.T., DAWN, PJ Morton. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"See intimate moments with Thundercat, Jorja Smith, the late Mac Miller and other musicians from NPR's Tiny Desk concert series, captured just moments after they performed.","status":"publish","parent":0,"modified":1705026677,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":561},"headData":{"title":"Instant Photos Capture Tiny Desk Artists Offstage, 'Flaws, Dust Specks and All' | KQED","description":"See intimate moments with Thundercat, Jorja Smith, the late Mac Miller and other musicians from NPR's Tiny Desk concert series, captured just moments after they performed.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":""},"sticky":false,"nprImageCredit":"Eslah Attar","nprByline":"Eslah Attar","nprImageAgency":"NPR","nprStoryId":"682176536","nprApiLink":"http://api.npr.org/query?id=682176536&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/sections/pictureshow/2019/01/29/682176536/instant-photos-capture-tiny-desk-artists-offstage-flaws-dust-specks-and-all?ft=nprml&f=682176536","nprRetrievedStory":"1","nprPubDate":"Tue, 29 Jan 2019 16:56:00 -0500","nprStoryDate":"Tue, 29 Jan 2019 07:01:00 -0500","nprLastModifiedDate":"Tue, 29 Jan 2019 16:56:34 -0500","path":"/arts/13849823/instant-photos-capture-tiny-desk-artists-offstage-flaws-dust-specks-and-all","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>When musicians visit NPR to perform in our Tiny Desk concert series, we occasionally use the opportunity to have a little fun. Eslah Attar created this series of instant film portraits during her time working at NPR in 2018.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Creating a moment of connection is often the most difficult part of making a photograph: It has to happen in the instant the shutter clicks. Photographing performers can be even harder, since they naturally create personas as part of their work. So in photographing some of the musicians who have come to NPR to play \u003ca href=\"https://www.npr.org/series/tiny-desk-concerts/\">Tiny Desk concerts\u003c/a>, I wanted to find a way to capture them in a more natural state.\u003c/p>\n\u003cfigure id=\"attachment_13849828\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849828\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/myoussef1_polaroidportrait043_custom-e6622b2964a4f592292ba2b7fddae286ce1f691d-800x506.jpg\" alt=\"Maimouna Youssef aka Mumu Fresh.\" width=\"800\" height=\"506\">\u003cfigcaption class=\"wp-caption-text\">Maimouna Youssef aka Mumu Fresh. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>I find that using an instant film camera often disarms the people I photograph. It’s familiar, nostalgic, almost a toy, so it doesn’t intimidate in the same way a professional camera does — which helps break down some of the barriers that usually exist between photographers and their subjects. It is also limiting: For these portraits I took only one or two shots of each artist, leaving little time to warm up to the situation or try out different poses. The moment happens quickly, and the imperfections are part of the result.\u003c/p>\n\u003cfigure id=\"attachment_13849824\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849824\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-2_custom-59bcddf6758649fe93b5fa58a36667a6c91b441b-800x1246.jpg\" alt=\"Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018's Tiny Desk Contest).\" width=\"800\" height=\"1246\">\u003cfigcaption class=\"wp-caption-text\">Clockwise from top left: Logan Richardson, Khalid, Josée Caron and Lucy Niles of Partner, Naia Izumi (winner of 2018’s Tiny Desk Contest). \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Seeing these artists perform at the Tiny Desk before I photographed them helped me get a more intimate idea of who they were. The setting is so simple — no bright lights or huge crowds, just the artist and a few onlookers — and through it I was able to see more of their personalities: sometimes awkward, sometimes confident, sometimes quiet, sometimes very normal.\u003c/p>\n\u003cfigure id=\"attachment_13849825\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849825\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/rhye_polaroidportrait065_custom-8d8f000c58c068ec8f52389b2d3c909584383688-800x1254.jpg\" alt=\"Mike Milosh of Rhye.\" width=\"800\" height=\"1254\">\u003cfigcaption class=\"wp-caption-text\">Mike Milosh of Rhye. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Behind the desk, \u003ca href=\"https://www.npr.org/2018/06/11/618198232/jorja-smith-tiny-desk-concert\">Jorja Smith\u003c/a> was reserved and thoughtful. In front of the camera she needed no direction, immediately tilting her head back and staring directly into the lens, confident and sophisticated. \u003ca href=\"https://www.npr.org/2018/06/18/619945249/khalid-tiny-desk-concert\">Khalid\u003c/a> gave a gentle and soft-spoken performance at the desk, hands resting in his lap, sometimes chatting quietly with his guitarist. In his portrait he stands with his eyes closed, leaves from a nearby plant spilling gently over his shoulder.\u003c/p>\n\u003cfigure id=\"attachment_13849829\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849829 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg\" alt=\"Mac Miller.\" width=\"800\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-800x512.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-768x491.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1020x652.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1200x768.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c-1920x1228.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/macmiller1_polaroidportrait081_custom-126d364e6dfdc93b8dd305b26a5d38aa1d55fe4c.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mac Miller. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/2018/08/06/635054748/mac-miller-tiny-desk-concert\">Mac Miller\u003c/a>, who visited the Tiny Desk just two months before his death on Sept. 7, 2018, had a playfulness to him that spread throughout the audience the minute his set began, and he filled the silence between songs with warm, self-deprecating chatter. He doesn’t engage the camera here: Instead, he looks down with his hands on his head, showing his arms full of dark tattoos and a hat reading “Don’t Trip.”\u003c/p>\n\u003cfigure id=\"attachment_13849826\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13849826\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-3_custom-ef19e060fb4941a9cce5af9b25810f685a28a585-800x637.jpg\" alt=\"Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler.\" width=\"800\" height=\"637\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Jenny Ball of Jenny and the Mexicats, Jorge Drexler. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As fans, we are often so familiar with an artist’s public self that we sometimes forget there’s a real person underneath. I hope these images — flaws, dust specks and all — help the viewer see those real people a little more clearly.\u003c/p>\n\u003cfigure id=\"attachment_13849830\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13849830 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg\" alt=\"Left to right: Big K.R.I.T., DAWN, PJ Morton.\" width=\"800\" height=\"419\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-800x419.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-768x402.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1020x534.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1200x628.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d-1920x1005.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/01/composite-4_custom-2c35bbe5ce6d64b73362cd95d3b2055d1172a47d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left to right: Big K.R.I.T., DAWN, PJ Morton. \u003ccite>(Eslah Attar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Instant+Photos+Capture+Tiny+Desk+Artists+Offstage%2C+%27Flaws%2C+Dust+Specks+and+All%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13849823/instant-photos-capture-tiny-desk-artists-offstage-flaws-dust-specks-and-all","authors":["byline_arts_13849823"],"categories":["arts_1","arts_69","arts_235","arts_75"],"tags":["arts_6475","arts_977","arts_4591","arts_596","arts_822","arts_925","arts_5612","arts_6554","arts_4271","arts_901"],"affiliates":["arts_137"],"featImg":"arts_13849827","label":"arts_137"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.","airtime":"SUN 2pm","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://www.possible.fm/","meta":{"site":"news","source":"Possible"},"link":"/radio/program/possible","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/possible/id1677184070","spotify":"https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"}},"1a":{"id":"1a","title":"1A","info":"1A is home to the national conversation. 1A brings on great guests and frames the best debate in ways that make you think, share and engage.","airtime":"MON-THU 11pm-12am","imageSrc":"https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/1a.jpg","officialWebsiteLink":"https://the1a.org/","meta":{"site":"news","source":"npr"},"link":"/radio/program/1a","subscribe":{"npr":"https://rpb3r.app.goo.gl/RBrW","apple":"https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=1188724250&at=11l79Y&ct=nprdirectory","tuneIn":"https://tunein.com/radio/1A-p947376/","rss":"https://feeds.npr.org/510316/podcast.xml"}},"all-things-considered":{"id":"all-things-considered","title":"All Things Considered","info":"Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. 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You ask the questions. You decide what Bay Curious investigates. 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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/","meta":{"site":"news","source":"npr"},"link":"/radio/program/morning-edition"},"onourwatch":{"id":"onourwatch","title":"On Our Watch","tagline":"Police secrets, unsealed","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":"1"},"link":"/podcasts/onourwatch","subscribe":{"apple":"https://podcasts.apple.com/podcast/id1567098962","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw","npr":"https://rpb3r.app.goo.gl/onourwatch","spotify":"https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x","tuneIn":"https://tunein.com/radio/On-Our-Watch-p1436229/","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":{"site":"news","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"}},"our-body-politic":{"id":"our-body-politic","title":"Our Body Politic","info":"Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.","airtime":"SAT 6pm-7pm, SUN 1am-2am","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Our-Body-Politic-Podcast-Tile-360x360-1.jpg","officialWebsiteLink":"https://our-body-politic.simplecast.com/","meta":{"site":"news","source":"kcrw"},"link":"/radio/program/our-body-politic","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/our-body-politic/id1533069868","google":"https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw","spotify":"https://open.spotify.com/show/4ApAiLT1kV153TttWAmqmc","rss":"https://feeds.simplecast.com/_xaPhs1s","tuneIn":"https://tunein.com/podcasts/News--Politics-Podcasts/Our-Body-Politic-p1369211/"}},"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":{"site":"news","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 of daily listener commentaries since 1991","info":"KQED's series of of daily listener commentaries since 1991.","imageSrc":"https://cdn.kqed.org/wp-content/uploads/2024/04/Perspectives-Podcast-Tile-703x703-1.jpg","officialWebsiteLink":"/perspectives/","meta":{"site":"radio","source":"kqed","order":"15"},"link":"/perspectives","subscribe":{"apple":"https://podcasts.apple.com/us/podcast/id73801135","npr":"https://www.npr.org/podcasts/432309616/perspectives","rss":"https://ww2.kqed.org/perspectives/category/perspectives/feed/","google":"https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"}},"planet-money":{"id":"planet-money","title":"Planet Money","info":"The economy explained. 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