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He studied creative writing at University of Maryland and went on to receive his MFA in the field from California College of the Arts. In his free time, he sings his heart out at karaoke.","avatar":"https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g","twitter":"xcusemybeauty","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["Contributor","subscriber"]},{"site":"pop","roles":["contributor"]}],"headData":{"title":"Emmanuel Hapsis | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/6302b6f7ef8b2dcd3acd9e2c6bc570b7?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/ehapsis"},"esilvers":{"type":"authors","id":"7237","meta":{"index":"authors_1591205172","id":"7237","found":true},"name":"Emma Silvers","firstName":"Emma","lastName":"Silvers","slug":"esilvers","email":"esilvers@kqed.org","display_author_email":false,"staff_mastheads":[],"title":"KQED Contributor","bio":"Emma Silvers is an editor at KQED Arts and a former digital producer at KQED News. Born and raised in the Bay Area, she has previously been an arts and entertainment editor at the \u003cem>San Francisco Chronicle\u003c/em>, \u003cem>SF Weekly\u003c/em> and the \u003cem>San Francisco Bay Guardian.\u003c/em> Her work has also appeared in \u003cem>Rolling Stone\u003c/em>, Pitchfork and \u003cem>Mother Jones\u003c/em>. In 2017 she was the recipient of the Society of Professional Journalists-Northern California's award for arts and culture reporting. In 1993 she \u003ca href=\"https://www.kqed.org/pop/16759/wait-what-my-coworker-was-a-voice-over-hyperventilator-for-jurassic-park\">hyperventilated in \u003cem>Jurassic Park\u003c/em>\u003c/a>.","avatar":"https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g","twitter":"emmaruthless","facebook":null,"instagram":null,"linkedin":null,"sites":[{"site":"arts","roles":["editor"]},{"site":"news","roles":["editor"]},{"site":"pop","roles":["contributor"]},{"site":"bayareabites","roles":["editor"]},{"site":"food","roles":["contributor"]},{"site":"liveblog","roles":["editor"]}],"headData":{"title":"Emma Silvers | KQED","description":"KQED Contributor","ogImgSrc":"https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g","twImgSrc":"https://secure.gravatar.com/avatar/247beada39b88ea5759db1f51dba05cf?s=600&d=blank&r=g"},"isLoading":false,"link":"/author/esilvers"}},"breakingNewsReducer":{},"campaignFinanceReducer":{},"firebase":{"requesting":{},"requested":{},"timestamps":{},"data":{},"ordered":{},"auth":{"isLoaded":false,"isEmpty":true},"authError":null,"profile":{"isLoaded":false,"isEmpty":true},"listeners":{"byId":{},"allIds":[]},"isInitializing":false,"errors":[]},"navBarReducer":{"navBarId":"arts","fullView":true,"showPlayer":false},"navMenuReducer":{"menus":[{"key":"menu1","items":[{"name":"News","link":"/","type":"title"},{"name":"Politics","link":"/politics"},{"name":"Science","link":"/science"},{"name":"Education","link":"/educationnews"},{"name":"Housing","link":"/housing"},{"name":"Immigration","link":"/immigration"},{"name":"Criminal Justice","link":"/criminaljustice"},{"name":"Silicon Valley","link":"/siliconvalley"},{"name":"Forum","link":"/forum"},{"name":"The California Report","link":"/californiareport"}]},{"key":"menu2","items":[{"name":"Arts & Culture","link":"/arts","type":"title"},{"name":"Critics’ Picks","link":"/thedolist"},{"name":"Cultural Commentary","link":"/artscommentary"},{"name":"Food & Drink","link":"/food"},{"name":"Bay Area Hip-Hop","link":"/bayareahiphop"},{"name":"Rebel Girls","link":"/rebelgirls"},{"name":"Arts Video","link":"/artsvideos"}]},{"key":"menu3","items":[{"name":"Podcasts","link":"/podcasts","type":"title"},{"name":"Bay Curious","link":"/podcasts/baycurious"},{"name":"Rightnowish","link":"/podcasts/rightnowish"},{"name":"The Bay","link":"/podcasts/thebay"},{"name":"On Our Watch","link":"/podcasts/onourwatch"},{"name":"Mindshift","link":"/podcasts/mindshift"},{"name":"Consider This","link":"/podcasts/considerthis"},{"name":"Political Breakdown","link":"/podcasts/politicalbreakdown"}]},{"key":"menu4","items":[{"name":"Live Radio","link":"/radio","type":"title"},{"name":"TV","link":"/tv","type":"title"},{"name":"Events","link":"/events","type":"title"},{"name":"For Educators","link":"/education","type":"title"},{"name":"Support KQED","link":"/support","type":"title"},{"name":"About","link":"/about","type":"title"},{"name":"Help Center","link":"https://kqed-helpcenter.kqed.org/s","type":"title"}]}]},"pagesReducer":{},"postsReducer":{"stream_live":{"type":"live","id":"stream_live","audioUrl":"https://streams.kqed.org/kqedradio","title":"Live Stream","excerpt":"Live Stream information currently unavailable.","link":"/radio","featImg":"","label":{"name":"KQED Live","link":"/"}},"stream_kqedNewscast":{"type":"posts","id":"stream_kqedNewscast","audioUrl":"https://www.kqed.org/.stream/anon/radio/RDnews/newscast.mp3?_=1","title":"KQED Newscast","featImg":"","label":{"name":"88.5 FM","link":"/"}},"pop_104883":{"type":"posts","id":"pop_104883","meta":{"index":"posts_1591205157","site":"pop","id":"104883","score":null,"sort":[1533130624000]},"guestAuthors":[],"slug":"how-female-artists-in-the-90s-set-the-stage-for-a-new-pop-era","title":"How Female Artists in the '90s Set the Stage For a New Pop Era","publishDate":1533130624,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>\u003cem>On July 30, as part of our series Turning the Tables, NPR Music published a list of the \u003c/em>\u003ca href=\"https://www.npr.org/2018/07/30/627395449/turning-the-tables-the-200-greatest-songs-by-21st-century-women-part-1\">\u003cem>200 greatest songs\u003c/em>\u003c/a>\u003cem> made by women and non-binary musicians who debuted on or after Jan. 1, 2000. Today, Ann Powers examines that list's immediate forebears: artists whose careers began in the late 1990s but whose influence carried well into the 21st century.\u003c/em>\u003c/p>\n\u003cp>Here's a bit of historical hindsight: The millennium bug was real, it just didn't hit the way we thought it would. Anyone who was already staring at a screen in 1999 remembers the quiet panic over whether a \"Y2K\" computer glitch would derail the world's data-driven infrastructure systems. That didn't happen; the canned food filling doomsayers' remodeled bomb shelters presumably was thrown into casseroles for the next family holiday. Something did shift, though, in the early months of the year 2000. It happened on the pop charts: the twelve-week reign of Carlos Santana's \"Smooth,\" featuring the suave, mumbled cat-calling of late-'90s rock heartthrob Rob Thomas, finally gave way beneath the force of Christina Aguilera's \"What a Girl Wants.\"\u003c/p>\n\u003cp>\"What a Girl Wants\" is a power ballad deeply emblematic of the Y2K moment, when old forms of expression were being reshaped by the young generation immersed in the emerging era's fundamental restructuring of social and neural networks. On one hand, Aguilera's manifesto is old-fashioned: She fortified her teen pop with 1960s soul inflections, and the song's lyrics about a sensitive (and monogamous) tough guy could have come from the Maybelline-streaked lips of the Shangri-La's. But the title-bearing chorus — a list of prerequisites delivered with supreme self-assurance, leading to the central assertion, \"Whatever makes me happy sets you free\" — is purely, deeply, indicative of where cultural feminism would go in the new millennium, especially in music. The conflagrations set by women out to remake rock in the mid-1990s had calmed — many said that the spirit of movements like the feminist Riot Grrrl been co-opted by a \"girl power\" strain of capitalism that doused their radical potential. In retrospect we can see how artists like Aguilera, who emerged in the final years of the 1990s, not only touched on innovations that would become the center of millennial music, but addressed central feminist concerns of autonomy, pleasure and self-determination in complicated and wide-ranging ways, resetting the parameters for women as agents of their own expressiveness and values in ways that are still playing out now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hpspGHeLOPE\u003c/p>\n\u003cp>The unrest on the rock scene in the first half of the 1990s felt to many like a paradigm shift, but it was really a blast pattern: a series of eruptions that added up to real damage but which only partially reached pop's cultural foundation. Into this fractured landscape came a diverse array of artists who took on the challenge of expressing self-aware womanhood in very different ways. The messages these artists sent were mixed. Some seemed almost retrograde: the teen pop stars whose tanned-and-taut young queen was Britney Spears, and who expressed a self-confident sexuality that was hard to read as wholly self-cultivated, but which has been fully claimed as such by today's pop rebels from Taylor Swift to Lorde to Charli XCX. Others explored how the defiance of women in rock could work within less openly anarchic musical genres, refashioning old norms instead of discarding them. The Dixie Chicks epitomized this in country: The trio played into classic rural romance fantasies with songs like \"Cowboy, Take Me Away,\" but buried those same dreams with the anti-domestic violence anthem \"Goodbye Earl\" – on the same album. Today, Miranda Lambert and Kacey Musgraves perform the same balancing act. In R&B, Destiny's Child came to embody the girl-group ideal by forthrightly embodying what independence feels like for women who still strongly valued their own conventional sex appeal for men. That same tension is playing out in ever more complicated ways in the music of current groundbreakers like SZA and Kali Uchis.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gw7gNf_9njs\u003c/p>\n\u003cp>Did the late 1990s represent a backlash when it came to gender, or a necessary move toward the center? There's still disagreement on this point. But most pop historians would agree to mark the turning point with the platform-sandal footprint of the Spice Girls. Glittering the landscape in 1996, the English quintet seemed to embody a flighty femininity that the time's fierce zeitgeist-rulers, like Polly Jean Harvey or Queen Latifah, actively opposed. Yet the Spice Girls' career-setting anthem \"Wannabe\" giddily leapt ahead of its time: I vividly remember hearing it for the first time in an English hotel room, bubbling out of the television like an exploding packet of Pop Rocks spit out by these cute but absolutely normal-looking girls rampaging through a fantastical nightclub. They were yelling about women's friendship! They kissed the boys and just kept on going! One of them was jogging pants and a sports bra! I was a devotee of the time's most confrontational rock and hip-hop, but there was something to this idea that women's solidarity wasn't just for the boldest and the most bohemian.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gJLIiF15wjQ\u003c/p>\n\u003cp>The Spice Girls were outliers, but not by much. Their massive popularity presaged a new wave of American teen pop also spearheaded by a tricky sweetheart: Britney Spears. Today, Britney has become a first-name-only goddess revered by dance music mavens for her willingness to take chances with experimental producers while still owning the center of the pop charts. As a feminist icon, Spears remains nearly as problematic in 2018 as she was when her authentic schoolgirl pout made her a star with \"...Baby One More Time\" twenty years earlier. She's still one of the most powerfully charismatic pop stars of our age, and deserves respect not only for being the indelible voice of a pop juggernaut, but for her longevity in the face of every major pitfall celebrity can create. Yet since a public breakdown made her an official pop tragedy in 2008, a debate has raged about whether Spears has been the prime agent in her own success, or an exploited asset, and she herself is only now emerging as an artist in ways that might clarify matters. The story of Britney Spears couldn't have been less suited to the story of women toppling male power structures that dominated the 1990s. Nonetheless, her importance as both a musical and cultural influence is undeniable. Like Elvis, Britney Spears embodies a seismic shift in American culture – not toward the cultivated rawness of rock and roll, but away from it, into an era dominated by new technologies that throw into question the very nature of the authentic. A voice in league with new technologies\u003cstrong>, \u003c/strong>Britney Spears embodies something fundamental about our time. Every artist working in the pop realm reckons with her.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C-u5WLJ9Yk4\u003c/p>\n\u003cp>The troubled iconicity of Britney Spears can overshadow just how much other women changed popular music just before and after her emergence. Before her, there was Gwen Stefani, who like every cool kid's favorite Spice Girl Mel C decked herself out in clothes as sports-functional as they were sexy, and who sang about the very limits placed upon her as a woman fronting an all-male band in No Doubt's \"Just a Girl.\" (Stefani, like a few others who debuted in the 1990s, makes our list because her solo career commenced in earnest in the 2000s.) There was Jewel, singing about addiction and the the sexual exploitation of young women in a hit, \"Who Will Save Your Soul,\" that critics dismissed as teenage flowered-notebook rambling. A year later there was Fiona Apple, who made her revelations about sexual trauma and its aftermath — her song \"Sullen Girl\" was a #metoo moment decades before its hashtag — but whose very (slender) physique seemed out of step with the time's feminist mores. \"I'm a little torn,\" sang Australian pop star Natalie Imbruglia in 1998, her baggy hoodie in the \"Torn\" video sending one message while her glam squad-enhanced eyes sent another. It was hard, sometimes, to tell whether these ingenues were sending mixed messages or signaling complexity. Something similar was happening in R&B, as the mighty TLC led a new wave of sleek-voiced women whose versions of empowerment weren't as obviously fierce as what En Vogue had embodied in 1992's \"Free Your Mind.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VV1XWJN3nJo\u003c/p>\n\u003cp>Could women's empowerment creep into patriarchy's engine, dismantling the status quo in other ways? The girl-group renaissance ushered in by TLC and moved forward by solo artists like Brandy, Mya and Monica showed ways that this could happen. At the same time, Missy Elliott and Aaliyah were shifting the very ground of R&B, creating an intuitively feminine and de facto feminist language within it via deft samples, new ways of singing and lyrics that sometimes sounded like but never really were nonsense. These trendsetters were joined by Destiny's Child in 1998 – a group that would not only launch the career of the new millennium's musical empress, Beyoncé Knowles, but which would blend better than anyone else the classic soulwoman's mandate to talk smack to men's power with hip-hop's new approach to vocalizing and musical arrangement. (It's no surprise that Elliott is one of the producers on the group's landmark 1999 album \u003cem>The Writing's on the Wall.\u003c/em>)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=NiF6-0UTqtc\u003c/p>\n\u003cp>Some women on the cusp between the wild mid-1990s and the more choreographed 2000s focused not on confrontation, but on building points of view that could open up into whole worlds. Erykah Badu and Lauryn Hill set the gold standard for this approach, their songs honoring black women's realities even when they contradicted conventional ideas of women's liberation. Jennifer Lopez, who would later go on to be a pop force as powerful as any in the early-to-mid 2000s, forged a new path in Latin crossover pop by blending the Gucci glamor of '90s hip-hop with the street-smart energy of Latin freestyle and salsa.\u003c/p>\n\u003cp>The list of genre-shakers from this period continues, including enough legends that had NPR's list spanned a logical two decades instead of starting in 2000, the Top 10 could have easily featured 1998 and 1999 releases alone. (This is one reason we made 2000 our jumping-off point for this list: We wanted our voters to keep the present day in sharp focus, uninfluenced by nostalgia for this moment and its superstars.) In country, beyond the Dixie Chicks, Shania Twain — who was much more the architect of her own stardom than more early accounts, who credited her then-husband and producer Mutt Lang, acknowledged — changed the genre itself by giving voice not only to sexually assertive womanhood but to the rock and roll-loving suburban middle class that then constituted its audience just as much small towners.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZJL4UGSbeFg\u003c/p>\n\u003cp>Gillian Welch practically invented country's more artisanal offshoot, Americana, by reinvesting folk traditions with a remarkable clarity made possible by her outsider status. Coastal children who met as New England music students, she and her partner David Rawlings entered the roots music world unhindered close inheritance, and became the ideal revivalists of the Internet age — meticulous archival explorers who built their own sound world that wasn't a copy of the past but a means of letting it permeate the present: time travel as mindfulness practice. And in indie music, Neko Case — an artist who's gone on record about not wanting to be included in gender-based lists like Turning the Tables — set a new standard for songwriting by refusing the limits of genre, verse-chorus-verse and linear narrative, setting the tone imaginative inquiries later taken up by artistes like Joanna Newsom and The Decemberists.\u003c/p>\n\u003cp>Most of these women were misunderstood in their moment of emergence, or critically lauded but still undervalued as major innovators. (Badu and Hill are the exceptions, having answered the most serious problem within the 1990s feminist movement in popular music — the drastic need for perspectives from women of color.) In an early review I now regret, I myself mistook Welch and her partner David Rawlings as purveyors of tight-collared costume drama rather than interrogators of a folk lineage that deeply needed their intervention. Gen X music fans like me, who tasted the revolution on the lips of brazen iconoclasts like Kathleen Hanna of Bikini Kill, couldn't always see how the artists taking the decade into the future weren't abandoning the sweeping project of remaking popular music in the true shape of womanhood, but proving that this endeavor would not take one shape or be ruled by one sound, as much as so many of us loved the noisiness of our own cohort. A soft voice like that of the chanteuse Dido, whose 1999 debut \u003cem>No Angel\u003c/em> became the second-best selling album of the 2000s in England, might have seem like a throwaway sweet, worth less than the meat we got from our favorite rockers or rappers. Yet that voice singing lyrics like, \"I just want to feel safe in my own skin\" feels as or more relevant now, with so many women saying the same thing within social media's danger zones.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=T6QKqFPRZSA\u003c/p>\n\u003cp>It wasn't so long ago that other cusp eras like the early 1970s or the late 1980s were also disregarded as overly commercial or adrift within pop's larger historical sweep. Eclecticism and the kind of experimentation that moves incrementally can be mistaken as a kind of watering down of more openly provocative practices. History often unfolds in arcs, not because real life is that way, but because the storytellers who write it crave the dynamic narrative pull such structures provides. Some periods end up on the down side of the circle.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But another word for \"down side\" is \"foundation.\" New sounds, new subgenres, new ways of thinking about both music and what it means to be a woman at a time when new freedoms and old evils often seemed on a collision course: All of these elements emerged at the edge of the millennium. The kids in middle and high school then, or even maybe just hitting puberty, are the artists now engaging in another round of musical revolution — challenging gender norms and genre boundaries, demanding accountability from male peers, blowing s*** up with homemade dynamite. It's from these women's knotty legacies that they cut their fuses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Women+On+The+Verge%3A+At+The+End+Of+The+%2790s%2C+A+Few+Artists+Set+The+Stage+For+A+New+Era&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n","blocks":[],"excerpt":"Though they emerged in the 1990s, the impact of musicians like Missy Elliott, Britney Spears, Gillian Welch and Lauryn Hill can be felt all over NPR's list of the greatest songs of the 21st century.","status":"publish","parent":0,"modified":1533233566,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":16,"wordCount":2527},"headData":{"title":"How Female Artists in the '90s Set the Stage For a New Pop Era | KQED","description":"Though they emerged in the 1990s, the impact of musicians like Missy Elliott, Britney Spears, Gillian Welch and Lauryn Hill can be felt all over NPR's list of the greatest songs of the 21st century.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"How Female Artists in the '90s Set the Stage For a New Pop Era","datePublished":"2018-08-01T13:37:04.000Z","dateModified":"2018-08-02T18:12:46.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"104883 https://ww2.kqed.org/pop/?p=104883","disqusUrl":"https://ww2.kqed.org/pop/2018/08/01/how-female-artists-in-the-90s-set-the-stage-for-a-new-pop-era/","disqusTitle":"How Female Artists in the '90s Set the Stage For a New Pop Era","nprByline":"Ann Powers","nprImageAgency":"Getty Images","nprStoryId":"633968702","nprApiLink":"http://api.npr.org/query?id=633968702&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/07/31/633968702/women-on-the-verge-at-the-end-of-the-90s-a-few-artists-set-the-stage-for-a-new-e?ft=nprml&f=633968702","nprRetrievedStory":"1","nprPubDate":"Tue, 31 Jul 2018 08:24:00 -0400","nprStoryDate":"Tue, 31 Jul 2018 05:00:17 -0400","nprLastModifiedDate":"Tue, 31 Jul 2018 08:24:02 -0400","path":"/pop/104883/how-female-artists-in-the-90s-set-the-stage-for-a-new-pop-era","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>On July 30, as part of our series Turning the Tables, NPR Music published a list of the \u003c/em>\u003ca href=\"https://www.npr.org/2018/07/30/627395449/turning-the-tables-the-200-greatest-songs-by-21st-century-women-part-1\">\u003cem>200 greatest songs\u003c/em>\u003c/a>\u003cem> made by women and non-binary musicians who debuted on or after Jan. 1, 2000. Today, Ann Powers examines that list's immediate forebears: artists whose careers began in the late 1990s but whose influence carried well into the 21st century.\u003c/em>\u003c/p>\n\u003cp>Here's a bit of historical hindsight: The millennium bug was real, it just didn't hit the way we thought it would. Anyone who was already staring at a screen in 1999 remembers the quiet panic over whether a \"Y2K\" computer glitch would derail the world's data-driven infrastructure systems. That didn't happen; the canned food filling doomsayers' remodeled bomb shelters presumably was thrown into casseroles for the next family holiday. Something did shift, though, in the early months of the year 2000. It happened on the pop charts: the twelve-week reign of Carlos Santana's \"Smooth,\" featuring the suave, mumbled cat-calling of late-'90s rock heartthrob Rob Thomas, finally gave way beneath the force of Christina Aguilera's \"What a Girl Wants.\"\u003c/p>\n\u003cp>\"What a Girl Wants\" is a power ballad deeply emblematic of the Y2K moment, when old forms of expression were being reshaped by the young generation immersed in the emerging era's fundamental restructuring of social and neural networks. On one hand, Aguilera's manifesto is old-fashioned: She fortified her teen pop with 1960s soul inflections, and the song's lyrics about a sensitive (and monogamous) tough guy could have come from the Maybelline-streaked lips of the Shangri-La's. But the title-bearing chorus — a list of prerequisites delivered with supreme self-assurance, leading to the central assertion, \"Whatever makes me happy sets you free\" — is purely, deeply, indicative of where cultural feminism would go in the new millennium, especially in music. The conflagrations set by women out to remake rock in the mid-1990s had calmed — many said that the spirit of movements like the feminist Riot Grrrl been co-opted by a \"girl power\" strain of capitalism that doused their radical potential. In retrospect we can see how artists like Aguilera, who emerged in the final years of the 1990s, not only touched on innovations that would become the center of millennial music, but addressed central feminist concerns of autonomy, pleasure and self-determination in complicated and wide-ranging ways, resetting the parameters for women as agents of their own expressiveness and values in ways that are still playing out now.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hpspGHeLOPE'\n title='//www.youtube.com/embed/hpspGHeLOPE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The unrest on the rock scene in the first half of the 1990s felt to many like a paradigm shift, but it was really a blast pattern: a series of eruptions that added up to real damage but which only partially reached pop's cultural foundation. Into this fractured landscape came a diverse array of artists who took on the challenge of expressing self-aware womanhood in very different ways. The messages these artists sent were mixed. Some seemed almost retrograde: the teen pop stars whose tanned-and-taut young queen was Britney Spears, and who expressed a self-confident sexuality that was hard to read as wholly self-cultivated, but which has been fully claimed as such by today's pop rebels from Taylor Swift to Lorde to Charli XCX. Others explored how the defiance of women in rock could work within less openly anarchic musical genres, refashioning old norms instead of discarding them. The Dixie Chicks epitomized this in country: The trio played into classic rural romance fantasies with songs like \"Cowboy, Take Me Away,\" but buried those same dreams with the anti-domestic violence anthem \"Goodbye Earl\" – on the same album. Today, Miranda Lambert and Kacey Musgraves perform the same balancing act. In R&B, Destiny's Child came to embody the girl-group ideal by forthrightly embodying what independence feels like for women who still strongly valued their own conventional sex appeal for men. That same tension is playing out in ever more complicated ways in the music of current groundbreakers like SZA and Kali Uchis.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Gw7gNf_9njs'\n title='//www.youtube.com/embed/Gw7gNf_9njs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Did the late 1990s represent a backlash when it came to gender, or a necessary move toward the center? There's still disagreement on this point. But most pop historians would agree to mark the turning point with the platform-sandal footprint of the Spice Girls. Glittering the landscape in 1996, the English quintet seemed to embody a flighty femininity that the time's fierce zeitgeist-rulers, like Polly Jean Harvey or Queen Latifah, actively opposed. Yet the Spice Girls' career-setting anthem \"Wannabe\" giddily leapt ahead of its time: I vividly remember hearing it for the first time in an English hotel room, bubbling out of the television like an exploding packet of Pop Rocks spit out by these cute but absolutely normal-looking girls rampaging through a fantastical nightclub. They were yelling about women's friendship! They kissed the boys and just kept on going! One of them was jogging pants and a sports bra! I was a devotee of the time's most confrontational rock and hip-hop, but there was something to this idea that women's solidarity wasn't just for the boldest and the most bohemian.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gJLIiF15wjQ'\n title='//www.youtube.com/embed/gJLIiF15wjQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Spice Girls were outliers, but not by much. Their massive popularity presaged a new wave of American teen pop also spearheaded by a tricky sweetheart: Britney Spears. Today, Britney has become a first-name-only goddess revered by dance music mavens for her willingness to take chances with experimental producers while still owning the center of the pop charts. As a feminist icon, Spears remains nearly as problematic in 2018 as she was when her authentic schoolgirl pout made her a star with \"...Baby One More Time\" twenty years earlier. She's still one of the most powerfully charismatic pop stars of our age, and deserves respect not only for being the indelible voice of a pop juggernaut, but for her longevity in the face of every major pitfall celebrity can create. Yet since a public breakdown made her an official pop tragedy in 2008, a debate has raged about whether Spears has been the prime agent in her own success, or an exploited asset, and she herself is only now emerging as an artist in ways that might clarify matters. The story of Britney Spears couldn't have been less suited to the story of women toppling male power structures that dominated the 1990s. Nonetheless, her importance as both a musical and cultural influence is undeniable. Like Elvis, Britney Spears embodies a seismic shift in American culture – not toward the cultivated rawness of rock and roll, but away from it, into an era dominated by new technologies that throw into question the very nature of the authentic. A voice in league with new technologies\u003cstrong>, \u003c/strong>Britney Spears embodies something fundamental about our time. Every artist working in the pop realm reckons with her.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C-u5WLJ9Yk4'\n title='//www.youtube.com/embed/C-u5WLJ9Yk4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The troubled iconicity of Britney Spears can overshadow just how much other women changed popular music just before and after her emergence. Before her, there was Gwen Stefani, who like every cool kid's favorite Spice Girl Mel C decked herself out in clothes as sports-functional as they were sexy, and who sang about the very limits placed upon her as a woman fronting an all-male band in No Doubt's \"Just a Girl.\" (Stefani, like a few others who debuted in the 1990s, makes our list because her solo career commenced in earnest in the 2000s.) There was Jewel, singing about addiction and the the sexual exploitation of young women in a hit, \"Who Will Save Your Soul,\" that critics dismissed as teenage flowered-notebook rambling. A year later there was Fiona Apple, who made her revelations about sexual trauma and its aftermath — her song \"Sullen Girl\" was a #metoo moment decades before its hashtag — but whose very (slender) physique seemed out of step with the time's feminist mores. \"I'm a little torn,\" sang Australian pop star Natalie Imbruglia in 1998, her baggy hoodie in the \"Torn\" video sending one message while her glam squad-enhanced eyes sent another. It was hard, sometimes, to tell whether these ingenues were sending mixed messages or signaling complexity. Something similar was happening in R&B, as the mighty TLC led a new wave of sleek-voiced women whose versions of empowerment weren't as obviously fierce as what En Vogue had embodied in 1992's \"Free Your Mind.\"\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VV1XWJN3nJo'\n title='//www.youtube.com/embed/VV1XWJN3nJo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Could women's empowerment creep into patriarchy's engine, dismantling the status quo in other ways? The girl-group renaissance ushered in by TLC and moved forward by solo artists like Brandy, Mya and Monica showed ways that this could happen. At the same time, Missy Elliott and Aaliyah were shifting the very ground of R&B, creating an intuitively feminine and de facto feminist language within it via deft samples, new ways of singing and lyrics that sometimes sounded like but never really were nonsense. These trendsetters were joined by Destiny's Child in 1998 – a group that would not only launch the career of the new millennium's musical empress, Beyoncé Knowles, but which would blend better than anyone else the classic soulwoman's mandate to talk smack to men's power with hip-hop's new approach to vocalizing and musical arrangement. (It's no surprise that Elliott is one of the producers on the group's landmark 1999 album \u003cem>The Writing's on the Wall.\u003c/em>)\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/NiF6-0UTqtc'\n title='//www.youtube.com/embed/NiF6-0UTqtc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Some women on the cusp between the wild mid-1990s and the more choreographed 2000s focused not on confrontation, but on building points of view that could open up into whole worlds. Erykah Badu and Lauryn Hill set the gold standard for this approach, their songs honoring black women's realities even when they contradicted conventional ideas of women's liberation. Jennifer Lopez, who would later go on to be a pop force as powerful as any in the early-to-mid 2000s, forged a new path in Latin crossover pop by blending the Gucci glamor of '90s hip-hop with the street-smart energy of Latin freestyle and salsa.\u003c/p>\n\u003cp>The list of genre-shakers from this period continues, including enough legends that had NPR's list spanned a logical two decades instead of starting in 2000, the Top 10 could have easily featured 1998 and 1999 releases alone. (This is one reason we made 2000 our jumping-off point for this list: We wanted our voters to keep the present day in sharp focus, uninfluenced by nostalgia for this moment and its superstars.) In country, beyond the Dixie Chicks, Shania Twain — who was much more the architect of her own stardom than more early accounts, who credited her then-husband and producer Mutt Lang, acknowledged — changed the genre itself by giving voice not only to sexually assertive womanhood but to the rock and roll-loving suburban middle class that then constituted its audience just as much small towners.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ZJL4UGSbeFg'\n title='//www.youtube.com/embed/ZJL4UGSbeFg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gillian Welch practically invented country's more artisanal offshoot, Americana, by reinvesting folk traditions with a remarkable clarity made possible by her outsider status. Coastal children who met as New England music students, she and her partner David Rawlings entered the roots music world unhindered close inheritance, and became the ideal revivalists of the Internet age — meticulous archival explorers who built their own sound world that wasn't a copy of the past but a means of letting it permeate the present: time travel as mindfulness practice. And in indie music, Neko Case — an artist who's gone on record about not wanting to be included in gender-based lists like Turning the Tables — set a new standard for songwriting by refusing the limits of genre, verse-chorus-verse and linear narrative, setting the tone imaginative inquiries later taken up by artistes like Joanna Newsom and The Decemberists.\u003c/p>\n\u003cp>Most of these women were misunderstood in their moment of emergence, or critically lauded but still undervalued as major innovators. (Badu and Hill are the exceptions, having answered the most serious problem within the 1990s feminist movement in popular music — the drastic need for perspectives from women of color.) In an early review I now regret, I myself mistook Welch and her partner David Rawlings as purveyors of tight-collared costume drama rather than interrogators of a folk lineage that deeply needed their intervention. Gen X music fans like me, who tasted the revolution on the lips of brazen iconoclasts like Kathleen Hanna of Bikini Kill, couldn't always see how the artists taking the decade into the future weren't abandoning the sweeping project of remaking popular music in the true shape of womanhood, but proving that this endeavor would not take one shape or be ruled by one sound, as much as so many of us loved the noisiness of our own cohort. A soft voice like that of the chanteuse Dido, whose 1999 debut \u003cem>No Angel\u003c/em> became the second-best selling album of the 2000s in England, might have seem like a throwaway sweet, worth less than the meat we got from our favorite rockers or rappers. Yet that voice singing lyrics like, \"I just want to feel safe in my own skin\" feels as or more relevant now, with so many women saying the same thing within social media's danger zones.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/T6QKqFPRZSA'\n title='//www.youtube.com/embed/T6QKqFPRZSA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It wasn't so long ago that other cusp eras like the early 1970s or the late 1980s were also disregarded as overly commercial or adrift within pop's larger historical sweep. Eclecticism and the kind of experimentation that moves incrementally can be mistaken as a kind of watering down of more openly provocative practices. History often unfolds in arcs, not because real life is that way, but because the storytellers who write it crave the dynamic narrative pull such structures provides. Some periods end up on the down side of the circle.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","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>But another word for \"down side\" is \"foundation.\" New sounds, new subgenres, new ways of thinking about both music and what it means to be a woman at a time when new freedoms and old evils often seemed on a collision course: All of these elements emerged at the edge of the millennium. The kids in middle and high school then, or even maybe just hitting puberty, are the artists now engaging in another round of musical revolution — challenging gender norms and genre boundaries, demanding accountability from male peers, blowing s*** up with homemade dynamite. It's from these women's knotty legacies that they cut their fuses.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Women+On+The+Verge%3A+At+The+End+Of+The+%2790s%2C+A+Few+Artists+Set+The+Stage+For+A+New+Era&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/104883/how-female-artists-in-the-90s-set-the-stage-for-a-new-pop-era","authors":["byline_pop_104883"],"categories":["pop_4"],"tags":["pop_465","pop_651","pop_1554","pop_2911","pop_2747"],"featImg":"pop_104884","label":"pop"},"pop_69726":{"type":"posts","id":"pop_69726","meta":{"index":"posts_1591205157","site":"pop","id":"69726","score":null,"sort":[1489526949000]},"guestAuthors":[],"slug":"who-needs-drugs-when-this-teletubbies-missy-elliott-mashup-exists","title":"Who Needs Drugs When This Teletubbies / Missy Elliott Mashup Exists?","publishDate":1489526949,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Staying informed about politics, world events, and other depressing things is important. But so is taking a break from all of that to indulge in weird internet ephemera. Today's distraction comes courtesy of YouTube user Robert Jones, who decided the world needed a Teletubbies / Missy Elliott mashup. Turns out he was right. Behold:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wNobZgYw9EI\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"A YouTube user decided the world needed a Teletubbies / Missy Elliott mashup. He was right. ","status":"publish","parent":0,"modified":1489527011,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":3,"wordCount":66},"headData":{"title":"Who Needs Drugs When This Teletubbies / Missy Elliott Mashup Exists? | KQED","description":"A YouTube user decided the world needed a Teletubbies / Missy Elliott mashup. He was right. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Who Needs Drugs When This Teletubbies / Missy Elliott Mashup Exists?","datePublished":"2017-03-14T21:29:09.000Z","dateModified":"2017-03-14T21:30:11.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"69726 https://ww2.kqed.org/pop/?p=69726","disqusUrl":"https://ww2.kqed.org/pop/2017/03/14/who-needs-drugs-when-this-teletubbies-missy-elliott-mashup-exists/","disqusTitle":"Who Needs Drugs When This Teletubbies / Missy Elliott Mashup Exists?","path":"/pop/69726/who-needs-drugs-when-this-teletubbies-missy-elliott-mashup-exists","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Staying informed about politics, world events, and other depressing things is important. But so is taking a break from all of that to indulge in weird internet ephemera. Today's distraction comes courtesy of YouTube user Robert Jones, who decided the world needed a Teletubbies / Missy Elliott mashup. Turns out he was right. Behold:\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/wNobZgYw9EI'\n title='//www.youtube.com/embed/wNobZgYw9EI'\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/69726/who-needs-drugs-when-this-teletubbies-missy-elliott-mashup-exists","authors":["27"],"categories":["pop_5"],"tags":["pop_2747"],"featImg":"pop_69727","label":"pop"},"pop_61109":{"type":"posts","id":"pop_61109","meta":{"index":"posts_1591205157","site":"pop","id":"61109","score":null,"sort":[1485549247000]},"guestAuthors":[],"slug":"missy-elliott-and-taylor-swift-zayn-drop-new-music-videos-as-a-reward-for-surviving-this-week","title":"Missy Elliott and Taylor Swift / ZAYN Drop New Music Videos as a Reward for Surviving This Week","publishDate":1485549247,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>It's been a hard week, to say the least. But we made it to Friday! And what better way to celebrate than watching music videos while your boss isn't looking?\u003c/p>\n\u003cp>On Thursday night, Missy Elliott sensed that we need her more than ever and dropped a brand new single \u003cem>and\u003c/em> a music video in one fell swoop. Exercise ball choreography: check! Light-up helmets: check! Diamond-encrusted tracksuit: check! Lyrics that reference \u003cem>Scandal\u003c/em>, Kanye, Bruce Lee, and Andre 3000: check, check, check, check! It's a good feeling when an artist knows exactly what you need, and delivers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=TwyPsUd9LAk\u003c/p>\n\u003cp>If you're craving even more Missy, you're in luck; a documentary about her career is coming soon:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BmZ_Vt1Lbuc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pop princess-in-exile Taylor Swift also dropped a music video last night for her \u003cem>Fifty Shades Darker\u003c/em> collaboration with ZAYN, \"I Don't Wanna Live Forever.\" A few parts are reminiscent of that time James Franco and Anne Hathaway hosted the Oscars together; ZAYN refuses to emote and manages to seem bored when destroying a hotel room, while Taylor overcompensates to make up the difference. But the video is pretty to look at, and I'm happy it exists.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7F37r50VUTQ\u003c/p>\n\u003cp>And because I love y'all, here's a music video by Pillar Point that's from a year ago, but never gets old. Life goal: vogue and duck walk through the streets and markets of Bogotá like you DGAF\u003cem>:\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BU6dAAfg-qk\u003c/p>\n\u003cp style=\"text-align: center\">Happy Friday!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\">\u003cimg class=\"aligncenter size-full wp-image-58264\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\" alt=\"britney happy gif\" width=\"450\" height=\"331\">\u003c/a>\u003c/p>\n\n","blocks":[],"excerpt":"We made it to Friday! What better way to celebrate than watching music videos while your boss isn't looking? ","status":"publish","parent":0,"modified":1485549247,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":282},"headData":{"title":"Missy Elliott and Taylor Swift / ZAYN Drop New Music Videos as a Reward for Surviving This Week | KQED","description":"We made it to Friday! What better way to celebrate than watching music videos while your boss isn't looking? ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Missy Elliott and Taylor Swift / ZAYN Drop New Music Videos as a Reward for Surviving This Week","datePublished":"2017-01-27T20:34:07.000Z","dateModified":"2017-01-27T20:34:07.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"61109 https://ww2.kqed.org/pop/?p=61109","disqusUrl":"https://ww2.kqed.org/pop/2017/01/27/missy-elliott-and-taylor-swift-zayn-drop-new-music-videos-as-a-reward-for-surviving-this-week/","disqusTitle":"Missy Elliott and Taylor Swift / ZAYN Drop New Music Videos as a Reward for Surviving This Week","path":"/pop/61109/missy-elliott-and-taylor-swift-zayn-drop-new-music-videos-as-a-reward-for-surviving-this-week","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's been a hard week, to say the least. But we made it to Friday! And what better way to celebrate than watching music videos while your boss isn't looking?\u003c/p>\n\u003cp>On Thursday night, Missy Elliott sensed that we need her more than ever and dropped a brand new single \u003cem>and\u003c/em> a music video in one fell swoop. Exercise ball choreography: check! Light-up helmets: check! Diamond-encrusted tracksuit: check! Lyrics that reference \u003cem>Scandal\u003c/em>, Kanye, Bruce Lee, and Andre 3000: check, check, check, check! It's a good feeling when an artist knows exactly what you need, and delivers.\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/TwyPsUd9LAk'\n title='//www.youtube.com/embed/TwyPsUd9LAk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you're craving even more Missy, you're in luck; a documentary about her career is coming soon:\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/BmZ_Vt1Lbuc'\n title='//www.youtube.com/embed/BmZ_Vt1Lbuc'\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>Pop princess-in-exile Taylor Swift also dropped a music video last night for her \u003cem>Fifty Shades Darker\u003c/em> collaboration with ZAYN, \"I Don't Wanna Live Forever.\" A few parts are reminiscent of that time James Franco and Anne Hathaway hosted the Oscars together; ZAYN refuses to emote and manages to seem bored when destroying a hotel room, while Taylor overcompensates to make up the difference. But the video is pretty to look at, and I'm happy it exists.\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/7F37r50VUTQ'\n title='//www.youtube.com/embed/7F37r50VUTQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And because I love y'all, here's a music video by Pillar Point that's from a year ago, but never gets old. Life goal: vogue and duck walk through the streets and markets of Bogotá like you DGAF\u003cem>:\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/BU6dAAfg-qk'\n title='//www.youtube.com/embed/BU6dAAfg-qk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">Happy Friday!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\">\u003cimg class=\"aligncenter size-full wp-image-58264\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/01/403075933.gif\" alt=\"britney happy gif\" width=\"450\" height=\"331\">\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/61109/missy-elliott-and-taylor-swift-zayn-drop-new-music-videos-as-a-reward-for-surviving-this-week","authors":["27"],"categories":["pop_4"],"tags":["pop_2747","pop_357","pop_287"],"featImg":"pop_61120","label":"pop"},"pop_30850":{"type":"posts","id":"pop_30850","meta":{"index":"posts_1591205157","site":"pop","id":"30850","score":null,"sort":[1469116056000]},"guestAuthors":[],"slug":"heres-michelle-obama-and-missy-elliott-doing-carpool-karaoke-with-james-corden","title":"Here's Michelle Obama and Missy Elliott Doing Carpool Karaoke with James Corden","publishDate":1469116056,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>...AKA, exactly what you needed this morning.\u003c/p>\n\u003cp>Discussed: Stevie Wonder, Snapchat, \u003cem>Lemonade\u003c/em>, what the First Lady will and won't miss about the White House, and more. Happy Thursday!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ln3wAdRAim4\u003c/p>\n\u003cp>How James Corden was able to get through this encounter without peeing his pants is, of course, another question entirely. Will report back when we know more.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Haven't you always wanted to watch the First Lady do the 'Single Ladies' dance in the passenger seat of a minivan?","status":"publish","parent":0,"modified":1469125361,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":69},"headData":{"title":"Here's Michelle Obama and Missy Elliott Doing Carpool Karaoke with James Corden | KQED","description":"Haven't you always wanted to watch the First Lady do the 'Single Ladies' dance in the passenger seat of a minivan?","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Here's Michelle Obama and Missy Elliott Doing Carpool Karaoke with James Corden","datePublished":"2016-07-21T15:47:36.000Z","dateModified":"2016-07-21T18:22:41.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"30850 http://ww2.kqed.org/pop/?p=30850","disqusUrl":"https://ww2.kqed.org/pop/2016/07/21/heres-michelle-obama-and-missy-elliott-doing-carpool-karaoke-with-james-corden/","disqusTitle":"Here's Michelle Obama and Missy Elliott Doing Carpool Karaoke with James Corden","path":"/pop/30850/heres-michelle-obama-and-missy-elliott-doing-carpool-karaoke-with-james-corden","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>...AKA, exactly what you needed this morning.\u003c/p>\n\u003cp>Discussed: Stevie Wonder, Snapchat, \u003cem>Lemonade\u003c/em>, what the First Lady will and won't miss about the White House, and more. Happy Thursday!\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/ln3wAdRAim4'\n title='//www.youtube.com/embed/ln3wAdRAim4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How James Corden was able to get through this encounter without peeing his pants is, of course, another question entirely. Will report back when we know more.\u003c/p>\n\u003cp> \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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/30850/heres-michelle-obama-and-missy-elliott-doing-carpool-karaoke-with-james-corden","authors":["7237"],"categories":["pop_7"],"tags":["pop_2886","pop_2747","pop_2849"],"featImg":"pop_30854","label":"pop"},"pop_27644":{"type":"posts","id":"pop_27644","meta":{"index":"posts_1591205157","site":"pop","id":"27644","score":null,"sort":[1466719105000]},"guestAuthors":[],"slug":"if-you-hate-music-and-yourself-definitely-listen-to-the-new-ghostbusters-theme-by-fall-out-boy-and-missy-elliott","title":"If You Hate Music and Yourself, Definitely Listen to the New 'Ghostbusters' Theme By Fall Out Boy and Missy Elliott","publishDate":1466719105,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>In my heart of hearts, I knew this was coming.\u003c/p>\n\u003cp>It was a few weeks ago now that I became vaguely aware, in that glazed-over internet osmosis way, of a new \u003cem>Ghostbusters\u003c/em> theme that had a 100 percent chance of upsetting me. Some stray \"trending\" story on Facebook, I believe, included the words \"Fall Out Boy and Missy Elliott to record \u003cem>Ghostbusters\u003c/em> theme song.\"\u003c/p>\n\u003cp>Like most trending Facebook stories -- let's see, mine currently include \"Cheetos: Frito-Lay Holds Contest To Find Uniquely-Shaped Snack Foods\" and \"Shaquille O'Neal: Ex-NBA Player Shares Image With His Face Edited Onto Dwayne Wade's Nude Body\" -- my eyes glossed over it, unable or unwilling to fully digest the information it contained.\u003c/p>\n\u003cp>But even if I had fully internalized those words, there's just no way they could have prepared me for this.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2AQ44nPrRTM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Okay, so some context: The \u003cem>Ghostbusters\u003c/em> remake, out July 15 and starring four very funny women in the place of the original's four funny men, has seemingly been plagued by controversy from the get-go. Some of this controversy is extremely stupid: A real contingent of \u003ca href=\"https://www.buzzfeed.com/danielkibblesmith/who-you-gonna-call-misandry-busters?utm_term=.jgkJoEpdDD#.lgp5M6aeLL\" target=\"_blank\">men are super mad that the main characters are no longer men\u003c/a>.\u003c/p>\n\u003cp>Some of it is less stupid: After the first trailer was released, it was difficult to ignore the fact that, out of the four Ghostbuster characters, the three white ones are apparently scientists -- whereas \u003ca href=\"http://www.papermag.com/leslie-jones-responds-to-criticism-of-her-racist-ghostbusters-role-1648137736.html\" target=\"_blank\">the character played by Leslie Jones\u003c/a>, the only black Ghostbuster, is a \"sassy\" working-class woman with a job at the MTA.\u003c/p>\n\u003cp>With three weeks left before the movie hits theaters, however, \u003cem>Ghostbusters\u003c/em> has since outdone itself. \"Ghostbusters (I'm Not Afraid)\" is now officially The Worst Thing About \u003cem>Ghostbusters\u003c/em>. It might even be the worst thing about official motion picture soundtracks, which is \u003ca href=\"https://www.amazon.com/Walk-Remember-Various-Artists/dp/B00005UT2K\" target=\"_blank\">really saying something, considering\u003c/a>. Gone are the simple, cheesy, Huey Lewis-shaped synth notes of our youth, and in their place is something that sounds a bit like robots trying to recreate '80s music in a stark underground torture chamber. Even if the schlocky, over-the-top guitar and distorted vocals are supposed to be a nod to the decade from whence the original tune came, calling this cheap-sounding remake an homage to Ray Parker Jr.'s Academy Award-nominated original is like calling \u003ca href=\"http://www.wired.com/2016/04/snapchat-bob-marley-filter/\" target=\"_blank\">Snapchat's 4/20 blackface\u003c/a> \u003ca href=\"http://www.wired.com/2016/04/snapchat-bob-marley-filter/\" target=\"_blank\">filter \u003c/a>a touching and well-executed tribute to Bob Marley.\u003c/p>\n\u003cp>Of course, I expected as much from Fall Out Boy. We all expected as much from Fall Out Boy! The best thing Fall Out Boy has ever done is an 11-year-old chewed-up Laffy Taffy gob of a song that should only ever be consumed alongside \u003ca href=\"https://www.youtube.com/watch?v=kvx0ncTxxL0\" target=\"_blank\">this YouTube video\u003c/a>.\u003c/p>\n\u003cp>But Missy? \u003cem>Missy\u003c/em>. Missy Elliott, if you're a member of the unlucky quadrant of society who only learned about Missy Elliott when she handily upstaged Katy Perry during the latter's Super Bowl Halftime Show, is more than a legend. She's a queen, and she can do whatever she wants. She's been \u003ca href=\"http://www.cbsnews.com/news/graves-disease-diagnosis-for-missy-elliot-came-after-rapper-almost-wrecked-car/\" target=\"_blank\">sick in recent years\u003c/a>, so she was out of the spotlight for a bit, but she also gave a presentation with Michelle Obama and Queen Latifah at this year's SXSW, in a \u003ca href=\"http://www.vulture.com/2016/03/michelle-obama-queen-latifah-missy-elliott-shine-at-sxsw.html\" target=\"_blank\">great example of shine theory at work\u003c/a>. She's still among the most innovative and talented rappers alive, and -- you know what? I'm getting too emotional. MISSY BREAK.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hHcyJPTTn9w\u003c/p>\n\u003cp>Here's the thing: The studio executives tasked with selling a movie whose driving premise is bankable nostalgia know \u003cem>exactly\u003c/em> how I feel about Missy Elliott. They did their research. Combining Missy Elliott and Fall Out Boy with \u003cem>Ghostbusters \u003c/em>as a branding strategy is essentially jolting a BuzzFeed listicle of Things Only Kids Born In the '80s Will Understand with a taser until it springs to cinematic life, a lumbering, self-aware marketing Frankenstein that feeds on the dollars of #Millennials and reeks of summertime sadness. So it makes sense that calling this track \"forced\" is perhaps the understatement of the year. None of the parties involved sound even \u003cem>remotely\u003c/em> like they want to be here -- and who can blame them?\u003c/p>\n\u003cp>All of which is to say, Missy: You're better than this. Making a terrible song with Fall Out Boy for a soundtrack for the remake of a blockbuster is a demonstration of the \u003cem>opposite\u003c/em> of shine theory. You now have the scent of Fall Out Boy all over you, and I'll get past that, but it's going to be a slow and difficult process. Which hurts, because Missy: You didn't have to do this. You don't have to do this. Please don't do it again.\u003c/p>\n\u003cp>But since you did, I hope you did it for a\u003cem> really\u003c/em> nice paycheck.\u003c/p>\n\u003cp>\u003cem>[Ed. note: I could not actually make it all the way through \"Ghostbusters (I'm Not Afraid),\" and chose instead just to watch more old-school Missy Elliott videos (see below). If the last 45 seconds of said theme song somehow redeem the entire thing, someone please let me know.]\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=opkRF3UZSJw\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kYKI8tAELXY\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FPoKiGQzbSQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n","blocks":[],"excerpt":"Missy, if you can hear us: You didn't have to do this. ","status":"publish","parent":0,"modified":1466725524,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":15,"wordCount":882},"headData":{"title":"If You Hate Music and Yourself, Definitely Listen to the New 'Ghostbusters' Theme By Fall Out Boy and Missy Elliott | KQED","description":"Missy, if you can hear us: You didn't have to do this. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"If You Hate Music and Yourself, Definitely Listen to the New 'Ghostbusters' Theme By Fall Out Boy and Missy Elliott","datePublished":"2016-06-23T21:58:25.000Z","dateModified":"2016-06-23T23:45:24.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"27644 http://ww2.kqed.org/pop/?p=27644","disqusUrl":"https://ww2.kqed.org/pop/2016/06/23/if-you-hate-music-and-yourself-definitely-listen-to-the-new-ghostbusters-theme-by-fall-out-boy-and-missy-elliott/","disqusTitle":"If You Hate Music and Yourself, Definitely Listen to the New 'Ghostbusters' Theme By Fall Out Boy and Missy Elliott","path":"/pop/27644/if-you-hate-music-and-yourself-definitely-listen-to-the-new-ghostbusters-theme-by-fall-out-boy-and-missy-elliott","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>In my heart of hearts, I knew this was coming.\u003c/p>\n\u003cp>It was a few weeks ago now that I became vaguely aware, in that glazed-over internet osmosis way, of a new \u003cem>Ghostbusters\u003c/em> theme that had a 100 percent chance of upsetting me. Some stray \"trending\" story on Facebook, I believe, included the words \"Fall Out Boy and Missy Elliott to record \u003cem>Ghostbusters\u003c/em> theme song.\"\u003c/p>\n\u003cp>Like most trending Facebook stories -- let's see, mine currently include \"Cheetos: Frito-Lay Holds Contest To Find Uniquely-Shaped Snack Foods\" and \"Shaquille O'Neal: Ex-NBA Player Shares Image With His Face Edited Onto Dwayne Wade's Nude Body\" -- my eyes glossed over it, unable or unwilling to fully digest the information it contained.\u003c/p>\n\u003cp>But even if I had fully internalized those words, there's just no way they could have prepared me for this.\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/2AQ44nPrRTM'\n title='//www.youtube.com/embed/2AQ44nPrRTM'\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>Okay, so some context: The \u003cem>Ghostbusters\u003c/em> remake, out July 15 and starring four very funny women in the place of the original's four funny men, has seemingly been plagued by controversy from the get-go. Some of this controversy is extremely stupid: A real contingent of \u003ca href=\"https://www.buzzfeed.com/danielkibblesmith/who-you-gonna-call-misandry-busters?utm_term=.jgkJoEpdDD#.lgp5M6aeLL\" target=\"_blank\">men are super mad that the main characters are no longer men\u003c/a>.\u003c/p>\n\u003cp>Some of it is less stupid: After the first trailer was released, it was difficult to ignore the fact that, out of the four Ghostbuster characters, the three white ones are apparently scientists -- whereas \u003ca href=\"http://www.papermag.com/leslie-jones-responds-to-criticism-of-her-racist-ghostbusters-role-1648137736.html\" target=\"_blank\">the character played by Leslie Jones\u003c/a>, the only black Ghostbuster, is a \"sassy\" working-class woman with a job at the MTA.\u003c/p>\n\u003cp>With three weeks left before the movie hits theaters, however, \u003cem>Ghostbusters\u003c/em> has since outdone itself. \"Ghostbusters (I'm Not Afraid)\" is now officially The Worst Thing About \u003cem>Ghostbusters\u003c/em>. It might even be the worst thing about official motion picture soundtracks, which is \u003ca href=\"https://www.amazon.com/Walk-Remember-Various-Artists/dp/B00005UT2K\" target=\"_blank\">really saying something, considering\u003c/a>. Gone are the simple, cheesy, Huey Lewis-shaped synth notes of our youth, and in their place is something that sounds a bit like robots trying to recreate '80s music in a stark underground torture chamber. Even if the schlocky, over-the-top guitar and distorted vocals are supposed to be a nod to the decade from whence the original tune came, calling this cheap-sounding remake an homage to Ray Parker Jr.'s Academy Award-nominated original is like calling \u003ca href=\"http://www.wired.com/2016/04/snapchat-bob-marley-filter/\" target=\"_blank\">Snapchat's 4/20 blackface\u003c/a> \u003ca href=\"http://www.wired.com/2016/04/snapchat-bob-marley-filter/\" target=\"_blank\">filter \u003c/a>a touching and well-executed tribute to Bob Marley.\u003c/p>\n\u003cp>Of course, I expected as much from Fall Out Boy. We all expected as much from Fall Out Boy! The best thing Fall Out Boy has ever done is an 11-year-old chewed-up Laffy Taffy gob of a song that should only ever be consumed alongside \u003ca href=\"https://www.youtube.com/watch?v=kvx0ncTxxL0\" target=\"_blank\">this YouTube video\u003c/a>.\u003c/p>\n\u003cp>But Missy? \u003cem>Missy\u003c/em>. Missy Elliott, if you're a member of the unlucky quadrant of society who only learned about Missy Elliott when she handily upstaged Katy Perry during the latter's Super Bowl Halftime Show, is more than a legend. She's a queen, and she can do whatever she wants. She's been \u003ca href=\"http://www.cbsnews.com/news/graves-disease-diagnosis-for-missy-elliot-came-after-rapper-almost-wrecked-car/\" target=\"_blank\">sick in recent years\u003c/a>, so she was out of the spotlight for a bit, but she also gave a presentation with Michelle Obama and Queen Latifah at this year's SXSW, in a \u003ca href=\"http://www.vulture.com/2016/03/michelle-obama-queen-latifah-missy-elliott-shine-at-sxsw.html\" target=\"_blank\">great example of shine theory at work\u003c/a>. She's still among the most innovative and talented rappers alive, and -- you know what? I'm getting too emotional. MISSY BREAK.\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/hHcyJPTTn9w'\n title='//www.youtube.com/embed/hHcyJPTTn9w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Here's the thing: The studio executives tasked with selling a movie whose driving premise is bankable nostalgia know \u003cem>exactly\u003c/em> how I feel about Missy Elliott. They did their research. Combining Missy Elliott and Fall Out Boy with \u003cem>Ghostbusters \u003c/em>as a branding strategy is essentially jolting a BuzzFeed listicle of Things Only Kids Born In the '80s Will Understand with a taser until it springs to cinematic life, a lumbering, self-aware marketing Frankenstein that feeds on the dollars of #Millennials and reeks of summertime sadness. So it makes sense that calling this track \"forced\" is perhaps the understatement of the year. None of the parties involved sound even \u003cem>remotely\u003c/em> like they want to be here -- and who can blame them?\u003c/p>\n\u003cp>All of which is to say, Missy: You're better than this. Making a terrible song with Fall Out Boy for a soundtrack for the remake of a blockbuster is a demonstration of the \u003cem>opposite\u003c/em> of shine theory. You now have the scent of Fall Out Boy all over you, and I'll get past that, but it's going to be a slow and difficult process. Which hurts, because Missy: You didn't have to do this. You don't have to do this. Please don't do it again.\u003c/p>\n\u003cp>But since you did, I hope you did it for a\u003cem> really\u003c/em> nice paycheck.\u003c/p>\n\u003cp>\u003cem>[Ed. note: I could not actually make it all the way through \"Ghostbusters (I'm Not Afraid),\" and chose instead just to watch more old-school Missy Elliott videos (see below). If the last 45 seconds of said theme song somehow redeem the entire thing, someone please let me know.]\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/opkRF3UZSJw'\n title='//www.youtube.com/embed/opkRF3UZSJw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=kYKI8tAELXY\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/FPoKiGQzbSQ'\n title='//www.youtube.com/embed/FPoKiGQzbSQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/27644/if-you-hate-music-and-yourself-definitely-listen-to-the-new-ghostbusters-theme-by-fall-out-boy-and-missy-elliott","authors":["7237"],"categories":["pop_51","pop_4"],"tags":["pop_2747","pop_2849"],"featImg":"pop_27647","label":"pop"},"pop_19000":{"type":"posts","id":"pop_19000","meta":{"index":"posts_1591205157","site":"pop","id":"19000","score":null,"sort":[1447355662000]},"guestAuthors":[],"slug":"this-missy-elliott-video-is-the-comeback-weve-been-waiting-for","title":"This Missy Elliott Video Is The Comeback We've Been Waiting For","publishDate":1447355662,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>[contextly_sidebar id=\"OynpLqxH6s4nKB3y0iV3jdM9f9WkuQLq\"]Remember that uplifting feeling that overcame your whole body when \u003ca href=\"http://ww2.kqed.org/pop/2015/02/02/watch-missy-elliotts-i-mean-katy-perrys-super-bowl-halftime-show/\" target=\"_blank\">Missy Elliott cameo'd\u003c/a> during Katy Perry's Super Bowl halftime gig and stole the whole damn show? Well, multiply that by 10 and you're in the ballpark of what you can expect to feel while watching the music video for \"WTF,\" her comeback single! There are a ton of sick outfit changes, bejeweled lips, children dancing, those two hot French twins that hang out with Beyonce and even marionettes! You know what, just watch it; you're wasting time:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KO_3Qgib6RQ\u003c/p>\n\u003cp style=\"text-align: center\">We are all this woman:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/giphy-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-19001\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/giphy-1.gif\" alt=\"yaaasss\" width=\"245\" height=\"245\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1-75x75.gif 75w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Get ready to feel a lot of things!","status":"publish","parent":0,"modified":1447355662,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":4,"wordCount":109},"headData":{"title":"This Missy Elliott Video Is The Comeback We've Been Waiting For | KQED","description":"Get ready to feel a lot of things!","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"This Missy Elliott Video Is The Comeback We've Been Waiting For","datePublished":"2015-11-12T19:14:22.000Z","dateModified":"2015-11-12T19:14:22.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"19000 http://ww2.kqed.org/pop/?p=19000","disqusUrl":"https://ww2.kqed.org/pop/2015/11/12/this-missy-elliott-video-is-the-comeback-weve-been-waiting-for/","disqusTitle":"This Missy Elliott Video Is The Comeback We've Been Waiting For","customPermalink":"this-missy-elliott-wtf-where-they-from-video-is-the-comeback","path":"/pop/19000/this-missy-elliott-video-is-the-comeback-weve-been-waiting-for","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Remember that uplifting feeling that overcame your whole body when \u003ca href=\"http://ww2.kqed.org/pop/2015/02/02/watch-missy-elliotts-i-mean-katy-perrys-super-bowl-halftime-show/\" target=\"_blank\">Missy Elliott cameo'd\u003c/a> during Katy Perry's Super Bowl halftime gig and stole the whole damn show? Well, multiply that by 10 and you're in the ballpark of what you can expect to feel while watching the music video for \"WTF,\" her comeback single! There are a ton of sick outfit changes, bejeweled lips, children dancing, those two hot French twins that hang out with Beyonce and even marionettes! You know what, just watch it; you're wasting time:\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/KO_3Qgib6RQ'\n title='//www.youtube.com/embed/KO_3Qgib6RQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp style=\"text-align: center\">We are all this woman:\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/giphy-1.gif\">\u003cimg class=\"aligncenter size-full wp-image-19001\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/11/giphy-1.gif\" alt=\"yaaasss\" width=\"245\" height=\"245\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1.gif 245w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1-32x32.gif 32w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1-64x64.gif 64w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1-96x96.gif 96w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1-128x128.gif 128w, https://ww2.kqed.org/app/uploads/sites/12/2015/11/giphy-1-75x75.gif 75w\" sizes=\"(max-width: 245px) 100vw, 245px\">\u003c/a>\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>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/pop/19000/this-missy-elliott-video-is-the-comeback-weve-been-waiting-for","authors":["27"],"categories":["pop_4"],"tags":["pop_2747"],"featImg":"pop_19004","label":"pop"},"pop_15075":{"type":"posts","id":"pop_15075","meta":{"index":"posts_1591205157","site":"pop","id":"15075","score":null,"sort":[1423784721000]},"guestAuthors":[],"slug":"girl-from-all-those-missy-elliott-videos-releases-amazing-missy-tribute","title":"Girl from All Those Missy Elliott Videos Releases Amazing Missy Tribute","publishDate":1423784721,"format":"standard","headTitle":"KQED Pop | KQED Arts","labelTerm":{"site":"pop"},"content":"\u003cp>Because of \u003ca href=\"http://ww2.kqed.org/pop/2015/02/02/watch-missy-elliotts-i-mean-katy-perrys-super-bowl-halftime-show/\">the Super Bowl halftime show\u003c/a>, you've probably listened to more Missy Elliott songs in the past two weeks than you have in the past two years. You've probably also revisited some of her music videos and wondered, \u003cem>Hey, whatever happened to that little girl who's killing that choreo?\u003c/em> Now, you have your answer!\u003c/p>\n\u003cp>Alyson Stoner is 21 and still dancing and acting (you can watch her in movies like \u003cem>Step Up!\u003c/em> and \u003cem>Cheaper by the Dozen\u003c/em>). When Missy took the halftime stage, fans noticed something was missing. \"I literally received thousands of twitter shout outs and texts about why I wasn’t performing with Missy,\" Stoner said. All the attention inspired Alyson to reunite some of Missy's former dancers for a tribute video. Thanks, Twitter!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bEOo311_yts\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-15079\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2015/02/Alyson-Stoner-Missy-Elliott-Gif.gif\" alt=\"Alyson-Stoner-Missy-Elliott-Gif\" width=\"500\" height=\"245\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"13 years later, she's still working it (I need a glass of water).\r\n","status":"publish","parent":0,"modified":1423785266,"stats":{"hasAudio":false,"hasVideo":true,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":5,"wordCount":141},"headData":{"title":"Girl from All Those Missy Elliott Videos Releases Amazing Missy Tribute | KQED","description":"13 years later, she's still working it (I need a glass of water).\r\n","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Girl from All Those Missy Elliott Videos Releases Amazing Missy Tribute","datePublished":"2015-02-12T23:45:21.000Z","dateModified":"2015-02-12T23:54:26.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"disqusIdentifier":"15075 http://ww2.kqed.org/pop/?p=15075","disqusUrl":"https://ww2.kqed.org/pop/2015/02/12/girl-from-all-those-missy-elliott-videos-releases-amazing-missy-tribute/","disqusTitle":"Girl from All Those Missy Elliott Videos Releases Amazing Missy Tribute","path":"/pop/15075/girl-from-all-those-missy-elliott-videos-releases-amazing-missy-tribute","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Because of \u003ca href=\"http://ww2.kqed.org/pop/2015/02/02/watch-missy-elliotts-i-mean-katy-perrys-super-bowl-halftime-show/\">the Super Bowl halftime show\u003c/a>, you've probably listened to more Missy Elliott songs in the past two weeks than you have in the past two years. You've probably also revisited some of her music videos and wondered, \u003cem>Hey, whatever happened to that little girl who's killing that choreo?\u003c/em> Now, you have your answer!\u003c/p>\n\u003cp>Alyson Stoner is 21 and still dancing and acting (you can watch her in movies like \u003cem>Step Up!\u003c/em> and \u003cem>Cheaper by the Dozen\u003c/em>). When Missy took the halftime stage, fans noticed something was missing. \"I literally received thousands of twitter shout outs and texts about why I wasn’t performing with Missy,\" Stoner said. All the attention inspired Alyson to reunite some of Missy's former dancers for a tribute video. 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