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"title": "Ani DiFranco Relives Her Indie Rock Rise: 'I Wanted A Different Kind Of Power'",
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"content": "\u003cfigure id=\"attachment_13856809\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/nowwallsani-800x1208.jpg\" alt=\"Cover of Ani DiFranco's new memoir 'No Walls and the Recurring Dream.'\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-795x1200.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani.jpg 1357w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Ani DiFranco’s new memoir ‘No Walls and the Recurring Dream.’ \u003ccite>(Courtesy of the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/14966211/ani-difranco\">Ani DiFranco\u003c/a> grew up in a house with no walls. “It was like a brick carriage house there. Inside there was just one room on the first floor and one room on the second floor. So it was an intimate house for a non-intimate family.”\u003c/p>\n\u003cp>DiFranco’s deep craving for intimacy led her to writing music. And the things DiFranco wanted to write were exactly what a generation of women coming of age in the ’90s wanted to hear. DiFranco relives those early years in her new memoir, \u003cem>No Walls and the Recurring Dream.\u003c/em>\u003c/p>\n\u003cp>During her adolescent years, DiFranco remembers searching for connection and intimacy she never felt at home. “As a teenager, I went out into the world armed with my guitar and my little songs and my aggressive eye contact and I was looking to connect with somebody else deeply,” she says.\u003c/p>\n\u003cp>At one point in the memoir, DiFranco reminisces on shaving her head at 18. “It’s funny to think back,” she says. “I shaved it all off because I didn’t want to be a sex object and there I was playing in bars you know mostly surrounded by men with drinks in their hands. And I was getting attention for not the right reasons. I wanted a different kind of power, I think.”\u003c/p>\n\u003cp>DiFranco remembers the power of shaving her head was polarizing. The catcalling from men stopped, but so did casual pleasantries with strangers. The musician recalls people thinking she was a skinhead or punk ready to vandalize property.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People were visibly intimidated,” DiFranco says, “which, again: Here’s a girl moving through the world craving eye contact, craving human connection, even fleeting connection [from] passersby, you know. And so, the fact that people no longer even would look me in the eye … It really weighed on me and it started to accumulate in my chest. Even people who are politely nervous, just eventually enraged me.”\u003c/p>\n\u003cp>DiFranco poured that rage into her songwriting. As she wrote in her memoir, DiFranco struggled with making music and once it was made, she hated the idea of selling it. She remembers feeling repulsed by the idea of having to sell her tapes.\u003c/p>\n\u003cp>“I guess people were right in that I was kind of a punk kid. I was anti-everything, I was anti-capitalist,” DiFranco says.\u003c/p>\n\u003cp>Though she goes through many personal and professional trials in the book, DiFranco says her sheer determination always outweighed her self-doubt. “Youth is a powerful drug, you know? I was on a mission. So, yeah, I wasn’t gonna let anything stop me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ani DiFranco will discuss her new memoir on Tuesday, May 14 at First Church Berkeley as part of Berkeley Arts & Letters. Details \u003ca href=\"https://nowalls.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People were visibly intimidated,” DiFranco says, “which, again: Here’s a girl moving through the world craving eye contact, craving human connection, even fleeting connection [from] passersby, you know. And so, the fact that people no longer even would look me in the eye … It really weighed on me and it started to accumulate in my chest. Even people who are politely nervous, just eventually enraged me.”\u003c/p>\n\u003cp>DiFranco poured that rage into her songwriting. As she wrote in her memoir, DiFranco struggled with making music and once it was made, she hated the idea of selling it. She remembers feeling repulsed by the idea of having to sell her tapes.\u003c/p>\n\u003cp>“I guess people were right in that I was kind of a punk kid. I was anti-everything, I was anti-capitalist,” DiFranco says.\u003c/p>\n\u003cp>Though she goes through many personal and professional trials in the book, DiFranco says her sheer determination always outweighed her self-doubt. “Youth is a powerful drug, you know? I was on a mission. So, yeah, I wasn’t gonna let anything stop me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ani DiFranco will discuss her new memoir on Tuesday, May 14 at First Church Berkeley as part of Berkeley Arts & Letters. Details \u003ca href=\"https://nowalls.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comedian Dave Chappelle will be awarded the Mark Twain Prize for American Humor this year, the John F. Kennedy Center for the Performing Arts has announced.\u003c/p>\n\u003cp>The stand-up comic, actor, producer and director joins a prestigious group of comedians to receive the award. Among them are Carol Burnett, Whoopi Goldberg, Bob Newhart and Richard Pryor — who won the very first Twain Prize in 1998.\u003c/p>\n\u003cp>“Dave is one of the truly original voices in comedy — the definition of a creative artist,” Matthew Winer, director of comedy and special programming at the Kennedy Center, said to NPR. “He’s a modern day sociologist, skewering stereotypes, defying boundaries and showing us that laughter can be a way to contextualize issues that we struggle to understand.”\u003c/p>\n\u003cp>“Dave is the embodiment of Mark Twain’s observation that ‘against the assault of humor, nothing can stand,’ ” Deborah F. Rutter, president of the Kennedy Center, said in a prepared statement. “For three decades, Dave has challenged us to see hot-button issues from his entirely original yet relatable perspective.”\u003c/p>\n\u003cp>The prize will be awarded at a Kennedy Center gala on Oct. 27, 2019, and a TV special of the evening will be broadcast on PBS stations Jan. 6, 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edgy, politically incorrect and occasionally scatological, Chappelle’s career skyrocketed with three seasons of \u003cem>Chappelle’s Show\u003c/em> (2003-2006), one of the most popular comedy shows on TV. Co-created \u003ca href=\"https://www.npr.org/2017/02/23/516739139/chappelles-show-co-creator-moves-into-the-limelight-with-3-mics\">with Neal Brennan\u003c/a>, the sketches on Comedy Central spared no one.\u003c/p>\n\u003cp>Chappelle’s impersonations of \u003ca href=\"http://www.cc.com/video-clips/e748yj/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---prince---uncensored\">Prince\u003c/a>, \u003ca href=\"http://www.cc.com/video-clips/iuegla/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---rick-james-pt--1---uncensored\">Rick James\u003c/a> and \u003ca href=\"http://www.cc.com/video-clips/m7u3o1/chappelle-s-show-a-moment-in-the-life-of-lil-jon---injury\">Lil Jon\u003c/a> are now legendary. In a sketch that stretched the imagination and boundaries of racial satire, Chappelle \u003ca href=\"https://www.youtube.com/watch?v=JBC-9k3y1ew\">played Clayton Bigsby\u003c/a>, a blind white supremacist who doesn’t know he’s black.\u003c/p>\n\u003cp>It was “revolutionary,” must-see TV, \u003ca href=\"http://grantland.com/features/a-battle-best-chappelle-show-sketch-ever/\">wrote Rembert Browne\u003c/a>, who was a teenager when \u003cem>Chappelle’s Show\u003c/em> aired: “It was unacceptable to show up to high school the next day without knowing all the material from the previous night’s episode.”\u003c/p>\n\u003cp>\u003cem>Chappelle’s Show\u003c/em> earned three Emmy nominations and became a bestseller on DVD. But after signing a reported $50 million deal for Seasons 3 and 4, Chappelle famously and abruptly disappeared from entertainment altogether. He spent two weeks in South Africa and then moved to Yellow Springs, Ohio, with his family.\u003c/p>\n\u003cp>“I felt in a lot of instances I was deliberately being put through stress because when you’re a guy who generates money, people have a vested interest in controlling you,” \u003ca href=\"https://www.today.com/popculture/chappelle-tells-oprah-i-wasn-t-crazy-wbna11163322\">he told Oprah Winfrey\u003c/a>.\u003c/p>\n\u003cp>Chappelle eventually returned to stand-up. He signed a multimillion-dollar deal with Netflix. Last year, two of his Netflix comedy specials — \u003cem>Equanimity\u003c/em> and \u003cem>The Bird Revelation\u003c/em> — won a Grammy Award (packaged together) for best comedy album. \u003cem>Equanimity \u003c/em>also won an Emmy for outstanding variety special.\u003c/p>\n\u003cp>His latest specials address hot-button issues such as race, class, gender, President Trump and the #MeToo movement. Chappelle compared the current women’s movement to African Americans’ long struggle for equal rights, and even suggests South Africa’s Truth and Reconciliation Commission as a model for inspiration.\u003c/p>\n\u003cp>Not all of the jokes in his recent specials have landed well with all audiences. Critics have repeatedly objected to his \u003ca href=\"https://medium.com/@tylergfoster/i-wrote-dave-chappelle-a-letter-about-his-terrible-transgender-jokes-55478970b9f\">jokes about people who are transgender\u003c/a> and the \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/television/dave-chappelle-netflix-special.html\">#MeToo movement\u003c/a>.\u003c/p>\n\u003cp>Setting aside his fondness for dirty and transgressive material, Chappelle is socially conscious to his core. His father was a professor at Antioch College. His mother taught at Howard University. For high school, Chappelle attended the Duke Ellington School of the Arts in Washington.\u003c/p>\n\u003cp>“Dave is a hometown hero here in Washington, D.C., where he grew up,” Rutter also said. “We’re so looking forward to welcoming him back home [at the Kennedy Center].”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/13/501883403/snl-reflects-a-nations-emotional-tone-in-post-election-episode\">His appearance on\u003c/a> \u003cem>Saturday Night Live\u003c/em>, days after Donald Trump won the 2016 presidential election, also received an Emmy. His opening monologue took jabs at the president-elect, and skewered black and white stereotypes, before turning more serious at the end, as he reflected on a BET party he’d attended at the White House during the Obama administration.\u003c/p>\n\u003cp>“So, in that spirit, I’m wishing Donald Trump luck,” Chappelle said. “And I’m going to give him a chance, and we, the historically disenfranchised, demand that he give us one too.” He has, however, \u003ca href=\"https://thegrapevine.theroot.com/dave-chappelle-apologizes-for-snl-monologue-saying-to-1795253351\">since apologized for that remark.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/–IS0XiNdpk\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dave+Chappelle+To+Be+Awarded+Mark+Twain+Prize+For+American+Humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Dave Chappelle will be awarded the Mark Twain Prize for American Humor this year, the John F. Kennedy Center for the Performing Arts has announced.\u003c/p>\n\u003cp>The stand-up comic, actor, producer and director joins a prestigious group of comedians to receive the award. Among them are Carol Burnett, Whoopi Goldberg, Bob Newhart and Richard Pryor — who won the very first Twain Prize in 1998.\u003c/p>\n\u003cp>“Dave is one of the truly original voices in comedy — the definition of a creative artist,” Matthew Winer, director of comedy and special programming at the Kennedy Center, said to NPR. “He’s a modern day sociologist, skewering stereotypes, defying boundaries and showing us that laughter can be a way to contextualize issues that we struggle to understand.”\u003c/p>\n\u003cp>“Dave is the embodiment of Mark Twain’s observation that ‘against the assault of humor, nothing can stand,’ ” Deborah F. Rutter, president of the Kennedy Center, said in a prepared statement. “For three decades, Dave has challenged us to see hot-button issues from his entirely original yet relatable perspective.”\u003c/p>\n\u003cp>The prize will be awarded at a Kennedy Center gala on Oct. 27, 2019, and a TV special of the evening will be broadcast on PBS stations Jan. 6, 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edgy, politically incorrect and occasionally scatological, Chappelle’s career skyrocketed with three seasons of \u003cem>Chappelle’s Show\u003c/em> (2003-2006), one of the most popular comedy shows on TV. Co-created \u003ca href=\"https://www.npr.org/2017/02/23/516739139/chappelles-show-co-creator-moves-into-the-limelight-with-3-mics\">with Neal Brennan\u003c/a>, the sketches on Comedy Central spared no one.\u003c/p>\n\u003cp>Chappelle’s impersonations of \u003ca href=\"http://www.cc.com/video-clips/e748yj/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---prince---uncensored\">Prince\u003c/a>, \u003ca href=\"http://www.cc.com/video-clips/iuegla/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---rick-james-pt--1---uncensored\">Rick James\u003c/a> and \u003ca href=\"http://www.cc.com/video-clips/m7u3o1/chappelle-s-show-a-moment-in-the-life-of-lil-jon---injury\">Lil Jon\u003c/a> are now legendary. In a sketch that stretched the imagination and boundaries of racial satire, Chappelle \u003ca href=\"https://www.youtube.com/watch?v=JBC-9k3y1ew\">played Clayton Bigsby\u003c/a>, a blind white supremacist who doesn’t know he’s black.\u003c/p>\n\u003cp>It was “revolutionary,” must-see TV, \u003ca href=\"http://grantland.com/features/a-battle-best-chappelle-show-sketch-ever/\">wrote Rembert Browne\u003c/a>, who was a teenager when \u003cem>Chappelle’s Show\u003c/em> aired: “It was unacceptable to show up to high school the next day without knowing all the material from the previous night’s episode.”\u003c/p>\n\u003cp>\u003cem>Chappelle’s Show\u003c/em> earned three Emmy nominations and became a bestseller on DVD. But after signing a reported $50 million deal for Seasons 3 and 4, Chappelle famously and abruptly disappeared from entertainment altogether. He spent two weeks in South Africa and then moved to Yellow Springs, Ohio, with his family.\u003c/p>\n\u003cp>“I felt in a lot of instances I was deliberately being put through stress because when you’re a guy who generates money, people have a vested interest in controlling you,” \u003ca href=\"https://www.today.com/popculture/chappelle-tells-oprah-i-wasn-t-crazy-wbna11163322\">he told Oprah Winfrey\u003c/a>.\u003c/p>\n\u003cp>Chappelle eventually returned to stand-up. He signed a multimillion-dollar deal with Netflix. Last year, two of his Netflix comedy specials — \u003cem>Equanimity\u003c/em> and \u003cem>The Bird Revelation\u003c/em> — won a Grammy Award (packaged together) for best comedy album. \u003cem>Equanimity \u003c/em>also won an Emmy for outstanding variety special.\u003c/p>\n\u003cp>His latest specials address hot-button issues such as race, class, gender, President Trump and the #MeToo movement. Chappelle compared the current women’s movement to African Americans’ long struggle for equal rights, and even suggests South Africa’s Truth and Reconciliation Commission as a model for inspiration.\u003c/p>\n\u003cp>Not all of the jokes in his recent specials have landed well with all audiences. Critics have repeatedly objected to his \u003ca href=\"https://medium.com/@tylergfoster/i-wrote-dave-chappelle-a-letter-about-his-terrible-transgender-jokes-55478970b9f\">jokes about people who are transgender\u003c/a> and the \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/television/dave-chappelle-netflix-special.html\">#MeToo movement\u003c/a>.\u003c/p>\n\u003cp>Setting aside his fondness for dirty and transgressive material, Chappelle is socially conscious to his core. His father was a professor at Antioch College. His mother taught at Howard University. For high school, Chappelle attended the Duke Ellington School of the Arts in Washington.\u003c/p>\n\u003cp>“Dave is a hometown hero here in Washington, D.C., where he grew up,” Rutter also said. “We’re so looking forward to welcoming him back home [at the Kennedy Center].”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/13/501883403/snl-reflects-a-nations-emotional-tone-in-post-election-episode\">His appearance on\u003c/a> \u003cem>Saturday Night Live\u003c/em>, days after Donald Trump won the 2016 presidential election, also received an Emmy. His opening monologue took jabs at the president-elect, and skewered black and white stereotypes, before turning more serious at the end, as he reflected on a BET party he’d attended at the White House during the Obama administration.\u003c/p>\n\u003cp>“So, in that spirit, I’m wishing Donald Trump luck,” Chappelle said. “And I’m going to give him a chance, and we, the historically disenfranchised, demand that he give us one too.” He has, however, \u003ca href=\"https://thegrapevine.theroot.com/dave-chappelle-apologizes-for-snl-monologue-saying-to-1795253351\">since apologized for that remark.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>null\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dave+Chappelle+To+Be+Awarded+Mark+Twain+Prize+For+American+Humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "John Singleton's Groundbreaking Legacy, and How 'Boyz N the Hood' Changed the Game",
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"content": "\u003cp>Less than two weeks after John Singleton suffered a massive stroke, the trailblazing filmmaker has died in Los Angeles at the age of 51. The director, who made history with 1991’s \u003cem>Boyz n the Hood\u003c/em> as the youngest person and first African American ever nominated for a best director Oscar, died Monday at Cedars-Sinai Hospital after his family took him off life support.\u003c/p>\n\u003cp>“This was an agonizing decision, one that our family made, over a number of days, with the careful counsel of John’s doctors,” the family said in a statement released to NPR, adding that he “passed away peacefully, surrounded by his family and friends.”\u003c/p>\n\u003cp>“John Singleton is a prolific, ground-breaking director,” they said, “who changed the game and opened doors in Hollywood, a world that was just a few miles away, yet worlds away, from the neighborhood in which he grew up.”\u003c/p>\n\u003cp>[aside postID='arts_13856230' *hero='GettyImages-84985966_1920_JohnS-1020x834.jpg'* target='_blank']\u003c/p>\n\u003cp>Singleton wasted little time leaving his mark on the film industry. At just 23 years old, fresh out of the University of Southern California’s film school, the young filmmaker launched into the project that would become his signature achievement: \u003cem>Boyz n the Hood\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film was an ode to the neighborhood where he grew up, South Central LA, an area notorious for its pervasive poverty and gang violence. The film’s stars grapple with that environment onscreen, trying to make sense of the community tensions that helped catalyze the riots that \u003ca href=\"https://www.npr.org/series/525773617/the-los-angeles-riots-25-years-on\">erupted in LA\u003c/a> the following year.\u003c/p>\n\u003cfigure id=\"attachment_13856251\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ap_9107130115_custom-69a3f7e58140f3986a7a6280919e812c9bb513ee-800x1186.jpg\" alt=\"John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations.\" width=\"800\" height=\"1186\">\u003cfigcaption class=\"wp-caption-text\">John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations. \u003ccite>(Bob Galbraith/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those characters is Doughboy, played by rapper Ice Cube. Doughboy’s half-brother is gunned down — a fate that Singleton himself feared while growing up, as he told NPR around the time the film was released.\u003c/p>\n\u003cp>But Singleton, the son of a pharmaceutical sales rep and a mortgage broker, also explained that he probably shared more in common with Tre Styles — played by a young Cuba Gooding Jr. Like the character, his mother sent him to live with his father to keep him out of trouble.\u003c/p>\n\u003cp>“My father, you know, just did what he could do to set me straight, and you know, because it’s only so far you can go, you know, with your mom. Moms just like will rationalize what she [asks] — but Pops will say, ‘No, you do this because I said do this,’ you know?” he said in 1991. “And a lot of my friends didn’t have that.”\u003c/p>\n\u003cp>What they had instead, Singleton added, was a model rooted in the hopelessness of life in the ‘hood.\u003c/p>\n\u003cp>“It’s like: ‘My brother went to jail. My daddy went to jail. I know I’m going to go to jail.’ You know what I’m saying? That’s the mentality,” he said. “It’s like it’s a given. It’s like there’s no future.”\u003c/p>\n\u003cp>The film earned him Oscar nods for director and screenplay. Singleton was the first African American to be nominated for directing, and at just 24, he was the youngest nominee in that category’s history — a record that stands today.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bws8Rssl9Ex/\u003c/p>\n\u003cp>In 2002, more than a decade after the film’s release, Singleton reflected on the sincerity of his project — and how that differed from some of the imitators born of its success — on NPR’s \u003cem>The Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>“If you see the films I make and if they are in an urban setting, I basically have an agenda to not only entertain, but for you to feel something and to say something. Because this is where I’m from, you know what I mean?” he explained. “I’m making you feel something for this environment. I’m not exploiting it.”\u003c/p>\n\u003cp>His seminal first film was far from his last.\u003c/p>\n\u003cp>Among other films, Singleton went on to direct 1993’s \u003cem>Poetic Justice,\u003c/em> starring \u003ca href=\"https://www.npr.org/artists/15817903/janet-jackson\">Janet Jackson\u003c/a> and a 22-year-old \u003ca href=\"https://www.npr.org/artists/88479205/tupac-shakur\">Tupac Shakur\u003c/a>, and the 2000 blockbuster remake of \u003cem>Shaft\u003c/em>. More recently, he shifted his attention to the small screen, directing episodes of \u003ca href=\"https://www.npr.org/tags/442559771/empire\">Empire \u003c/a>and \u003ca href=\"https://www.npr.org/2016/02/01/465136955/the-people-v-o-j-simpson-bursts-with-sharp-scenes-powerful-performances\">The People v. O.J. Simpson: American Crime Story\u003c/a>. He also co-created \u003ca href=\"https://www.npr.org/2017/07/02/535281096/-snowfall-fx-s-new-drama-about-the-crack-epidemic-in-los-angeles\">Snowfall\u003c/a>, an FX drama about the crack cocaine epidemic that returned Singleton to his roots in South Central LA.\u003c/p>\n\u003cp>Throughout, he continued to challenge the film industry to tell the kinds of stories — and see the kinds of faces — he never had the opportunity to see when he was a film student. And he didn’t forget to enjoy himself while he was at it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been in this business for over 26 years, and I haven’t lost my soul.” Singleton \u003ca href=\"https://interviews.televisionacademy.com/interviews/john-singleton?clip=88433#about\">told the Television Academy Foundation\u003c/a> in 2016. “There are a whole lot of people who are very, very successful that they don’t even know which way is up anymore, right? And I feel really cool that I’ve had my highs and my lows and stuff — and I’m happy, you know what I mean?”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Singleton wasted little time leaving his mark on the film industry. At just 23 years old, fresh out of the University of Southern California’s film school, the young filmmaker launched into the project that would become his signature achievement: \u003cem>Boyz n the Hood\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film was an ode to the neighborhood where he grew up, South Central LA, an area notorious for its pervasive poverty and gang violence. The film’s stars grapple with that environment onscreen, trying to make sense of the community tensions that helped catalyze the riots that \u003ca href=\"https://www.npr.org/series/525773617/the-los-angeles-riots-25-years-on\">erupted in LA\u003c/a> the following year.\u003c/p>\n\u003cfigure id=\"attachment_13856251\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ap_9107130115_custom-69a3f7e58140f3986a7a6280919e812c9bb513ee-800x1186.jpg\" alt=\"John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations.\" width=\"800\" height=\"1186\">\u003cfigcaption class=\"wp-caption-text\">John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations. \u003ccite>(Bob Galbraith/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those characters is Doughboy, played by rapper Ice Cube. Doughboy’s half-brother is gunned down — a fate that Singleton himself feared while growing up, as he told NPR around the time the film was released.\u003c/p>\n\u003cp>But Singleton, the son of a pharmaceutical sales rep and a mortgage broker, also explained that he probably shared more in common with Tre Styles — played by a young Cuba Gooding Jr. Like the character, his mother sent him to live with his father to keep him out of trouble.\u003c/p>\n\u003cp>“My father, you know, just did what he could do to set me straight, and you know, because it’s only so far you can go, you know, with your mom. Moms just like will rationalize what she [asks] — but Pops will say, ‘No, you do this because I said do this,’ you know?” he said in 1991. “And a lot of my friends didn’t have that.”\u003c/p>\n\u003cp>What they had instead, Singleton added, was a model rooted in the hopelessness of life in the ‘hood.\u003c/p>\n\u003cp>“It’s like: ‘My brother went to jail. My daddy went to jail. I know I’m going to go to jail.’ You know what I’m saying? That’s the mentality,” he said. “It’s like it’s a given. It’s like there’s no future.”\u003c/p>\n\u003cp>The film earned him Oscar nods for director and screenplay. Singleton was the first African American to be nominated for directing, and at just 24, he was the youngest nominee in that category’s history — a record that stands today.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2002, more than a decade after the film’s release, Singleton reflected on the sincerity of his project — and how that differed from some of the imitators born of its success — on NPR’s \u003cem>The Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>“If you see the films I make and if they are in an urban setting, I basically have an agenda to not only entertain, but for you to feel something and to say something. Because this is where I’m from, you know what I mean?” he explained. “I’m making you feel something for this environment. I’m not exploiting it.”\u003c/p>\n\u003cp>His seminal first film was far from his last.\u003c/p>\n\u003cp>Among other films, Singleton went on to direct 1993’s \u003cem>Poetic Justice,\u003c/em> starring \u003ca href=\"https://www.npr.org/artists/15817903/janet-jackson\">Janet Jackson\u003c/a> and a 22-year-old \u003ca href=\"https://www.npr.org/artists/88479205/tupac-shakur\">Tupac Shakur\u003c/a>, and the 2000 blockbuster remake of \u003cem>Shaft\u003c/em>. More recently, he shifted his attention to the small screen, directing episodes of \u003ca href=\"https://www.npr.org/tags/442559771/empire\">Empire \u003c/a>and \u003ca href=\"https://www.npr.org/2016/02/01/465136955/the-people-v-o-j-simpson-bursts-with-sharp-scenes-powerful-performances\">The People v. O.J. Simpson: American Crime Story\u003c/a>. He also co-created \u003ca href=\"https://www.npr.org/2017/07/02/535281096/-snowfall-fx-s-new-drama-about-the-crack-epidemic-in-los-angeles\">Snowfall\u003c/a>, an FX drama about the crack cocaine epidemic that returned Singleton to his roots in South Central LA.\u003c/p>\n\u003cp>Throughout, he continued to challenge the film industry to tell the kinds of stories — and see the kinds of faces — he never had the opportunity to see when he was a film student. And he didn’t forget to enjoy himself while he was at it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been in this business for over 26 years, and I haven’t lost my soul.” Singleton \u003ca href=\"https://interviews.televisionacademy.com/interviews/john-singleton?clip=88433#about\">told the Television Academy Foundation\u003c/a> in 2016. “There are a whole lot of people who are very, very successful that they don’t even know which way is up anymore, right? And I feel really cool that I’ve had my highs and my lows and stuff — and I’m happy, you know what I mean?”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Woodstock 50, a wide-ranging festival that had hoped to bring the spirit of 1969 to a new generation this August, has been canceled. Tim O’Hearn, the administrator for Schuyler County, New York, where the event was to take place, confirmed the cancellation to NPR; he said he had been contacted by Dentsu Aegis Network, which had been bankrolling the planned festival.\u003c/p>\n\u003cp>The festival, which was supposed to run Aug. 16-18 in Watkins Glen, N.Y. — a different location than its namesake event — boasted an impressive \u003ca href=\"https://www.woodstock.com/\">lineup\u003c/a> that was meant to bridge multiple generations and musical genres, from Santana, David Crosby and John Fogerty to Jay-Z, Chance The Rapper and Miley Cyrus. One of the \u003ca href=\"https://www.npr.org/2019/01/09/683575133/woodstock-will-return-this-summer-for-its-50th-anniversary\">primary organizers\u003c/a> of Woodstock 50, promoter Michael Lang, was also a co-founder of the original Woodstock event in 1969.\u003c/p>\n\u003cp>On Monday morning, \u003cem>Billboard \u003c/em>\u003ca href=\"https://www.billboard.com/articles/news/festivals/8509091/woodstock-50-festival-cancelled\">published\u003c/a> a statement from Amplifi Live, a Dentsu Aegis division, that read in part: “Despite our tremendous investment of time, effort and commitment, we don’t believe the production of the festival can be executed as an event worthy of the Woodstock Brand name while also ensuring the health and safety of the artists, partners and attendees. As a result and after careful consideration, Dentsu Aegis Network’s Amplifi Live, a partner of Woodstock 50, has decided to cancel the festival. As difficult as it is, we believe this is the most prudent decision for all parties involved.”\u003c/p>\n\u003cp>Since the 50th anniversary event was announced in January, there have been multiple signs that the festival’s organizers did not have matters in order. Originally, organizers announced that tickets would initially go on sale in late January, and that the artist roster would be released in February. The festival missed both of those dates, as well as a plan to release tickets for sale on April 22. Tickets were still not on sale as of Monday afternoon.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em> also reported on Monday that the Woodstock 50 team reached out last week to both Live Nation and AEG — two giants in the touring industry — to broach a $20 million investment in the festival, but both companies declined. O’Hearn told NPR that while it would not be impossible for the festival to be resuscitated in time for the planned August dates, it would be very difficult.\u003c/p>\n\u003cp>Last week, \u003cem>Variety\u003c/em> reported the delay in ticket sales were due to a need to “\u003ca href=\"https://variety.com/2019/music/news/woodstock-50-promoters-issue-statement-on-ticket-on-sale-delay-1203197745/\">refine logistical plans\u003c/a>,” according to the event’s organizers. There have also been \u003ca href=\"https://www.vulture.com/2019/04/woodstock-50-canceled-by-investors-festival-denies-it.html\">media reports\u003c/a> that the festival organizers had trouble dealing with issues related to audience capacity and sanitation, which Lang dismissed as “rumors” to \u003cem>Variety\u003c/em>.\u003c/p>\n\u003cp>Neither Woodstock 50 nor Dentsu Aegis returned NPR’s requests for comments, but a Woodstock 50 representative told Vulture on Monday, “Woodstock 50 is currently on a call with Dentsu and Woodstock 50 vehemently denies the cancellation of the festival and will be seeking legal remedy to the comments.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Woodstock 50, a wide-ranging festival that had hoped to bring the spirit of 1969 to a new generation this August, has been canceled. Tim O’Hearn, the administrator for Schuyler County, New York, where the event was to take place, confirmed the cancellation to NPR; he said he had been contacted by Dentsu Aegis Network, which had been bankrolling the planned festival.\u003c/p>\n\u003cp>The festival, which was supposed to run Aug. 16-18 in Watkins Glen, N.Y. — a different location than its namesake event — boasted an impressive \u003ca href=\"https://www.woodstock.com/\">lineup\u003c/a> that was meant to bridge multiple generations and musical genres, from Santana, David Crosby and John Fogerty to Jay-Z, Chance The Rapper and Miley Cyrus. One of the \u003ca href=\"https://www.npr.org/2019/01/09/683575133/woodstock-will-return-this-summer-for-its-50th-anniversary\">primary organizers\u003c/a> of Woodstock 50, promoter Michael Lang, was also a co-founder of the original Woodstock event in 1969.\u003c/p>\n\u003cp>On Monday morning, \u003cem>Billboard \u003c/em>\u003ca href=\"https://www.billboard.com/articles/news/festivals/8509091/woodstock-50-festival-cancelled\">published\u003c/a> a statement from Amplifi Live, a Dentsu Aegis division, that read in part: “Despite our tremendous investment of time, effort and commitment, we don’t believe the production of the festival can be executed as an event worthy of the Woodstock Brand name while also ensuring the health and safety of the artists, partners and attendees. As a result and after careful consideration, Dentsu Aegis Network’s Amplifi Live, a partner of Woodstock 50, has decided to cancel the festival. As difficult as it is, we believe this is the most prudent decision for all parties involved.”\u003c/p>\n\u003cp>Since the 50th anniversary event was announced in January, there have been multiple signs that the festival’s organizers did not have matters in order. Originally, organizers announced that tickets would initially go on sale in late January, and that the artist roster would be released in February. The festival missed both of those dates, as well as a plan to release tickets for sale on April 22. Tickets were still not on sale as of Monday afternoon.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em> also reported on Monday that the Woodstock 50 team reached out last week to both Live Nation and AEG — two giants in the touring industry — to broach a $20 million investment in the festival, but both companies declined. O’Hearn told NPR that while it would not be impossible for the festival to be resuscitated in time for the planned August dates, it would be very difficult.\u003c/p>\n\u003cp>Last week, \u003cem>Variety\u003c/em> reported the delay in ticket sales were due to a need to “\u003ca href=\"https://variety.com/2019/music/news/woodstock-50-promoters-issue-statement-on-ticket-on-sale-delay-1203197745/\">refine logistical plans\u003c/a>,” according to the event’s organizers. There have also been \u003ca href=\"https://www.vulture.com/2019/04/woodstock-50-canceled-by-investors-festival-denies-it.html\">media reports\u003c/a> that the festival organizers had trouble dealing with issues related to audience capacity and sanitation, which Lang dismissed as “rumors” to \u003cem>Variety\u003c/em>.\u003c/p>\n\u003cp>Neither Woodstock 50 nor Dentsu Aegis returned NPR’s requests for comments, but a Woodstock 50 representative told Vulture on Monday, “Woodstock 50 is currently on a call with Dentsu and Woodstock 50 vehemently denies the cancellation of the festival and will be seeking legal remedy to the comments.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003c/div>\u003c/p>",
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"title": "In McEwan's Latest, the 'Machine' Is Too Much Like You",
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"content": "\u003cfigure id=\"attachment_13856047\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856047\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/machines-like-me-800x1185.jpg\" alt=\"'Machines Like Me,' Ian McEwan.\" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-768x1138.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Machines Like Me,’ Ian McEwan.\u003c/figcaption>\u003c/figure>\n\u003cp>There are certain authors I read no matter what they write. Ian McEwan is one of them. Over the course of more than 40 years and some dozen and a half books—including \u003cem>Amsterdam, Atonement, \u003c/em>and \u003cem>The Children Act—\u003c/em>his generally realist, propulsive work reveals an abiding preoccupation with both the repercussions of deceit and how life can change in an instant.\u003c/p>\n\u003cp>His most recent novel, \u003cem>Nutshell \u003c/em>(2016), a clever twist on \u003cem>Hamlet\u003c/em> narrated by a near-full-term baby still in utero\u003cem>, \u003c/em>pushed the borders of possibility. Now, with his latest, \u003cem>Machines Like Me,\u003c/em> he ventures into science fiction and alternate history territory to explore the moral ramifications of AI and the creation of machines that can outsmart humans. His story involves a man “cuckolded by an artefact,” which leads to a newfangled ménage-à-trois.\u003c/p>\n\u003cp>McEwan is not the first to broach these issues, and his dismissal of “conventional science fiction” \u003ca href=\"https://www.theguardian.com/books/2019/apr/14/ian-mcewan-interview-machines-like-me-artificial-intelligence\" target=\"_blank\" rel=\"noopener\">in a recent \u003cem>Guardian\u003c/em> interview\u003c/a>—coupled with a failure to acknowledge his many sci-fi forerunners—has raised hackles among some sci-fi aficionados.\u003c/p>\n\u003cp>But what McEwan brings to the table is crossover appeal to readers who don’t usually gravitate toward sci-fi. \u003cem>Machines Like Me, \u003c/em>like his other novels, is a thought-provoking, well-oiled literary machine. It is set in an alternate 1982 London which has already surpassed us technologically. Its streets are crowded with self-driving electric cars, and the first batch of pricy, eerily life-like artificial humans—12 Adams and 13 Eves—have just been sold to private buyers. McEwan’s narrator, a 32-year-old electronics and robotics buff named Charlie Friend, decides to sink his recent inheritance into one of the Adams. (He misses out on the Eves, seven of which land in Riyadh—one of many wry editorial comments embedded in the book.)\u003c/p>\n\u003cp>Charlie is, he confesses, a “culturally undernourished” wash-out who, after running afoul of the law for tax fraud, has decided that full-time employment is not for him. After various losing “schemes,” he currently plays the stock and currency markets (on his ancient 1960s computer!) from the “genteel ruin” of his two-room, ground floor flat in south London.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charlie’s impulsive purchase is a 170-pound walking, talking, peeing, and yes, fornicating, “intellectual sparring partner.” Adam is a technological breakthrough with access to all the wisdom of the internet and a fixed notion of right and wrong. He’s creepy, but fascinating. One of the many ironies of this novel is that its human characters, Charlie and his inamorata—Miranda, a 22-year-old doctoral student who lives above him—are interesting mainly in the context of their fraught, shifting relationships with Adam.\u003c/p>\n\u003cp>Why 1982? Yes, it coincides with the Falklands War, an alternate account of which factors into the novel. But perhaps more significantly—although unacknowledged by McEwan—1982 also happens to be the year \u003cem>Blade Runner \u003c/em>was released. Based on Philip K. Dick’s 1968 novel \u003cem>Do Androids Dream of Electric Sheep?,\u003c/em> Ridley Scott’s cult classic explores the alarming effects of technology and “replicant” humans on society.\u003c/p>\n\u003cp>McEwan has fun with counterfactuals, many of which involve wishful historical rewrites: John F. Kennedy survives “near-death in Dallas”; Jimmy Carter wins a second term instead of losing to Ronald Reagan; John Lennon isn’t assassinated, and the Beatles regroup; Margaret Thatcher is vilified after \u003cem>losing \u003c/em>the Falklands War.\u003c/p>\n\u003cp>Most notably, in McEwan’s alternate world, Alan Turing didn’t die in 1954 or opt for chemical castration in lieu of prison after his conviction for homosexuality. Instead, he is alive and knighted, a driving force behind AI and computational biology. He plays a pivotal role in making Charlie realize that Adam is far more than just an “ambulant laptop,” arguing that he has a good mind and a conscious existence, although he’s admittedly “ill-equipped to understand human decision-making.”\u003c/p>\n\u003cp>McEwan certainly has a flair for unusual points of view. Adam, like the baby-in-waiting who narrates \u003cem>Nutshell, \u003c/em>is an extraordinarily smart, well-informed, and unorthodox character who catches his supposed caretakers off-guard with his perspicacity. Charlie drops clues that he is telling this tale decades after the fact: He relays the “well-known” (counter-factual to us) history of the Falklands war “for the benefit of younger readers who won’t be aware of its emotional impact,” and notes a resemblance between Turing in 1982 and the painter Lucian Freud in his later years. (Freud died in 2011 at age 88.) This time-lapse explains the lack of youthfulness of Charlie’s narrative voice, but only hints about how his personal future and that of technology will unfold.\u003c/p>\n\u003cp>\u003cem>Machines Like Me\u003c/em> involves a couple of dubious subplots, one concerning Miranda’s highly questionable judgement call involving vengeance for a violently wronged friend, and another her fierce attachment to a troubled foster child—which seems meant to show that she’s a fundamentally good person. But we’re distrustful of Miranda from early on, after Adam warns Charlie that she’s possibly a “systematic, malicious liar.” Interestingly, even after we learn that Adam has been inflexibly programmed to insist that “truth is everything” and a lie is a lie regardless of extenuating circumstances, it’s hard to override our earlier prejudices.\u003c/p>\n\u003cp>“There are some decisions, even moral ones, that are formed in regions below conscious thought,” McEwan writes at one intense turning point. \u003cem>Machines Like Me \u003c/em>explores some of those decisions. It also manages to flesh out—literally and grippingly—questions about what constitutes a person, and the troubling future of humans if the smart machines we create can overtake us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13856047\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856047\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/machines-like-me-800x1185.jpg\" alt=\"'Machines Like Me,' Ian McEwan.\" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-768x1138.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Machines Like Me,’ Ian McEwan.\u003c/figcaption>\u003c/figure>\n\u003cp>There are certain authors I read no matter what they write. Ian McEwan is one of them. Over the course of more than 40 years and some dozen and a half books—including \u003cem>Amsterdam, Atonement, \u003c/em>and \u003cem>The Children Act—\u003c/em>his generally realist, propulsive work reveals an abiding preoccupation with both the repercussions of deceit and how life can change in an instant.\u003c/p>\n\u003cp>His most recent novel, \u003cem>Nutshell \u003c/em>(2016), a clever twist on \u003cem>Hamlet\u003c/em> narrated by a near-full-term baby still in utero\u003cem>, \u003c/em>pushed the borders of possibility. Now, with his latest, \u003cem>Machines Like Me,\u003c/em> he ventures into science fiction and alternate history territory to explore the moral ramifications of AI and the creation of machines that can outsmart humans. His story involves a man “cuckolded by an artefact,” which leads to a newfangled ménage-à-trois.\u003c/p>\n\u003cp>McEwan is not the first to broach these issues, and his dismissal of “conventional science fiction” \u003ca href=\"https://www.theguardian.com/books/2019/apr/14/ian-mcewan-interview-machines-like-me-artificial-intelligence\" target=\"_blank\" rel=\"noopener\">in a recent \u003cem>Guardian\u003c/em> interview\u003c/a>—coupled with a failure to acknowledge his many sci-fi forerunners—has raised hackles among some sci-fi aficionados.\u003c/p>\n\u003cp>But what McEwan brings to the table is crossover appeal to readers who don’t usually gravitate toward sci-fi. \u003cem>Machines Like Me, \u003c/em>like his other novels, is a thought-provoking, well-oiled literary machine. It is set in an alternate 1982 London which has already surpassed us technologically. Its streets are crowded with self-driving electric cars, and the first batch of pricy, eerily life-like artificial humans—12 Adams and 13 Eves—have just been sold to private buyers. McEwan’s narrator, a 32-year-old electronics and robotics buff named Charlie Friend, decides to sink his recent inheritance into one of the Adams. (He misses out on the Eves, seven of which land in Riyadh—one of many wry editorial comments embedded in the book.)\u003c/p>\n\u003cp>Charlie is, he confesses, a “culturally undernourished” wash-out who, after running afoul of the law for tax fraud, has decided that full-time employment is not for him. After various losing “schemes,” he currently plays the stock and currency markets (on his ancient 1960s computer!) from the “genteel ruin” of his two-room, ground floor flat in south London.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charlie’s impulsive purchase is a 170-pound walking, talking, peeing, and yes, fornicating, “intellectual sparring partner.” Adam is a technological breakthrough with access to all the wisdom of the internet and a fixed notion of right and wrong. He’s creepy, but fascinating. One of the many ironies of this novel is that its human characters, Charlie and his inamorata—Miranda, a 22-year-old doctoral student who lives above him—are interesting mainly in the context of their fraught, shifting relationships with Adam.\u003c/p>\n\u003cp>Why 1982? Yes, it coincides with the Falklands War, an alternate account of which factors into the novel. But perhaps more significantly—although unacknowledged by McEwan—1982 also happens to be the year \u003cem>Blade Runner \u003c/em>was released. Based on Philip K. Dick’s 1968 novel \u003cem>Do Androids Dream of Electric Sheep?,\u003c/em> Ridley Scott’s cult classic explores the alarming effects of technology and “replicant” humans on society.\u003c/p>\n\u003cp>McEwan has fun with counterfactuals, many of which involve wishful historical rewrites: John F. Kennedy survives “near-death in Dallas”; Jimmy Carter wins a second term instead of losing to Ronald Reagan; John Lennon isn’t assassinated, and the Beatles regroup; Margaret Thatcher is vilified after \u003cem>losing \u003c/em>the Falklands War.\u003c/p>\n\u003cp>Most notably, in McEwan’s alternate world, Alan Turing didn’t die in 1954 or opt for chemical castration in lieu of prison after his conviction for homosexuality. Instead, he is alive and knighted, a driving force behind AI and computational biology. He plays a pivotal role in making Charlie realize that Adam is far more than just an “ambulant laptop,” arguing that he has a good mind and a conscious existence, although he’s admittedly “ill-equipped to understand human decision-making.”\u003c/p>\n\u003cp>McEwan certainly has a flair for unusual points of view. Adam, like the baby-in-waiting who narrates \u003cem>Nutshell, \u003c/em>is an extraordinarily smart, well-informed, and unorthodox character who catches his supposed caretakers off-guard with his perspicacity. Charlie drops clues that he is telling this tale decades after the fact: He relays the “well-known” (counter-factual to us) history of the Falklands war “for the benefit of younger readers who won’t be aware of its emotional impact,” and notes a resemblance between Turing in 1982 and the painter Lucian Freud in his later years. (Freud died in 2011 at age 88.) This time-lapse explains the lack of youthfulness of Charlie’s narrative voice, but only hints about how his personal future and that of technology will unfold.\u003c/p>\n\u003cp>\u003cem>Machines Like Me\u003c/em> involves a couple of dubious subplots, one concerning Miranda’s highly questionable judgement call involving vengeance for a violently wronged friend, and another her fierce attachment to a troubled foster child—which seems meant to show that she’s a fundamentally good person. But we’re distrustful of Miranda from early on, after Adam warns Charlie that she’s possibly a “systematic, malicious liar.” Interestingly, even after we learn that Adam has been inflexibly programmed to insist that “truth is everything” and a lie is a lie regardless of extenuating circumstances, it’s hard to override our earlier prejudices.\u003c/p>\n\u003cp>“There are some decisions, even moral ones, that are formed in regions below conscious thought,” McEwan writes at one intense turning point. \u003cem>Machines Like Me \u003c/em>explores some of those decisions. It also manages to flesh out—literally and grippingly—questions about what constitutes a person, and the troubling future of humans if the smart machines we create can overtake us.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Bruce Springsteen's 'Hello Sunshine' Reaches Tentatively Toward Optimism",
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"content": "\u003cp>In the early 1970s, the singer-songwriter Danny O’Keefe had a “very mellow, beautiful friend,” as he told \u003cem>Rolling Stone\u003c/em> magazine, who’d lived too hard and was paying the consequences. Heart attacks and pain pills burdened the guy’s life, and O’Keefe, himself rolling into his thirties, identified. O’Keefe told his friend’s story in the ballad “Good Time Charlie’s Got the Blues” – one of the loveliest, most soothing accounts of creeping oblivion popular music has produced. It was a hit for the Washington state-born singer-songwriter and remains a favorite for others to cover, from \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16320091/waylon-jennings\">Waylon Jennings\u003c/a> to \u003ca href=\"https://www.npr.org/artists/167283601/dwight-yoakam\">Dwight Yoakam\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13856014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856014\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-02167991bd9d1b588e0de1ebc8a2f7555d655541-800x600.jpg\" alt=\""Hello Sunshine" is the first single from Bruce Springsteen's upcoming album, 'Western Stars.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">“Hello Sunshine” is the first single from Bruce Springsteen’s upcoming album, ‘Western Stars.’\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello Sunshine,” the new song from \u003ca href=\"https://www.npr.org/artists/14837922/bruce-springsteen\">Bruce Springsteen\u003c/a>‘s upcoming album \u003cem>Western Stars\u003c/em> (to be released June 14) dwells within the same uneasy drift. It begins with a sharp snare drum fill interacting with the sleepy undertow of a fifth interval on the bass – the sonic equivalent of a speedball. Springsteen intones: “Had enough of heartbreak and pain, had a little sweet spot for the rain.” Up close to the mic, his voice conveys its usual depth and scope, but a smudge of weariness, too. As the arrangement grows more complex, rich with strings and pedal steel guitar, the lyrics stay simple. “You know I always love the lonely towns, those empty streets no one around,” Springsteen continues. Then, in a line that might remind you of \u003ca href=\"https://www.npr.org/artists/15396875/willie-nelson\">Willie Nelson\u003c/a>: “You fall in love with lonely, you end up that way.”\u003c/p>\n\u003cp>The song reaches tentatively toward optimism with its orchestral swell and its title line, which warily welcomes the sunshine that dispels the grey mood of the rest of the song. But this ballad lives within the same melancholy space as O’Keefe’s does, alongside others by the likes of \u003ca href=\"https://www.npr.org/artists/17080204/jimmy-webb\">Jimmy Webb\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15774700/john-hartford\">John Hartford\u003c/a> and \u003ca href=\"https://www.npr.org/artists/126894870/kris-kristofferson\">Kris Kristofferson\u003c/a>. Springsteen has talked about being inspired by these songwriters who captured the pensive mood of the early 1970s, especially around and above L.A.’s Sunset Strip, where the counterculture and the pop biz had collided in ways that were deeply fruitful, producing songs that were both easy to listen to and emotionally complex. There’s also a Nashvillian cool to producer Ron Aniello’s arrangement that bodes well for fans who recognize, in Springsteen’s mature voice, a kinship with great country philosophers like Nelson and \u003ca href=\"https://www.npr.org/artists/129612752/charlie-rich\">Charlie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13855877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/springsteen_ws_photo2-8414899eff16fe11064df4156010ecb8bb81e769-800x600.jpg\" alt=\"Bruce Springsteen's first new studio album in five years will be called Western Stars.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Bruce Springsteen’s first new studio album in five years will be called ‘Western Stars.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song titles Springsteen has shared from \u003cem>Western Stars \u003c/em>suggest that the album will travel the heart-worn highway from Music City to Laurel Canyon: “Somewhere North of Nashville,” “Tucson Train,” “Moonlight Motel.” This song makes it clear that along with some possible high desert cowboy songs – there’s a horse on the album cover, after all – Springsteen will provide listeners with plenty of explorations of life behind closed doors during uncertain times. It’s interesting, though not unprecedented, for the Boss to be exploring the adult-contemporary sonic palette and worldview that his own mid-1970s albums, raucous and raggedy, rebelled against. Calling this a solo album, though he made it with many collaborators including his longtime producer Ron Aniello, original E Street Band keyboard player David Sancious, and the multi-instrumentalist and genius song-shaper Jon Brion, Springsteen is drawing connections between this new music and earlier inner journeys like \u003cem>Tunnel of Love\u003c/em> and \u003cem>Working on a Dream\u003c/em>. It’s hard to know if “Hello Sunshine” reflects the dominant mood of \u003cem>Western Stars\u003c/em> or will prove to be an outlier, but its contemplative tone seems like a natural extension of Springsteen’s memoiristic Broadway show – and a good place for a man who’s expert in confronting the blues to dwell.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bruce+Springsteen+Finds+A+New+Sound+By+Looking+To+The+Past&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1970s, the singer-songwriter Danny O’Keefe had a “very mellow, beautiful friend,” as he told \u003cem>Rolling Stone\u003c/em> magazine, who’d lived too hard and was paying the consequences. Heart attacks and pain pills burdened the guy’s life, and O’Keefe, himself rolling into his thirties, identified. O’Keefe told his friend’s story in the ballad “Good Time Charlie’s Got the Blues” – one of the loveliest, most soothing accounts of creeping oblivion popular music has produced. It was a hit for the Washington state-born singer-songwriter and remains a favorite for others to cover, from \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16320091/waylon-jennings\">Waylon Jennings\u003c/a> to \u003ca href=\"https://www.npr.org/artists/167283601/dwight-yoakam\">Dwight Yoakam\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13856014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856014\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-02167991bd9d1b588e0de1ebc8a2f7555d655541-800x600.jpg\" alt=\""Hello Sunshine" is the first single from Bruce Springsteen's upcoming album, 'Western Stars.'\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">“Hello Sunshine” is the first single from Bruce Springsteen’s upcoming album, ‘Western Stars.’\u003c/figcaption>\u003c/figure>\n\u003cp>“Hello Sunshine,” the new song from \u003ca href=\"https://www.npr.org/artists/14837922/bruce-springsteen\">Bruce Springsteen\u003c/a>‘s upcoming album \u003cem>Western Stars\u003c/em> (to be released June 14) dwells within the same uneasy drift. It begins with a sharp snare drum fill interacting with the sleepy undertow of a fifth interval on the bass – the sonic equivalent of a speedball. Springsteen intones: “Had enough of heartbreak and pain, had a little sweet spot for the rain.” Up close to the mic, his voice conveys its usual depth and scope, but a smudge of weariness, too. As the arrangement grows more complex, rich with strings and pedal steel guitar, the lyrics stay simple. “You know I always love the lonely towns, those empty streets no one around,” Springsteen continues. Then, in a line that might remind you of \u003ca href=\"https://www.npr.org/artists/15396875/willie-nelson\">Willie Nelson\u003c/a>: “You fall in love with lonely, you end up that way.”\u003c/p>\n\u003cp>The song reaches tentatively toward optimism with its orchestral swell and its title line, which warily welcomes the sunshine that dispels the grey mood of the rest of the song. But this ballad lives within the same melancholy space as O’Keefe’s does, alongside others by the likes of \u003ca href=\"https://www.npr.org/artists/17080204/jimmy-webb\">Jimmy Webb\u003c/a>, \u003ca href=\"https://www.npr.org/artists/15774700/john-hartford\">John Hartford\u003c/a> and \u003ca href=\"https://www.npr.org/artists/126894870/kris-kristofferson\">Kris Kristofferson\u003c/a>. Springsteen has talked about being inspired by these songwriters who captured the pensive mood of the early 1970s, especially around and above L.A.’s Sunset Strip, where the counterculture and the pop biz had collided in ways that were deeply fruitful, producing songs that were both easy to listen to and emotionally complex. There’s also a Nashvillian cool to producer Ron Aniello’s arrangement that bodes well for fans who recognize, in Springsteen’s mature voice, a kinship with great country philosophers like Nelson and \u003ca href=\"https://www.npr.org/artists/129612752/charlie-rich\">Charlie Rich\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13855877\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855877\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/springsteen_ws_photo2-8414899eff16fe11064df4156010ecb8bb81e769-800x600.jpg\" alt=\"Bruce Springsteen's first new studio album in five years will be called Western Stars.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Bruce Springsteen’s first new studio album in five years will be called ‘Western Stars.’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The song titles Springsteen has shared from \u003cem>Western Stars \u003c/em>suggest that the album will travel the heart-worn highway from Music City to Laurel Canyon: “Somewhere North of Nashville,” “Tucson Train,” “Moonlight Motel.” This song makes it clear that along with some possible high desert cowboy songs – there’s a horse on the album cover, after all – Springsteen will provide listeners with plenty of explorations of life behind closed doors during uncertain times. It’s interesting, though not unprecedented, for the Boss to be exploring the adult-contemporary sonic palette and worldview that his own mid-1970s albums, raucous and raggedy, rebelled against. Calling this a solo album, though he made it with many collaborators including his longtime producer Ron Aniello, original E Street Band keyboard player David Sancious, and the multi-instrumentalist and genius song-shaper Jon Brion, Springsteen is drawing connections between this new music and earlier inner journeys like \u003cem>Tunnel of Love\u003c/em> and \u003cem>Working on a Dream\u003c/em>. It’s hard to know if “Hello Sunshine” reflects the dominant mood of \u003cem>Western Stars\u003c/em> or will prove to be an outlier, but its contemplative tone seems like a natural extension of Springsteen’s memoiristic Broadway show – and a good place for a man who’s expert in confronting the blues to dwell.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bruce+Springsteen+Finds+A+New+Sound+By+Looking+To+The+Past&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bruce Springsteen's 'Western Stars' is an Ode to the Sounds of California",
"headTitle": "Bruce Springsteen’s ‘Western Stars’ is an Ode to the Sounds of California | KQED",
"content": "\u003cp>The Boss is back with his first new studio album in five years. \u003cem>Western\u003c/em> \u003cem>Stars \u003c/em>is due out June 14 on Columbia Records and, according to a press release announcing the record, will be largely influenced by the Southern California pop sounds of the late ’60s and early ’70s.\u003c/p>\n\u003cfigure id=\"attachment_13855878\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855878 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d.jpg\" alt=\"'Western Stars' is due out June 14 on Columbia Records\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Western Stars’ is due out June 14 on Columbia Records \u003ccite>(Kalle Gustafsson / trunkarchive.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This record is a return to my solo recordings,” Springsteen says in a statement, “featuring character-driven songs and sweeping, cinematic orchestral arrangements. It’s a jewel box of a record.”\u003c/p>\n\u003cp>Springsteen reunited with producer Ron Aniello for \u003cem>Western Stars\u003c/em>. The two previously worked together on Springsteen’s last two studio albums, 2014’s \u003cem>High Hopes \u003c/em>and 2012’s \u003cem>Wrecking Ball\u003c/em>. The new album also features guest appearances by more than 20 other players, including multi-instrumentalist and composer Jon Brion, violinist and singer Soozie Tyrell and former E Street Band member David Sancious.\u003c/p>\n\u003cp>The announcement of \u003cem>Western Stars \u003c/em>comes just ahead of its first single, “Hello Sunshine,” which is set to hit streaming services just after midnight ET Thursday night (12 a.m. Friday).\u003c/p>\n\u003cp>\u003cem>Western Stars \u003c/em>follows last year’s \u003cem>Springsteen on Broadway, \u003c/em>the soundtrack to his yearlong concert residency at the Walter Kerr Theater in New York.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Western Stars \u003c/em>full track listing:\u003c/p>\n\u003col>\n\u003cli>Hitch Hikin’\u003c/li>\n\u003cli>The Wayfarer\u003c/li>\n\u003cli>Tucson Train\u003c/li>\n\u003cli>Western Stars\u003c/li>\n\u003cli>Sleepy Joe’s Café\u003c/li>\n\u003cli>Drive Fast (The Stuntman)\u003c/li>\n\u003cli>Chasin’ Wild Horses\u003c/li>\n\u003cli>Sundown\u003c/li>\n\u003cli>Somewhere North of Nashville\u003c/li>\n\u003cli>Stones\u003c/li>\n\u003cli>There Goes My Miracle\u003c/li>\n\u003cli>Hello Sunshine\u003c/li>\n\u003cli>Moonlight Motel\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Boss is back with his first new studio album in five years. \u003cem>Western\u003c/em> \u003cem>Stars \u003c/em>is due out June 14 on Columbia Records and, according to a press release announcing the record, will be largely influenced by the Southern California pop sounds of the late ’60s and early ’70s.\u003c/p>\n\u003cfigure id=\"attachment_13855878\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855878 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d.jpg\" alt=\"'Western Stars' is due out June 14 on Columbia Records\" width=\"200\" height=\"200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/ws_final_cover-1-_sq-a7249b87551c526dcf12617309f1a5952c41459d-160x160.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">‘Western Stars’ is due out June 14 on Columbia Records \u003ccite>(Kalle Gustafsson / trunkarchive.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“This record is a return to my solo recordings,” Springsteen says in a statement, “featuring character-driven songs and sweeping, cinematic orchestral arrangements. It’s a jewel box of a record.”\u003c/p>\n\u003cp>Springsteen reunited with producer Ron Aniello for \u003cem>Western Stars\u003c/em>. The two previously worked together on Springsteen’s last two studio albums, 2014’s \u003cem>High Hopes \u003c/em>and 2012’s \u003cem>Wrecking Ball\u003c/em>. The new album also features guest appearances by more than 20 other players, including multi-instrumentalist and composer Jon Brion, violinist and singer Soozie Tyrell and former E Street Band member David Sancious.\u003c/p>\n\u003cp>The announcement of \u003cem>Western Stars \u003c/em>comes just ahead of its first single, “Hello Sunshine,” which is set to hit streaming services just after midnight ET Thursday night (12 a.m. Friday).\u003c/p>\n\u003cp>\u003cem>Western Stars \u003c/em>follows last year’s \u003cem>Springsteen on Broadway, \u003c/em>the soundtrack to his yearlong concert residency at the Walter Kerr Theater in New York.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Western Stars \u003c/em>full track listing:\u003c/p>\n\u003col>\n\u003cli>Hitch Hikin’\u003c/li>\n\u003cli>The Wayfarer\u003c/li>\n\u003cli>Tucson Train\u003c/li>\n\u003cli>Western Stars\u003c/li>\n\u003cli>Sleepy Joe’s Café\u003c/li>\n\u003cli>Drive Fast (The Stuntman)\u003c/li>\n\u003cli>Chasin’ Wild Horses\u003c/li>\n\u003cli>Sundown\u003c/li>\n\u003cli>Somewhere North of Nashville\u003c/li>\n\u003cli>Stones\u003c/li>\n\u003cli>There Goes My Miracle\u003c/li>\n\u003cli>Hello Sunshine\u003c/li>\n\u003cli>Moonlight Motel\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The Prince Estate has announced plans to release another album of previously unreleased tracks recorded between 1981 and 1991. The album, titled \u003cem>Originals\u003c/em>, will be available June 7 exclusively on Tidal’s Hi-Fi subscription tier, with physical copies, downloads and wider streaming services following on June 21. It features 15 demo versions of songs Prince wrote and recorded for other artists, including Sheila E., The Time and Kenny Rogers. Fourteen of the tracks have never been released before.\u003c/p>\n\u003cp>[aside postID='arts_13833817' *hero='08-e1527720308667-1180x664.jpg'* target='_blank']\u003c/p>\n\u003cp>Several of the songs were big hits for the bands at the time. “Manic Monday,” which Prince originally wrote for his protégé girl group Apollonia 6, ultimately appeared on The Bangles’ 1986 album \u003cem>Different Light \u003c/em>and spent several weeks near the top of the pop charts. “The Glamorous Life,” written for Sheila E., was a number-one hit on the dance charts in 1984, while Sinead O’Connor’s version of “Nothing Compares 2 U” spent a month at number one on the Hot 100 in 1990.\u003c/p>\n\u003cp>\u003cem>Originals \u003c/em>follows last year’s \u003cem>Piano and a Microphone 1983, \u003c/em>a collection of intimate home recordings by Prince.\u003c/p>\n\u003cp>This fall, the Prince estate and Random House will also release a new memoir by the artist titled \u003cem>The Beautiful Ones\u003c/em>. It’s due out Oct. 29 and will include snippets of Prince’s handwritten lyrics, original scrapbooks and never-before-seen photos.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Originals\u003c/em> full track listing:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1. “Sex Shooter”\u003cbr>\n2. “Jungle Love”\u003cbr>\n3. “Manic Monday”\u003cbr>\n4. “Noon Rendezvous”\u003cbr>\n5. “Make-Up”\u003cbr>\n6. “100 MPH”\u003cbr>\n7. “You’re My Love”\u003cbr>\n8. “Holly Rock”\u003cbr>\n9. “Baby, You’re a Trip”\u003cbr>\n10. “The Glamorous Life”\u003cbr>\n11. “Gigolos Get Lonely Too”\u003cbr>\n12. “Love… Thy Will Be Done”\u003cbr>\n13. “Dear Michaelangelo”\u003cbr>\n14. “Wouldn’t You Love to Love Me?”\u003cbr>\n15. “Nothing Compares 2 U”\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=An+Album+From+Prince%27s+Vault%2C+And+His+Memoir%2C+Are+Coming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Several of the songs were big hits for the bands at the time. “Manic Monday,” which Prince originally wrote for his protégé girl group Apollonia 6, ultimately appeared on The Bangles’ 1986 album \u003cem>Different Light \u003c/em>and spent several weeks near the top of the pop charts. “The Glamorous Life,” written for Sheila E., was a number-one hit on the dance charts in 1984, while Sinead O’Connor’s version of “Nothing Compares 2 U” spent a month at number one on the Hot 100 in 1990.\u003c/p>\n\u003cp>\u003cem>Originals \u003c/em>follows last year’s \u003cem>Piano and a Microphone 1983, \u003c/em>a collection of intimate home recordings by Prince.\u003c/p>\n\u003cp>This fall, the Prince estate and Random House will also release a new memoir by the artist titled \u003cem>The Beautiful Ones\u003c/em>. It’s due out Oct. 29 and will include snippets of Prince’s handwritten lyrics, original scrapbooks and never-before-seen photos.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>Originals\u003c/em> full track listing:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After weeks of hand-wringing, vote-wrangling and even some stern finger-wagging from the Department of Justice, the Academy of Motion Picture Arts and Sciences has declined to pursue a controversial proposal to change the Oscars’ eligibility rules.\u003c/p>\n\u003cp>That proposal, \u003ca href=\"https://variety.com/2019/film/news/steven-spielberg-academy-netflix-oscar-competition-1203153872/\">reportedly pushed by\u003c/a> megadirector Steven Spielberg, would have made it difficult for streaming services such as Netflix to compete for the academy’s big prizes by restricting eligibility to just films that got a significant run in theaters. Films that debuted online and only got a limited theatrical release simply would be out of luck.\u003c/p>\n\u003cp>But when the academy’s \u003ca href=\"https://www.oscars.org/about/board-of-governors\">board of governors\u003c/a> released its rules for next year’s prize — a book that runs to 35 pages, all told — the would-be changes were not among them.\u003c/p>\n\u003cp>[documentcloud url=”https://www.documentcloud.org/documents/5977147-92aa-Rules.html” responsive=true]\u003c/p>\n\u003cp>“We support the theatrical experience as integral to the art of motion pictures, and this weighed heavily in our discussions,” John Bailey, president of the academy, said in a statement \u003ca href=\"https://www.oscars.org/news/academy-announces-rules-92nd-oscars\">released Tuesday night\u003c/a>. “Our rules currently require theatrical exhibition, and also allow for a broad selection of films to be submitted for Oscars consideration.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The updates that \u003cem>did \u003c/em>make their way into the rulebook were rather more innocuous.\u003c/p>\n\u003cp>The animated feature category was placed on surer footing. It used to be the case that the category’s prize would only be given out if at least eight eligible films were released that year. That caveat now has been stripped from the record.\u003c/p>\n\u003cp>And the foreign language film category has gotten a name change. Just call it the international feature film category now.\u003c/p>\n\u003cp>“We have noted that the reference to ‘Foreign’ is outdated within the global filmmaking community,” said Larry Karaszewski and Diane Weyermann, the co-chairs of the category’s committee. “We believe that International Feature Film better represents this category, and promotes a positive and inclusive view of filmmaking, and the art of film as a universal experience.”\u003c/p>\n\u003cp>There were a few other changes too, of course, which you can check out in the full text of \u003ca href=\"https://assets.documentcloud.org/documents/5976684/92aa-Rules.pdf\">the rulebook\u003c/a> below. But none made nearly the impact as the change that never was.\u003c/p>\n\u003cp>Not long after the idea to restrict eligibility surfaced publicly, the objections arrived in a deluge. Netflix, which has leaped enthusiastically into the arena of prestige films, with efforts such as its 2019 \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">best picture nominee\u003c/a>, \u003cem>Roma\u003c/em>, pointedly \u003ca href=\"https://twitter.com/NetflixFilm/status/1102418557760024578\">subtweeted the proposal\u003c/a>. The company said it supports broadening access to films and “giving filmmakers more ways to share art” — and that “these things are not mutually exclusive.”\u003c/p>\n\u003cfigure id=\"attachment_13855735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg\" alt=\": Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for 'Roma,' poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">: Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for ‘Roma,’ poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal authorities got involved in the dust-up as well. Justice Department official \u003ca href=\"https://www.justice.gov/atr/staff-profile/meet-assistant-attorney-general\">Makan Delrahim\u003c/a> warned the academy that the proposed restrictions \u003ca href=\"https://www.npr.org/2019/04/03/709429778/justice-department-warns-academy-new-oscar-rules-may-raise-antitrust-concerns\">“may raise antitrust concerns”\u003c/a> if they serve to eliminate competition and hurt the sales of certain movies.\u003c/p>\n\u003cp>Given the notable financial boost offered by Oscars recognition — which, in the case of at least one \u003ca href=\"https://deadline.com/2017/03/moonlight-table-19-love-taxes-specialty-box-office-1202037156/\">recent best picture winner\u003c/a>, represented 10% of its total box office gross — the Justice Department may have had a reasonable argument if it decided to bring a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bailey suggested that the decision Tuesday doesn’t exactly mean the conversation is over, however: “We plan to further study the profound changes occurring in our industry and continue discussions with our members about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After weeks of hand-wringing, vote-wrangling and even some stern finger-wagging from the Department of Justice, the Academy of Motion Picture Arts and Sciences has declined to pursue a controversial proposal to change the Oscars’ eligibility rules.\u003c/p>\n\u003cp>That proposal, \u003ca href=\"https://variety.com/2019/film/news/steven-spielberg-academy-netflix-oscar-competition-1203153872/\">reportedly pushed by\u003c/a> megadirector Steven Spielberg, would have made it difficult for streaming services such as Netflix to compete for the academy’s big prizes by restricting eligibility to just films that got a significant run in theaters. Films that debuted online and only got a limited theatrical release simply would be out of luck.\u003c/p>\n\u003cp>But when the academy’s \u003ca href=\"https://www.oscars.org/about/board-of-governors\">board of governors\u003c/a> released its rules for next year’s prize — a book that runs to 35 pages, all told — the would-be changes were not among them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We support the theatrical experience as integral to the art of motion pictures, and this weighed heavily in our discussions,” John Bailey, president of the academy, said in a statement \u003ca href=\"https://www.oscars.org/news/academy-announces-rules-92nd-oscars\">released Tuesday night\u003c/a>. “Our rules currently require theatrical exhibition, and also allow for a broad selection of films to be submitted for Oscars consideration.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The updates that \u003cem>did \u003c/em>make their way into the rulebook were rather more innocuous.\u003c/p>\n\u003cp>The animated feature category was placed on surer footing. It used to be the case that the category’s prize would only be given out if at least eight eligible films were released that year. That caveat now has been stripped from the record.\u003c/p>\n\u003cp>And the foreign language film category has gotten a name change. Just call it the international feature film category now.\u003c/p>\n\u003cp>“We have noted that the reference to ‘Foreign’ is outdated within the global filmmaking community,” said Larry Karaszewski and Diane Weyermann, the co-chairs of the category’s committee. “We believe that International Feature Film better represents this category, and promotes a positive and inclusive view of filmmaking, and the art of film as a universal experience.”\u003c/p>\n\u003cp>There were a few other changes too, of course, which you can check out in the full text of \u003ca href=\"https://assets.documentcloud.org/documents/5976684/92aa-Rules.pdf\">the rulebook\u003c/a> below. But none made nearly the impact as the change that never was.\u003c/p>\n\u003cp>Not long after the idea to restrict eligibility surfaced publicly, the objections arrived in a deluge. Netflix, which has leaped enthusiastically into the arena of prestige films, with efforts such as its 2019 \u003ca href=\"https://www.npr.org/2018/12/13/676190124/in-roma-a-director-recreates-the-city-and-the-caretaker-of-his-youth\">best picture nominee\u003c/a>, \u003cem>Roma\u003c/em>, pointedly \u003ca href=\"https://twitter.com/NetflixFilm/status/1102418557760024578\">subtweeted the proposal\u003c/a>. The company said it supports broadening access to films and “giving filmmakers more ways to share art” — and that “these things are not mutually exclusive.”\u003c/p>\n\u003cfigure id=\"attachment_13855735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13855735\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg\" alt=\": Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for 'Roma,' poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \" width=\"800\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-800x540.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201-1020x688.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/GettyImages-1131936201.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">: Alfonso Cuaron, winner of Best Foreign Language Film, Best Director and Best Cinematography for ‘Roma,’ poses in the press room during the 91st Annual Academy Awards at Hollywood and Highland on February 24, 2019 in Hollywood, California. \u003ccite>(Frazer Harrison/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Federal authorities got involved in the dust-up as well. Justice Department official \u003ca href=\"https://www.justice.gov/atr/staff-profile/meet-assistant-attorney-general\">Makan Delrahim\u003c/a> warned the academy that the proposed restrictions \u003ca href=\"https://www.npr.org/2019/04/03/709429778/justice-department-warns-academy-new-oscar-rules-may-raise-antitrust-concerns\">“may raise antitrust concerns”\u003c/a> if they serve to eliminate competition and hurt the sales of certain movies.\u003c/p>\n\u003cp>Given the notable financial boost offered by Oscars recognition — which, in the case of at least one \u003ca href=\"https://deadline.com/2017/03/moonlight-table-19-love-taxes-specialty-box-office-1202037156/\">recent best picture winner\u003c/a>, represented 10% of its total box office gross — the Justice Department may have had a reasonable argument if it decided to bring a lawsuit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bailey suggested that the decision Tuesday doesn’t exactly mean the conversation is over, however: “We plan to further study the profound changes occurring in our industry and continue discussions with our members about these issues.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mere days after Coachella 2019—where the specter of Beyoncé’s grand performance last year loomed large—she premiered \u003cem>Homecoming: A Beyoncé Film\u003c/em> on Netflix today, as expected. [aside postid='forum_2010101870195']\u003c/p>\n\u003cp>But, ever the generous queen, Beyoncé offered up a worthwhile supplement. A live album showcasing over an hour and a half’s worth of the over two-hour performance is out now. Covering 40 tracks—which comprises a vast bricolage of her own discography and others’—it features her cover of Maze’s “Before I Let Go,” her cover of “Lift Every Voice and Sing” and Blue’s own take of the black national anthem.\u003c/p>\n\u003cp>For what it’s worth: \u003cem>Lemonade\u003c/em> still is not on Spotify, so for subscribers, this might be the best way to hear “Formation,” “Hold Up” and “Freedom,” among other interspersed \u003cem>Lemonade\u003c/em> tracks.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/35S1JCj5paIfElT2GODl6x\" width=\"800\" height=\"800\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Copyright to NPR. For more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, ever the generous queen, Beyoncé offered up a worthwhile supplement. A live album showcasing over an hour and a half’s worth of the over two-hour performance is out now. Covering 40 tracks—which comprises a vast bricolage of her own discography and others’—it features her cover of Maze’s “Before I Let Go,” her cover of “Lift Every Voice and Sing” and Blue’s own take of the black national anthem.\u003c/p>\n\u003cp>For what it’s worth: \u003cem>Lemonade\u003c/em> still is not on Spotify, so for subscribers, this might be the best way to hear “Formation,” “Hold Up” and “Freedom,” among other interspersed \u003cem>Lemonade\u003c/em> tracks.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/35S1JCj5paIfElT2GODl6x\" width=\"800\" height=\"800\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Copyright to NPR. For more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Earlier this week, a large group of successful songwriters sent Daniel Ek, the co-founder and chief executive of Spotify, a short and pointed letter in which they wrote of being “hurt and disappointed” and accusing Spotify of having “used us and tried to divide us.”\u003c/p>\n\u003cp>In order to understand why that letter was sent, we need to go back to early February. It was then that a byzantine, but important, \u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">decision\u003c/a> arrived which would see songwriters’ royalties from streaming services increase dramatically over the next five years. But Spotify and several other music streaming services — except for Apple Music — then began appealing that decision. Thus, the letter (which, when asked by NPR, Spotify declined to comment on).\u003c/p>\n\u003cp>Immediately after that appeal was filed, Spotify was roundly derided, accused of “\u003ca href=\"https://www.theverge.com/2019/3/15/18267288/apple-music-spotify-suing-songwriters-eu-antitrust\">suing songwriters\u003c/a>.” The National Music Publishers Association, which represents the companies that manage songwriters’ business interests, scathingly \u003ca href=\"http://nmpa.org/press_release/amazon-spotify-appeal-crb-decision/\">observed\u003c/a> that “no amount of insincere and hollow public relations gestures such as throwing parties or buying billboards of congratulations or naming songwriters ‘geniuses’ can hide the fact that these big tech bullies do not respect or value the songwriters who make their businesses possible.” It’s a characterization which Spotify disagreed with \u003ca href=\"https://artists.spotify.com/blog/you-might-have-heard-about-the-streaming-industry's-crb-appeal-here's-what\">and tried to explain\u003c/a> away.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/652120918/nile-rodgers-chic\">Nile Rodgers\u003c/a>, the leader of Chic and recently appointed chairman of the Songwriters Hall of Fame, was one of the signatories to the vexed letter. Speaking as both an artist and an advocate on behalf of them, Rodgers gave NPR a brief overview of what’s going on from his perspective.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>NPR Music: Who came up with the idea to send this letter to Spotify and Daniel Ek? What was the process of putting it together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nile Rodgers:\u003c/strong> I was asked by my manager to participate because of my position in the songwriting community, and I felt it was an important message to put out immediately and to support vocally. I think it’s intelligently presented and the message is very simple. Spotify, Amazon, et al.: Do not bite the hand that brings you your subscribers.\u003c/p>\n\u003cp>\u003cstrong>You’re the chairman of the Songwriters Hall of Fame – I have to assume that part of that role is advocacy on behalf of all those who \u003c/strong>\u003cstrong>\u003cem>don’t\u003c/em>\u003c/strong>\u003cstrong> make it into the Hall. What are the issues causing you the most concern?\u003c/strong>\u003c/p>\n\u003cp>I think it’s important, first, to acknowledge that thanks to streaming and companies like Apple, Spotify and Amazon delivering our songs to the consumer conveniently, the best days for music and its creators are once again in front of it. We need to help them succeed, while ensuring we get our fair and equitable slice of the growing pie. Tremendous credit goes to Apple for acknowledging the songwriter’s value and affirming the [Copyright Royalty Board] ruling! [\u003cem>Ed. note: Rodgers is referring to \u003c/em>\u003ca href=\"https://www.apple.com/uk/newsroom/2019/03/addressing-spotifys-claims/\">\u003cem>Apple’s decision\u003c/em>\u003c/a>\u003cem> not to appeal the decision raising songwriters’ royalties from streaming.\u003c/em>]\u003c/p>\n\u003cp>\u003cstrong>Do you think artists’ best interests are front-of-mind for Spotify, or any streaming service?\u003c/strong>\u003c/p>\n\u003cp>Daniel Ek and Jeff Bezos are highly intelligent people. They understand that people do not pay $10 a month to be able to push buttons on their technology — they spend their money to listen to The Beatles, Dua Lipa, Led Zeppelin, Beyoncé.\u003c/p>\n\u003cp>If great artists and songs start to disappear from these services, the money will then evaporate and go to whomever can deliver them. I suspect Spotify and Amazon now realize they have handled this badly, and I hope for a swift resolution that has no impact on their growth.\u003c/p>\n\u003cp>\u003cstrong>Are songwriters treated fairly in this brave new world of streaming? Or — is streaming even the root of the problem?\u003c/strong>\u003c/p>\n\u003cp>Songwriters are not treated fairly! In the U.K., we have created a £350 million publicly listed fund — the \u003ca href=\"https://www.hipgnosissongs.com/about\">Hipgnosis Songs Fund\u003c/a> — that has demonstrated to the financial community that hit songs are as investable financial instruments as gold or oil. Our ultimate aim is to use the leverage of that fund to place the songwriter at the top, rather than bottom, of the economic equation. Songs are the currency of the music industry and these creators should be acknowledged and rewarded.\u003c/p>\n\u003cp>\u003cstrong>Can streaming as it’s structured now ever be equitable, or even profitable, for songwriters – particularly low- and mid-tier independent songwriters, who are often the performers as well? If not, what could a possible solution look like?\u003c/strong>\u003c/p>\n\u003cp>There is no question that streaming will become equitable for all involved. History has many answers, and if you look at The Beatles, when they signed their record deal in 1962 [their per-single royalties were fractions of a cent]. By the time they break up, it’s over 20 times that. Part of that is because they are The Beatles, but a big part of it is that the business of the long-playing record became more sophisticated, and artists started getting a fairer share of the pie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We are in the early days of streaming and in due course, with a lot of “discussion” and advocacy, we will get what we deserve. For now, Daniel Ek and Jeff Bezos should immediately withdraw their appeal and demonstrate to songwriters that this was an error in judgement and that they value [songwriters’] contributions.\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=%27Songwriters+Are+Not+Treated+Fairly%27%3A+Nile+Rodgers+On+Streaming%27s+Present+And+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this week, a large group of successful songwriters sent Daniel Ek, the co-founder and chief executive of Spotify, a short and pointed letter in which they wrote of being “hurt and disappointed” and accusing Spotify of having “used us and tried to divide us.”\u003c/p>\n\u003cp>In order to understand why that letter was sent, we need to go back to early February. It was then that a byzantine, but important, \u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">decision\u003c/a> arrived which would see songwriters’ royalties from streaming services increase dramatically over the next five years. But Spotify and several other music streaming services — except for Apple Music — then began appealing that decision. Thus, the letter (which, when asked by NPR, Spotify declined to comment on).\u003c/p>\n\u003cp>Immediately after that appeal was filed, Spotify was roundly derided, accused of “\u003ca href=\"https://www.theverge.com/2019/3/15/18267288/apple-music-spotify-suing-songwriters-eu-antitrust\">suing songwriters\u003c/a>.” The National Music Publishers Association, which represents the companies that manage songwriters’ business interests, scathingly \u003ca href=\"http://nmpa.org/press_release/amazon-spotify-appeal-crb-decision/\">observed\u003c/a> that “no amount of insincere and hollow public relations gestures such as throwing parties or buying billboards of congratulations or naming songwriters ‘geniuses’ can hide the fact that these big tech bullies do not respect or value the songwriters who make their businesses possible.” It’s a characterization which Spotify disagreed with \u003ca href=\"https://artists.spotify.com/blog/you-might-have-heard-about-the-streaming-industry's-crb-appeal-here's-what\">and tried to explain\u003c/a> away.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/652120918/nile-rodgers-chic\">Nile Rodgers\u003c/a>, the leader of Chic and recently appointed chairman of the Songwriters Hall of Fame, was one of the signatories to the vexed letter. Speaking as both an artist and an advocate on behalf of them, Rodgers gave NPR a brief overview of what’s going on from his perspective.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>NPR Music: Who came up with the idea to send this letter to Spotify and Daniel Ek? What was the process of putting it together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nile Rodgers:\u003c/strong> I was asked by my manager to participate because of my position in the songwriting community, and I felt it was an important message to put out immediately and to support vocally. I think it’s intelligently presented and the message is very simple. Spotify, Amazon, et al.: Do not bite the hand that brings you your subscribers.\u003c/p>\n\u003cp>\u003cstrong>You’re the chairman of the Songwriters Hall of Fame – I have to assume that part of that role is advocacy on behalf of all those who \u003c/strong>\u003cstrong>\u003cem>don’t\u003c/em>\u003c/strong>\u003cstrong> make it into the Hall. What are the issues causing you the most concern?\u003c/strong>\u003c/p>\n\u003cp>I think it’s important, first, to acknowledge that thanks to streaming and companies like Apple, Spotify and Amazon delivering our songs to the consumer conveniently, the best days for music and its creators are once again in front of it. We need to help them succeed, while ensuring we get our fair and equitable slice of the growing pie. Tremendous credit goes to Apple for acknowledging the songwriter’s value and affirming the [Copyright Royalty Board] ruling! [\u003cem>Ed. note: Rodgers is referring to \u003c/em>\u003ca href=\"https://www.apple.com/uk/newsroom/2019/03/addressing-spotifys-claims/\">\u003cem>Apple’s decision\u003c/em>\u003c/a>\u003cem> not to appeal the decision raising songwriters’ royalties from streaming.\u003c/em>]\u003c/p>\n\u003cp>\u003cstrong>Do you think artists’ best interests are front-of-mind for Spotify, or any streaming service?\u003c/strong>\u003c/p>\n\u003cp>Daniel Ek and Jeff Bezos are highly intelligent people. They understand that people do not pay $10 a month to be able to push buttons on their technology — they spend their money to listen to The Beatles, Dua Lipa, Led Zeppelin, Beyoncé.\u003c/p>\n\u003cp>If great artists and songs start to disappear from these services, the money will then evaporate and go to whomever can deliver them. I suspect Spotify and Amazon now realize they have handled this badly, and I hope for a swift resolution that has no impact on their growth.\u003c/p>\n\u003cp>\u003cstrong>Are songwriters treated fairly in this brave new world of streaming? Or — is streaming even the root of the problem?\u003c/strong>\u003c/p>\n\u003cp>Songwriters are not treated fairly! In the U.K., we have created a £350 million publicly listed fund — the \u003ca href=\"https://www.hipgnosissongs.com/about\">Hipgnosis Songs Fund\u003c/a> — that has demonstrated to the financial community that hit songs are as investable financial instruments as gold or oil. Our ultimate aim is to use the leverage of that fund to place the songwriter at the top, rather than bottom, of the economic equation. Songs are the currency of the music industry and these creators should be acknowledged and rewarded.\u003c/p>\n\u003cp>\u003cstrong>Can streaming as it’s structured now ever be equitable, or even profitable, for songwriters – particularly low- and mid-tier independent songwriters, who are often the performers as well? If not, what could a possible solution look like?\u003c/strong>\u003c/p>\n\u003cp>There is no question that streaming will become equitable for all involved. History has many answers, and if you look at The Beatles, when they signed their record deal in 1962 [their per-single royalties were fractions of a cent]. By the time they break up, it’s over 20 times that. Part of that is because they are The Beatles, but a big part of it is that the business of the long-playing record became more sophisticated, and artists started getting a fairer share of the pie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We are in the early days of streaming and in due course, with a lot of “discussion” and advocacy, we will get what we deserve. For now, Daniel Ek and Jeff Bezos should immediately withdraw their appeal and demonstrate to songwriters that this was an error in judgement and that they value [songwriters’] contributions.\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=%27Songwriters+Are+Not+Treated+Fairly%27%3A+Nile+Rodgers+On+Streaming%27s+Present+And+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "10-coachella-performances-worth-watching-on-youtube-this-weekend",
"title": "10 Coachella Performances Worth Watching On YouTube This Weekend",
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"headTitle": "10 Coachella Performances Worth Watching On YouTube This Weekend | KQED",
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"content": "\u003cp>Now in its 19th year, the \u003ca href=\"https://www.youtube.com/user/coachella\">Coachella Valley Music and Arts Festival\u003c/a> is more than a music festival, or even a lifestyle. It’s a capital-M moment that seems to stop the world. (And not \u003cem>entirely\u003c/em> because Beyoncé willed it so last year.) Beyond the experience of bearing witness to celebrities of the A- and D-lists as they drench themselves in sweat and dust while gorging on trendy cuisine and novelty cocktails, Coachella’s influence extends far beyond the festival grounds of Indio, California.\u003c/p>\n\u003cp>Even Coachella seems to be aware of this: For the first time ever, it’s doubling down on its festival streams by showcasing both weekends of the festival. Emergent K-pop group BLACKPINK is set to broadcast its message of sensory-overload pop music \u003ca href=\"https://www.latimes.com/business/hollywood/la-fi-ct-youtube-coachella-times-square-20190408-story.html\">in Times Square\u003c/a> this weekend. Childish Gambino and Rihanna premiered a new film, and with the aid of Amazon and YouTube, will premiere it globally this weekend for free.\u003c/p>\n\u003cp>For those looking to avoid the hefty price tag of a festival pass — or reluctant to experience Coachella anywhere but on a couch — we’ve got you covered. The only catch: You’ll need to watch it \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">live on YouTube\u003c/a>, as Coachella does not make its sets available after the fact as on-demand videos.\u003c/p>\n\u003cp>So, without further ado, here are 10 Coachella 2019 acts worth planning your weekend around, in chronological order. And if you’re the adventurous sort, you can scan and skip between a whopping 83 live performances across three channels at \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">youtube.com/user/coachella/coachellalive\u003c/a>.\u003c/p>\n\u003ch3 class=\"hed\">10 Coachella Sets We’re Watching This Weekend\u003c/h3>\n\u003ch4>Kacey Musgraves\u003c/h4>\n\u003cfigure id=\"attachment_13854931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1134354848-5b17415d54e71f6f69f45040c5d07f81a6ccbdb2-800x600.jpg\" alt=\"Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>Even if it’s not quite golden hour elsewhere, getting to see Kacey Musgraves perform as the sun wanes in Coachella might just be worth the price of admission. (Lucky for you, it only requires access to a device that streams YouTube.)\u003c/p>\n\u003ch4>BLACKPINK\u003c/h4>\n\u003cfigure id=\"attachment_13854934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1098327268-f3b5abd610964c14e98248532cca79ff9f4ae201-800x600.jpg\" alt=\"Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 11:30 p.m. ET / 8:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>BLACKPINK’s Coachella set is one for the books: It’s the first ever K-pop group to perform at the hallowed festival grounds — and quite possibly the first act ever to simulcast a Coachella set from Times Square. If BLACKPINK is good enough for Times Square, it’s good enough for your living room, right?\u003c/p>\n\u003ch4>Janelle Monáe\u003c/h4>\n\u003cfigure id=\"attachment_13854936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1130408167-8985f8827768a01762d9a72ab6d2806afbba0377-800x600.jpg\" alt=\"Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\u003c/figcaption>\u003c/figure>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:30 a.m. ET / 10:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>No introduction needed: Janelle Monáe is an electric presence live. Come for her excellent music; stay for what will surely be a spectacle when she breaks out “Pynk.”\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003ch4>Billie Eilish\u003c/h4>\n\u003cfigure id=\"attachment_13855014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855014 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Billie-Eilish-800x600.jpg\" alt=\"Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California. \u003ccite>(Kevin Winter/Getty Images for KROQ/Entercom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:50 a.m. ET / 9:50 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>The one time this author saw Billie Eilish, her gloomy pop whipped a sold-out club full of Gen Z-ers into a total frenzy — and that was months before the release of her star-making album \u003cem>When We All Fall Asleep, Where Do We Go?\u003c/em> If anything, this one’s worth throwing on in the event you’re struggling to keep up with the kids.\u003c/p>\n\u003ch3>Tame Impala\u003c/h3>\n\u003cfigure id=\"attachment_13854940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-596739456-9da84f4f754005b4bf7b56124b7a03d4d521e356-800x600.jpg\" alt=\"Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 2:00 a.m. ET / 11:00 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>There probably won’t be a better nightcap for your Saturday than Tame Impala’s groovy psychedelia. Bandleader Kevin Parker will almost certainly break out a few new songs, too.\u003c/p>\n\u003ch3>Little Simz\u003c/h3>\n\u003cfigure id=\"attachment_13854942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-947860284-37ee00888c22a0d5f9342d6ad03d06115098c9f5-800x600.jpg\" alt=\"Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England. \u003ccite>(John Phillips/Getty Images for Global Citizen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 3:00 a.m. ET / 12:00 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 3\u003c/p>\n\u003cp>…but if you’re looking to stay up, U.K. rapper Little Simz put out a stellar album this year titled \u003cem>GREY Area\u003c/em>. At 25, she’s a commanding, already-seasoned stage presence.\u003c/p>\n\u003c/div>\n\u003ch4>Bad Bunny\u003c/h4>\n\u003cfigure id=\"attachment_13854944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1128323097-2fc7c2e7e7ee1dc244489d901fbc47a064a089dd-800x600.jpg\" alt=\"Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019. \u003ccite>(Claudio Reyes/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>You’d be remiss to skip Bad Bunny, \u003cem>urbano\u003c/em>‘s Puerto Rican goofball prince, live. Still riding the wave of his immaculate, long-awaited debut \u003cem>X 100PRE\u003c/em>, Bad Bunny has charisma and charm for days.\u003c/p>\n\u003ch3>Pusha T\u003c/h3>\n\u003cfigure id=\"attachment_13854946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-976138098-70fb8236baf65585d64ef5f3bd680737cb46666e-800x600.jpg\" alt=\"Rapper Pusha T performs during the debut of his residency at Drai's Beach Club - Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pusha T performs during the debut of his residency at Drai’s Beach Club – Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:35 a.m. ET / 9:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>King Push decreed himself the steel-eyed sorcerer of rap with \u003cem>DAYTONA\u003c/em>. Come witness his proper coronation.\u003c/p>\n\u003ch4>Lizzo\u003c/h4>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13854957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-800x599.jpg\" alt=\"Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California. \u003ccite>(Matt Winkelmeyer/Getty Images for GLAAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:40 a.m. ET / 10:40 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>We don’t know what to tell you: If \u003ca href=\"https://www.youtube.com/watch?v=XaCrQL_8eMY\">the “Juice” video\u003c/a> won’t convince you to watch, maybe the promise of Lizzo twerking whilst playing the flute will.\u003c/p>\n\u003ch4>Ariana Grande\u003c/h4>\n\u003cfigure id=\"attachment_13854955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-800x599.jpg\" alt=\"Ariana Grande\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande \u003ccite>(Bennett Raglin/Getty Images for FIJI Water)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:35 a.m. ET / 10:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To cap off the whole festival, come witness one of pop music’s biggest stars as she caps off a stunning run of music. (And, for what it’s worth, tickets for her ongoing tour sold out months in advance. This might be your only chance to see her.)\u003c/p>\n\u003chr>\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=10+Coachella+Performances+Worth+Watching+On+YouTube+This+Weekend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 19th year, the \u003ca href=\"https://www.youtube.com/user/coachella\">Coachella Valley Music and Arts Festival\u003c/a> is more than a music festival, or even a lifestyle. It’s a capital-M moment that seems to stop the world. (And not \u003cem>entirely\u003c/em> because Beyoncé willed it so last year.) Beyond the experience of bearing witness to celebrities of the A- and D-lists as they drench themselves in sweat and dust while gorging on trendy cuisine and novelty cocktails, Coachella’s influence extends far beyond the festival grounds of Indio, California.\u003c/p>\n\u003cp>Even Coachella seems to be aware of this: For the first time ever, it’s doubling down on its festival streams by showcasing both weekends of the festival. Emergent K-pop group BLACKPINK is set to broadcast its message of sensory-overload pop music \u003ca href=\"https://www.latimes.com/business/hollywood/la-fi-ct-youtube-coachella-times-square-20190408-story.html\">in Times Square\u003c/a> this weekend. Childish Gambino and Rihanna premiered a new film, and with the aid of Amazon and YouTube, will premiere it globally this weekend for free.\u003c/p>\n\u003cp>For those looking to avoid the hefty price tag of a festival pass — or reluctant to experience Coachella anywhere but on a couch — we’ve got you covered. The only catch: You’ll need to watch it \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">live on YouTube\u003c/a>, as Coachella does not make its sets available after the fact as on-demand videos.\u003c/p>\n\u003cp>So, without further ado, here are 10 Coachella 2019 acts worth planning your weekend around, in chronological order. And if you’re the adventurous sort, you can scan and skip between a whopping 83 live performances across three channels at \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">youtube.com/user/coachella/coachellalive\u003c/a>.\u003c/p>\n\u003ch3 class=\"hed\">10 Coachella Sets We’re Watching This Weekend\u003c/h3>\n\u003ch4>Kacey Musgraves\u003c/h4>\n\u003cfigure id=\"attachment_13854931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1134354848-5b17415d54e71f6f69f45040c5d07f81a6ccbdb2-800x600.jpg\" alt=\"Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>Even if it’s not quite golden hour elsewhere, getting to see Kacey Musgraves perform as the sun wanes in Coachella might just be worth the price of admission. (Lucky for you, it only requires access to a device that streams YouTube.)\u003c/p>\n\u003ch4>BLACKPINK\u003c/h4>\n\u003cfigure id=\"attachment_13854934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1098327268-f3b5abd610964c14e98248532cca79ff9f4ae201-800x600.jpg\" alt=\"Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 11:30 p.m. ET / 8:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>BLACKPINK’s Coachella set is one for the books: It’s the first ever K-pop group to perform at the hallowed festival grounds — and quite possibly the first act ever to simulcast a Coachella set from Times Square. If BLACKPINK is good enough for Times Square, it’s good enough for your living room, right?\u003c/p>\n\u003ch4>Janelle Monáe\u003c/h4>\n\u003cfigure id=\"attachment_13854936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1130408167-8985f8827768a01762d9a72ab6d2806afbba0377-800x600.jpg\" alt=\"Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\u003c/figcaption>\u003c/figure>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:30 a.m. ET / 10:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>No introduction needed: Janelle Monáe is an electric presence live. Come for her excellent music; stay for what will surely be a spectacle when she breaks out “Pynk.”\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003ch4>Billie Eilish\u003c/h4>\n\u003cfigure id=\"attachment_13855014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855014 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Billie-Eilish-800x600.jpg\" alt=\"Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California. \u003ccite>(Kevin Winter/Getty Images for KROQ/Entercom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:50 a.m. ET / 9:50 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>The one time this author saw Billie Eilish, her gloomy pop whipped a sold-out club full of Gen Z-ers into a total frenzy — and that was months before the release of her star-making album \u003cem>When We All Fall Asleep, Where Do We Go?\u003c/em> If anything, this one’s worth throwing on in the event you’re struggling to keep up with the kids.\u003c/p>\n\u003ch3>Tame Impala\u003c/h3>\n\u003cfigure id=\"attachment_13854940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-596739456-9da84f4f754005b4bf7b56124b7a03d4d521e356-800x600.jpg\" alt=\"Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 2:00 a.m. ET / 11:00 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>There probably won’t be a better nightcap for your Saturday than Tame Impala’s groovy psychedelia. Bandleader Kevin Parker will almost certainly break out a few new songs, too.\u003c/p>\n\u003ch3>Little Simz\u003c/h3>\n\u003cfigure id=\"attachment_13854942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-947860284-37ee00888c22a0d5f9342d6ad03d06115098c9f5-800x600.jpg\" alt=\"Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England. \u003ccite>(John Phillips/Getty Images for Global Citizen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 3:00 a.m. ET / 12:00 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 3\u003c/p>\n\u003cp>…but if you’re looking to stay up, U.K. rapper Little Simz put out a stellar album this year titled \u003cem>GREY Area\u003c/em>. At 25, she’s a commanding, already-seasoned stage presence.\u003c/p>\n\u003c/div>\n\u003ch4>Bad Bunny\u003c/h4>\n\u003cfigure id=\"attachment_13854944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1128323097-2fc7c2e7e7ee1dc244489d901fbc47a064a089dd-800x600.jpg\" alt=\"Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019. \u003ccite>(Claudio Reyes/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>You’d be remiss to skip Bad Bunny, \u003cem>urbano\u003c/em>‘s Puerto Rican goofball prince, live. Still riding the wave of his immaculate, long-awaited debut \u003cem>X 100PRE\u003c/em>, Bad Bunny has charisma and charm for days.\u003c/p>\n\u003ch3>Pusha T\u003c/h3>\n\u003cfigure id=\"attachment_13854946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-976138098-70fb8236baf65585d64ef5f3bd680737cb46666e-800x600.jpg\" alt=\"Rapper Pusha T performs during the debut of his residency at Drai's Beach Club - Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pusha T performs during the debut of his residency at Drai’s Beach Club – Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:35 a.m. ET / 9:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>King Push decreed himself the steel-eyed sorcerer of rap with \u003cem>DAYTONA\u003c/em>. Come witness his proper coronation.\u003c/p>\n\u003ch4>Lizzo\u003c/h4>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13854957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-800x599.jpg\" alt=\"Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California. \u003ccite>(Matt Winkelmeyer/Getty Images for GLAAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:40 a.m. ET / 10:40 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>We don’t know what to tell you: If \u003ca href=\"https://www.youtube.com/watch?v=XaCrQL_8eMY\">the “Juice” video\u003c/a> won’t convince you to watch, maybe the promise of Lizzo twerking whilst playing the flute will.\u003c/p>\n\u003ch4>Ariana Grande\u003c/h4>\n\u003cfigure id=\"attachment_13854955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-800x599.jpg\" alt=\"Ariana Grande\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande \u003ccite>(Bennett Raglin/Getty Images for FIJI Water)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:35 a.m. ET / 10:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To cap off the whole festival, come witness one of pop music’s biggest stars as she caps off a stunning run of music. (And, for what it’s worth, tickets for her ongoing tour sold out months in advance. This might be your only chance to see her.)\u003c/p>\n\u003chr>\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=10+Coachella+Performances+Worth+Watching+On+YouTube+This+Weekend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"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?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"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.",
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"pri-the-world": {
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"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {
"region": {
"key": "Restaurant Region",
"filters": [
"Any Region"
]
},
"cuisine": {
"key": "Restaurant Cuisine",
"filters": [
"Any Cuisine"
]
}
},
"restaurantDataById": {},
"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
