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"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": "\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>\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. \u003c/p>\u003c/div>",
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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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"title": "'Songwriters Are Not Treated Fairly': Nile Rodgers On Streaming's Present And Future",
"headTitle": "‘Songwriters Are Not Treated Fairly’: Nile Rodgers On Streaming’s Present And Future | KQED",
"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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"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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"title": "Trump Posted A Video With Music From A Batman Movie. Warner Bros. Had It Taken Down",
"headTitle": "Trump Posted A Video With Music From A Batman Movie. Warner Bros. Had It Taken Down | KQED",
"content": "\u003cp>On Tuesday, President Trump tweeted out a video. He gave no explanation of what it was or where it came from — just \u003ca href=\"https://www.bbc.com/news/world-us-canada-47878038\">an exhortation\u003c/a> to “MAKE AMERICA GREAT AGAIN!”\u003c/p>\n\u003cp>The video was odd — it opened with footage of various Washington landmarks interspersed with clips of Barack Obama and Hillary and Bill Clinton. Then came clips of Trump visiting a factory, Trump meeting with Kim Jong Un, the Brett Kavanaugh confirmation hearing, and clips of actors Rosie O’Donnell, Bryan Cranston and Amy Schumer, mixed in with shots of Trump at campaign rallies.\u003c/p>\n\u003cp>As a dramatic score played, words appeared on the screen: “First they ignore you. Then they laugh at you. Then they call you racist. Donald J. Trump. Your vote. Proved them all wrong. Trump: The Great Victory 2020.”\u003c/p>\n\u003cp>Just a few hours later, the video was taken down from YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13854764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png\" alt=\"The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a.png 905w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright. \u003ccite>(Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue was that dramatic score: It is music composed by Hans Zimmer for the soundtrack to the Warner Bros. 2012 Batman film \u003cem>The Dark Knight Rises\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement, Warner Bros. said that the video’s use of its music was unauthorized: “We are working through the appropriate legal channels to have it removed.”\u003c/p>\n\u003cp>Trump later deleted the tweet. As of Wednesday afternoon, \u003ca href=\"https://www.youtube.com/watch?v=adu9nKQtGv0\">near-copies of the video\u003c/a> were still on YouTube.\u003c/p>\n\u003cp>The video was apparently not created by the Trump campaign but rather by a fan. “The video was made by a supporter,” a campaign aide \u003ca href=\"https://www.cnn.com/2019/04/10/politics/warner-bros-copyright-trump-2020-dark-knight-rises/index.html\">told CNN\u003c/a>. “We like to share content from diehard supporters, and this is just another example of how hard Trump supporters fight for the President.”\u003c/p>\n\u003cp>The video was \u003ca href=\"https://www.reddit.com/r/The_Donald/comments/b9m5do/trump_2020_coming_soon_keep_america_great/\">posted \u003c/a>to a pro-Trump Reddit channel last week. The account that posted the video to the r/The_Donald subreddit \u003ca href=\"https://www.reddit.com/user/knock-nevisTDF\">wrote\u003c/a> Tuesday that the video was made a couple of weeks ago, and its creator was shocked and delighted when Trump shared it.\u003c/p>\n\u003cp>“I’m honored,” the person wrote. “My dad has [Trump’s] tweet printed so I can frame it.”\u003c/p>\n\u003cp>Artists including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/06/17/415158962/neil-young-is-displeased-that-donald-trump-was-rockin-in-the-free-world\">Neil Young\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/30/662168950/after-pittburgh-pharrell-demands-trump-never-play-happy-again\">Pharrell Williams\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/prince-estate-donald-trump-purple-rain-rally-737428/\">the estate of Prince\u003c/a> have all previously demanded that the Trump campaign stop playing their music, complaining that their songs had been used without permission.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Brandon Carter contributed to this report.\u003c/em>\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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"excerpt": "As a dramatic score plays, words appear on the screen: \"First they ignore you. Then they laugh at you. Then they call you racist.\" The video used music from 'The Dark Knight Rises' without permission.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, President Trump tweeted out a video. He gave no explanation of what it was or where it came from — just \u003ca href=\"https://www.bbc.com/news/world-us-canada-47878038\">an exhortation\u003c/a> to “MAKE AMERICA GREAT AGAIN!”\u003c/p>\n\u003cp>The video was odd — it opened with footage of various Washington landmarks interspersed with clips of Barack Obama and Hillary and Bill Clinton. Then came clips of Trump visiting a factory, Trump meeting with Kim Jong Un, the Brett Kavanaugh confirmation hearing, and clips of actors Rosie O’Donnell, Bryan Cranston and Amy Schumer, mixed in with shots of Trump at campaign rallies.\u003c/p>\n\u003cp>As a dramatic score played, words appeared on the screen: “First they ignore you. Then they laugh at you. Then they call you racist. Donald J. Trump. Your vote. Proved them all wrong. Trump: The Great Victory 2020.”\u003c/p>\n\u003cp>Just a few hours later, the video was taken down from YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13854764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png\" alt=\"The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a.png 905w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright. \u003ccite>(Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue was that dramatic score: It is music composed by Hans Zimmer for the soundtrack to the Warner Bros. 2012 Batman film \u003cem>The Dark Knight Rises\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement, Warner Bros. said that the video’s use of its music was unauthorized: “We are working through the appropriate legal channels to have it removed.”\u003c/p>\n\u003cp>Trump later deleted the tweet. As of Wednesday afternoon, \u003ca href=\"https://www.youtube.com/watch?v=adu9nKQtGv0\">near-copies of the video\u003c/a> were still on YouTube.\u003c/p>\n\u003cp>The video was apparently not created by the Trump campaign but rather by a fan. “The video was made by a supporter,” a campaign aide \u003ca href=\"https://www.cnn.com/2019/04/10/politics/warner-bros-copyright-trump-2020-dark-knight-rises/index.html\">told CNN\u003c/a>. “We like to share content from diehard supporters, and this is just another example of how hard Trump supporters fight for the President.”\u003c/p>\n\u003cp>The video was \u003ca href=\"https://www.reddit.com/r/The_Donald/comments/b9m5do/trump_2020_coming_soon_keep_america_great/\">posted \u003c/a>to a pro-Trump Reddit channel last week. The account that posted the video to the r/The_Donald subreddit \u003ca href=\"https://www.reddit.com/user/knock-nevisTDF\">wrote\u003c/a> Tuesday that the video was made a couple of weeks ago, and its creator was shocked and delighted when Trump shared it.\u003c/p>\n\u003cp>“I’m honored,” the person wrote. “My dad has [Trump’s] tweet printed so I can frame it.”\u003c/p>\n\u003cp>Artists including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/06/17/415158962/neil-young-is-displeased-that-donald-trump-was-rockin-in-the-free-world\">Neil Young\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/30/662168950/after-pittburgh-pharrell-demands-trump-never-play-happy-again\">Pharrell Williams\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/prince-estate-donald-trump-purple-rain-rally-737428/\">the estate of Prince\u003c/a> have all previously demanded that the Trump campaign stop playing their music, complaining that their songs had been used without permission.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Brandon Carter contributed to this report.\u003c/em>\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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"title": "Beyond The Summer Of Love, 'Get Together' Is An Anthem For Every Season",
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"content": "\u003cp>The song sometimes called the “hippie national anthem” can be found in all kinds of places. It’s been used on \u003cem>The Simpsons\u003c/em> and in \u003cem>Forrest Gump,\u003c/em> recorded dozens of times by the likes of The Kingston Trio, The Dave Clark Five, Jefferson Airplane, The Staples Singers and the Carpenters (twice). You may have even heard it \u003ca href=\"https://www.youtube.com/watch?v=ha15CfHe3FI\">in a Walmart commercial\u003c/a> a few years ago.\u003c/p>\n\u003cp>The song has gone by a few different names: “Let’s Get Together,” Everybody Get Together.” But the best-known version is called, simply, “\u003ca href=\"https://www.youtube.com/watch?v=7xGxQXmu7Os\">Get Together\u003c/a>.” It was recorded by The Youngbloods in 1967 — the same year as the Summer of Love, where it would become a constant presence.\u003c/p>\n\u003cp>https://youtu.be/7xGxQXmu7Os\u003c/p>\n\u003cp>In 1967, the Vietnam War was raging. The Youngbloods’ lead singer, Jesse Colin Young, remembers, “Back then we were all subject to the draft. That made everything more life and death. And hope is what comes out of that song.”\u003c/p>\n\u003cp>Young was a folk singer and guitarist with two albums under his belt when he met guitarist Jerry Corbitt on the folk scene in Cambridge, Mass. They put The Youngbloods together in New York City with drummer Joe Bauer and multi-instrumentalist Lowell Levinger, known as Banana. The band rehearsed in Greenwich Village’s Café au Go Go when there wasn’t a show happening, and that’s where Young first heard “Get Together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was a Sunday afternoon and I was walking through the Village and thought, ‘Oh, the Go Go’s gonna be dark. I’ll call the band; we can rehearse,’ ” Young recalls. “I walked down the stairs and it turned out to be an open mic. I thought I would turn around and go home. But Buzzy Linhart was onstage singing ‘Get Together.’ That song just stopped me in my tracks.”\u003c/p>\n\u003cp>[aside postID='arts_13806888' *hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/08/AceofCups_KQEDthumb.jpg'* target='_blank']\u003c/p>\n\u003cp>Young says it was the lyrics that really grabbed him. ” ‘\u003cem>Love is but a song we sing / Fear’s the way we die\u003c/em>.’ Wow — the human condition in two lines.”\u003c/p>\n\u003cp>The lyrics grabbed \u003ca href=\"https://www.npr.org/artists/14948570/lizz-wright\">Lizz Wright\u003c/a>, too: The jazz and gospel singer recorded “Get Together” in 2004 for her album \u003cem>Dreaming Wide Awake\u003c/em>. She’s a fan of one verse in particular:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>If you hear the song I sing\u003cbr>\nYou will understand\u003cbr>\nYou hold the key to love and fear\u003cbr>\nAll in your trembling hand\u003cbr>\nJust one key unlocks them both\u003cbr>\nIt’s there at your command\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“It’s so clear, and the imagery is fantastic,” Wright says. “In our uncertainty, in our not fully knowing, we are still holding so much power and choosing to learn by love or to learn by fear as we go. And I just love how this verse puts it back in our in our court as individuals.”\u003c/p>\n\u003cp>https://youtu.be/OnNEBAU_NYo\u003c/p>\n\u003cp>The song was written in the early 1960s by Chester Powers, who performed under the name Dino Valenti. The son of carnival performers, he made a name for himself in the folk clubs of Greenwich Village. Though he had already left for the West Coast when The Youngbloods formed, Young did meet him years later.\u003c/p>\n\u003cp>“I met him at a motorcycle shop in Marin County — we were both living in the Bay Area,” Young says. “I was surprised Dino was kind of a tough guy. I thought to myself, ‘Wow, the angels just took a hold of you one day and put this song in your head, and you brought it to us.'”\u003c/p>\n\u003cp>David Freiberg of Jefferson Starship puts the song’s origin around 1964. He was in Los Angeles visiting a friend, “and in pops Dino Valenti driving in like a crazy [man] and says, ‘Hey man, listen to this song I just wrote!’ ” Freiberg recalls. “And we listened to it and went, ‘Oh my goodness! How great that song is.’ And we’re quickly writing down the lyrics to it.”\u003c/p>\n\u003cp>He also remembers hearing Valenti perform for the first time. “He stomped his foot so hard on the stage it was like there were drums playing with him,” he says. “A lot of energy, very fiery kind of guy, but he was so talented.” Freiberg eventually got to know Valenti well when they played together in Quicksilver Messenger Service.\u003c/p>\n\u003cp>When the Youngbloods’ version of Valenti’s song came out, it became part of the soundtrack for the Summer of Love in San Francisco, making Valenti something of a local celebrity. But when he got busted for drug possession, he had to sell the rights to “Get Together” to pay for a lawyer and avoid a possible 10-year prison sentence, according to music journalist \u003ca href=\"http://www.benfongtorres.com/\">Ben Fong-Torres\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13444149' *hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/06/920x920-001.jpg'* target='_blank']\u003c/p>\n\u003cp>“As he famously said,” Fong-Torres recalls, ” ‘For 10 years of my life? Man, I can write another song.’ ” Valenti did eventually recover the rights later in life, before his death in 1994.\u003c/p>\n\u003cp>Valenti’s most famous song went on to have a life of its own. Though it didn’t get much national attention in 1967, two years later The Youngbloods’ version was used in a public service announcement for the \u003ca href=\"https://nccj.org/about/our-story\">National Conference of Christians and Jews\u003c/a>. People started calling their radio stations requesting the song. Young remembers what happened next.\u003c/p>\n\u003cp>“Augie Blum, the head of promotion at RCA, went to his boss and said, ‘I want this song again. Now’s the time for it.’ And they told him, ‘Now Augie, we don’t do that. You know we released it once. That’s it.’ And he said, ‘You release a song again or I’m out of here.’ He was too valuable for them to lose,” Young explains. “So they put it out again, and he was right, of course. The country was ready.”\u003c/p>\n\u003cp>The Youngbloods’ version of “Get Together” went to No. 5 on \u003cem>Billboard\u003c/em>‘s Hot 100 chart. Fong-Torres says it captured the zeitgeist of the time, albeit in a roundabout way: “It took a band from New York City to give San Francisco and the Haight-Ashbury generation its anthem.”\u003c/p>\n\u003cp>One meaning of the word “anthem” is a psalm or hymn. “Get Together” definitely carries that message for Young, who was a born-again Christian in his teens.\u003c/p>\n\u003cp>“I think Dino must have had some church upbringing, because he’s talking about, ‘Some may come and some may go. We will surely pass.’ This is very Eastern philosophy, and new to some of us at that point,” Young says. ” ‘When the one that left us here returns for us at last / We are just a moment’s sunlight fading in the grass.’ Wow.”\u003c/p>\n\u003cp>Freiberg, however, points out a word change: “The Youngbloods’ version says, ‘When the \u003cem>one\u003c/em> that left us here returns for us at last.’ Dino said the lyric was supposed to be, ‘When the \u003cem>wind\u003c/em> that left us here.’ I like that best ’cause it symbolizes the cosmic wind and the interconnection of everything.” He adds, “But then, I’m a Buddhist.”\u003c/p>\n\u003cp>An early review of the song even asked why it’s not sung in church. Wright thinks it should be. “There was just all this imagery, some of it even edging on biblical imagery,” Wright says. “I just felt like this is one of those songs that helped me speak better, speak everything else better. And when I first heard it, I knew that it would make me better as a messenger.”\u003c/p>\n\u003cp>And Young says it still carries a message — for our times.\u003c/p>\n\u003cp>“Every night I sing it, it’s my favorite part of the show because the people sing,” he says. “I played it in Central Park this past summer, and that was on the first anniversary of Charlottesville. Those people sang it stronger than I’ve ever heard it sung. Some people were pumping their fists, and I realized they were saying, ‘We choose love.’ ”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/711545679/711693301\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. To see more, visit .\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyond+The+Summer+Of+Love%2C+%27Get+Together%27+Is+An+Anthem+For+Every+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The song sometimes called the “hippie national anthem” can be found in all kinds of places. It’s been used on \u003cem>The Simpsons\u003c/em> and in \u003cem>Forrest Gump,\u003c/em> recorded dozens of times by the likes of The Kingston Trio, The Dave Clark Five, Jefferson Airplane, The Staples Singers and the Carpenters (twice). You may have even heard it \u003ca href=\"https://www.youtube.com/watch?v=ha15CfHe3FI\">in a Walmart commercial\u003c/a> a few years ago.\u003c/p>\n\u003cp>The song has gone by a few different names: “Let’s Get Together,” Everybody Get Together.” But the best-known version is called, simply, “\u003ca href=\"https://www.youtube.com/watch?v=7xGxQXmu7Os\">Get Together\u003c/a>.” It was recorded by The Youngbloods in 1967 — the same year as the Summer of Love, where it would become a constant presence.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/7xGxQXmu7Os'\n title='//www.youtube.com/embed/7xGxQXmu7Os'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1967, the Vietnam War was raging. The Youngbloods’ lead singer, Jesse Colin Young, remembers, “Back then we were all subject to the draft. That made everything more life and death. And hope is what comes out of that song.”\u003c/p>\n\u003cp>Young was a folk singer and guitarist with two albums under his belt when he met guitarist Jerry Corbitt on the folk scene in Cambridge, Mass. They put The Youngbloods together in New York City with drummer Joe Bauer and multi-instrumentalist Lowell Levinger, known as Banana. The band rehearsed in Greenwich Village’s Café au Go Go when there wasn’t a show happening, and that’s where Young first heard “Get Together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Young says it was the lyrics that really grabbed him. ” ‘\u003cem>Love is but a song we sing / Fear’s the way we die\u003c/em>.’ Wow — the human condition in two lines.”\u003c/p>\n\u003cp>The lyrics grabbed \u003ca href=\"https://www.npr.org/artists/14948570/lizz-wright\">Lizz Wright\u003c/a>, too: The jazz and gospel singer recorded “Get Together” in 2004 for her album \u003cem>Dreaming Wide Awake\u003c/em>. She’s a fan of one verse in particular:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>If you hear the song I sing\u003cbr>\nYou will understand\u003cbr>\nYou hold the key to love and fear\u003cbr>\nAll in your trembling hand\u003cbr>\nJust one key unlocks them both\u003cbr>\nIt’s there at your command\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“It’s so clear, and the imagery is fantastic,” Wright says. “In our uncertainty, in our not fully knowing, we are still holding so much power and choosing to learn by love or to learn by fear as we go. And I just love how this verse puts it back in our in our court as individuals.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OnNEBAU_NYo'\n title='//www.youtube.com/embed/OnNEBAU_NYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The song was written in the early 1960s by Chester Powers, who performed under the name Dino Valenti. The son of carnival performers, he made a name for himself in the folk clubs of Greenwich Village. Though he had already left for the West Coast when The Youngbloods formed, Young did meet him years later.\u003c/p>\n\u003cp>“I met him at a motorcycle shop in Marin County — we were both living in the Bay Area,” Young says. “I was surprised Dino was kind of a tough guy. I thought to myself, ‘Wow, the angels just took a hold of you one day and put this song in your head, and you brought it to us.'”\u003c/p>\n\u003cp>David Freiberg of Jefferson Starship puts the song’s origin around 1964. He was in Los Angeles visiting a friend, “and in pops Dino Valenti driving in like a crazy [man] and says, ‘Hey man, listen to this song I just wrote!’ ” Freiberg recalls. “And we listened to it and went, ‘Oh my goodness! How great that song is.’ And we’re quickly writing down the lyrics to it.”\u003c/p>\n\u003cp>He also remembers hearing Valenti perform for the first time. “He stomped his foot so hard on the stage it was like there were drums playing with him,” he says. “A lot of energy, very fiery kind of guy, but he was so talented.” Freiberg eventually got to know Valenti well when they played together in Quicksilver Messenger Service.\u003c/p>\n\u003cp>When the Youngbloods’ version of Valenti’s song came out, it became part of the soundtrack for the Summer of Love in San Francisco, making Valenti something of a local celebrity. But when he got busted for drug possession, he had to sell the rights to “Get Together” to pay for a lawyer and avoid a possible 10-year prison sentence, according to music journalist \u003ca href=\"http://www.benfongtorres.com/\">Ben Fong-Torres\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As he famously said,” Fong-Torres recalls, ” ‘For 10 years of my life? Man, I can write another song.’ ” Valenti did eventually recover the rights later in life, before his death in 1994.\u003c/p>\n\u003cp>Valenti’s most famous song went on to have a life of its own. Though it didn’t get much national attention in 1967, two years later The Youngbloods’ version was used in a public service announcement for the \u003ca href=\"https://nccj.org/about/our-story\">National Conference of Christians and Jews\u003c/a>. People started calling their radio stations requesting the song. Young remembers what happened next.\u003c/p>\n\u003cp>“Augie Blum, the head of promotion at RCA, went to his boss and said, ‘I want this song again. Now’s the time for it.’ And they told him, ‘Now Augie, we don’t do that. You know we released it once. That’s it.’ And he said, ‘You release a song again or I’m out of here.’ He was too valuable for them to lose,” Young explains. “So they put it out again, and he was right, of course. The country was ready.”\u003c/p>\n\u003cp>The Youngbloods’ version of “Get Together” went to No. 5 on \u003cem>Billboard\u003c/em>‘s Hot 100 chart. Fong-Torres says it captured the zeitgeist of the time, albeit in a roundabout way: “It took a band from New York City to give San Francisco and the Haight-Ashbury generation its anthem.”\u003c/p>\n\u003cp>One meaning of the word “anthem” is a psalm or hymn. “Get Together” definitely carries that message for Young, who was a born-again Christian in his teens.\u003c/p>\n\u003cp>“I think Dino must have had some church upbringing, because he’s talking about, ‘Some may come and some may go. We will surely pass.’ This is very Eastern philosophy, and new to some of us at that point,” Young says. ” ‘When the one that left us here returns for us at last / We are just a moment’s sunlight fading in the grass.’ Wow.”\u003c/p>\n\u003cp>Freiberg, however, points out a word change: “The Youngbloods’ version says, ‘When the \u003cem>one\u003c/em> that left us here returns for us at last.’ Dino said the lyric was supposed to be, ‘When the \u003cem>wind\u003c/em> that left us here.’ I like that best ’cause it symbolizes the cosmic wind and the interconnection of everything.” He adds, “But then, I’m a Buddhist.”\u003c/p>\n\u003cp>An early review of the song even asked why it’s not sung in church. Wright thinks it should be. “There was just all this imagery, some of it even edging on biblical imagery,” Wright says. “I just felt like this is one of those songs that helped me speak better, speak everything else better. And when I first heard it, I knew that it would make me better as a messenger.”\u003c/p>\n\u003cp>And Young says it still carries a message — for our times.\u003c/p>\n\u003cp>“Every night I sing it, it’s my favorite part of the show because the people sing,” he says. “I played it in Central Park this past summer, and that was on the first anniversary of Charlottesville. Those people sang it stronger than I’ve ever heard it sung. Some people were pumping their fists, and I realized they were saying, ‘We choose love.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 2:07 p.m. PST\u003c/strong>\u003c/p>\n\u003cp>Thirteen parents and one coach charged in the college admissions scandal will plead guilty, federal prosecutors \u003ca href=\"https://www.justice.gov/usao-ma/pr/14-defendants-college-admissions-scandal-plead-guilty\">announced \u003c/a>Monday. One of the parents is Felicity Huffman, the actress who is among the best known of the wealthy individuals arrested in the cheating case that broke last month.\u003c/p>\n\u003cp>The 14 defendants were all charged with conspiracy to commit mail fraud and honest-services mail fraud. They have agreed to plead guilty in accordance with plea agreements.\u003c/p>\n\u003cp>Authorities charged 50 people in the scheme, in which parents allegedly paid millions of dollars in a conspiracy with William “Rick” Singer to have their children’s test scores and athletic achievements falsified to secure admission to elite colleges. \u003c/p>\n\u003cp>At least two of those colleges, Yale University and \u003ca href=\"https://news.stanford.edu/2019/03/14/admission-case-info/\">Stanford University\u003c/a>, have since \u003ca href=\"https://www.latimes.com/local/lanow/la-me-ln-college-admissions-scandal-stanford-discipline-20190408-story.html\">revoked their offers of admission\u003c/a> to students involved in the case.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Michael Center, 54, the former head men’s tennis coach at the University of Texas at Austin, is among those slated to plead guilty. Prosecutors say he accepted $60,000 in cash from Singer, as well as $40,000 earmarked for the University of Texas’ tennis program, in exchange for designating one of Singer’s clients as a tennis recruit.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/14-defendants-college-admissions-scandal-plead-guilty\">Department of Justice says\u003c/a> 11 of the defendants will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud:\u003c/p>\n\u003col>\n\u003c/ol>\n\u003cblockquote>\n\u003cp>1. Gregory Abbott, 68, of New York, N.Y., together with his wife, Marcia, agreed to pay Singer $125,000 to participate in the college entrance exam cheating scheme for their daughter;\u003c/p>\n\u003cp>2. Marcia Abbott, 59, of New York, N.Y.;\u003c/p>\n\u003cp>3. Jane Buckingham, 50, of Beverly Hills, Calif., agreed to pay Singer $50,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>4. Gordon Caplan, 52, of Greenwich, Conn., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>5. Robert Flaxman, 62, of Laguna Beach, Calif., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>6. Felicity Huffman, 56, of Los Angeles, Calif., agreed to pay Singer at least $15,000 to participate in the college entrance exam cheating scheme for her oldest daughter;\u003c/p>\n\u003cp>7. Agustin Huneeus Jr., 53, of San Francisco, Calif., agreed to pay Singer $300,000 to participate in both the college entrance exam cheating scheme and the college recruitment scheme for his daughter;\u003c/p>\n\u003cp>8. Marjorie Klapper, 50, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>9. Peter Jan Sartorio, 53, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>10. Stephen Semprevivo, 53, of Los Angeles, Calif., agreed to pay Singer $400,000 to participate in the college recruitment scheme for his son; and\u003c/p>\n\u003cp>11. Devin Sloane, 53, of Los Angeles, Calif., agreed to pay Singer $250,000 to participate in the college recruitment scheme for his son.\u003c/p>\n\u003c/blockquote>\n\u003cp>Two other defendants, Bruce Isackson, 61, and Davina Isackson, 55, of Hillsborough, Calif., will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud. Bruce Isackson will also plead guilty to a count of money laundering conspiracy and one count of conspiracy to defraud the IRS. The Isacksons allegedly paid Singer $600,000 in schemes for both of their daughters and then deducted the bribes as charitable donations.\u003c/p>\n\u003cp>While the mail fraud charge carries a maximum sentence of 20 years in prison, three years of supervised release and a fine of $250,000 or more, the plea deals make clear that the defendants are unlikely to face penalties so severe.\u003c/p>\n\u003cp>In Huffman’s case, \u003ca href=\"https://www.justice.gov/usao-ma/press-release/file/1152521/download\">prosecutors recommended\u003c/a> incarceration at the “low end” of the sentencing guidelines, a $20,000 fine, 12 months of probation and restitution in an amount to be determined.\u003c/p>\n\u003cp>The court is not required to follow the calculations laid out in the deal, and the plea agreement dictates that Huffman may not withdraw her guilty plea if she disagrees with the court’s ultimate calculations or sentence.\u003c/p>\n\u003cp>Huffman released a statement of apology on Monday in which she said she is “ashamed” of the pain she caused her daughter and others: \u003c/p>\n\u003cblockquote>\n\u003cp>“I am in full acceptance of my guilt, and with deep regret and shame over what I have done, I accept full responsibility for my actions and will accept the consequences that stem from those actions.\u003c/p>\n\u003cp>“I am ashamed of the pain I have caused my daughter, my family, my friends, my colleagues and the educational community. I want to apologize to them and, especially, I want to apologize to the students who work hard every day to get into college, and to their parents who make tremendous sacrifices to support their children and do so honestly. \u003c/p>\n\u003cp>“My daughter knew absolutely nothing about my actions, and in my misguided and profoundly wrong way, I have betrayed her. This transgression toward her and the public I will carry for the rest of my life. My desire to help my daughter is no excuse to break the law or engage in dishonesty.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Plea hearings in the case have not yet been scheduled. The defendants who improperly took tax deductions for the bribes they paid have agreed to cooperate with the IRS to pay back taxes, prosecutors say. \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=Felicity+Huffman+And+12+Other+Parents+To+Plead+Guilty+In+College+Cheating+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Napa's Huneeus Vinters founder Agustin Huneeus Jr., 53, of San Francisco is among the 11 of the defendants who will plead guilty to one count of conspiracy to commit mail fraud and honest services mail fraud.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:07 p.m. PST\u003c/strong>\u003c/p>\n\u003cp>Thirteen parents and one coach charged in the college admissions scandal will plead guilty, federal prosecutors \u003ca href=\"https://www.justice.gov/usao-ma/pr/14-defendants-college-admissions-scandal-plead-guilty\">announced \u003c/a>Monday. One of the parents is Felicity Huffman, the actress who is among the best known of the wealthy individuals arrested in the cheating case that broke last month.\u003c/p>\n\u003cp>The 14 defendants were all charged with conspiracy to commit mail fraud and honest-services mail fraud. They have agreed to plead guilty in accordance with plea agreements.\u003c/p>\n\u003cp>Authorities charged 50 people in the scheme, in which parents allegedly paid millions of dollars in a conspiracy with William “Rick” Singer to have their children’s test scores and athletic achievements falsified to secure admission to elite colleges. \u003c/p>\n\u003cp>At least two of those colleges, Yale University and \u003ca href=\"https://news.stanford.edu/2019/03/14/admission-case-info/\">Stanford University\u003c/a>, have since \u003ca href=\"https://www.latimes.com/local/lanow/la-me-ln-college-admissions-scandal-stanford-discipline-20190408-story.html\">revoked their offers of admission\u003c/a> to students involved in the case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michael Center, 54, the former head men’s tennis coach at the University of Texas at Austin, is among those slated to plead guilty. Prosecutors say he accepted $60,000 in cash from Singer, as well as $40,000 earmarked for the University of Texas’ tennis program, in exchange for designating one of Singer’s clients as a tennis recruit.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/14-defendants-college-admissions-scandal-plead-guilty\">Department of Justice says\u003c/a> 11 of the defendants will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud:\u003c/p>\n\u003col>\n\u003c/ol>\n\u003cblockquote>\n\u003cp>1. Gregory Abbott, 68, of New York, N.Y., together with his wife, Marcia, agreed to pay Singer $125,000 to participate in the college entrance exam cheating scheme for their daughter;\u003c/p>\n\u003cp>2. Marcia Abbott, 59, of New York, N.Y.;\u003c/p>\n\u003cp>3. Jane Buckingham, 50, of Beverly Hills, Calif., agreed to pay Singer $50,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>4. Gordon Caplan, 52, of Greenwich, Conn., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>5. Robert Flaxman, 62, of Laguna Beach, Calif., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>6. Felicity Huffman, 56, of Los Angeles, Calif., agreed to pay Singer at least $15,000 to participate in the college entrance exam cheating scheme for her oldest daughter;\u003c/p>\n\u003cp>7. Agustin Huneeus Jr., 53, of San Francisco, Calif., agreed to pay Singer $300,000 to participate in both the college entrance exam cheating scheme and the college recruitment scheme for his daughter;\u003c/p>\n\u003cp>8. Marjorie Klapper, 50, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>9. Peter Jan Sartorio, 53, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>10. Stephen Semprevivo, 53, of Los Angeles, Calif., agreed to pay Singer $400,000 to participate in the college recruitment scheme for his son; and\u003c/p>\n\u003cp>11. Devin Sloane, 53, of Los Angeles, Calif., agreed to pay Singer $250,000 to participate in the college recruitment scheme for his son.\u003c/p>\n\u003c/blockquote>\n\u003cp>Two other defendants, Bruce Isackson, 61, and Davina Isackson, 55, of Hillsborough, Calif., will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud. Bruce Isackson will also plead guilty to a count of money laundering conspiracy and one count of conspiracy to defraud the IRS. The Isacksons allegedly paid Singer $600,000 in schemes for both of their daughters and then deducted the bribes as charitable donations.\u003c/p>\n\u003cp>While the mail fraud charge carries a maximum sentence of 20 years in prison, three years of supervised release and a fine of $250,000 or more, the plea deals make clear that the defendants are unlikely to face penalties so severe.\u003c/p>\n\u003cp>In Huffman’s case, \u003ca href=\"https://www.justice.gov/usao-ma/press-release/file/1152521/download\">prosecutors recommended\u003c/a> incarceration at the “low end” of the sentencing guidelines, a $20,000 fine, 12 months of probation and restitution in an amount to be determined.\u003c/p>\n\u003cp>The court is not required to follow the calculations laid out in the deal, and the plea agreement dictates that Huffman may not withdraw her guilty plea if she disagrees with the court’s ultimate calculations or sentence.\u003c/p>\n\u003cp>Huffman released a statement of apology on Monday in which she said she is “ashamed” of the pain she caused her daughter and others: \u003c/p>\n\u003cblockquote>\n\u003cp>“I am in full acceptance of my guilt, and with deep regret and shame over what I have done, I accept full responsibility for my actions and will accept the consequences that stem from those actions.\u003c/p>\n\u003cp>“I am ashamed of the pain I have caused my daughter, my family, my friends, my colleagues and the educational community. I want to apologize to them and, especially, I want to apologize to the students who work hard every day to get into college, and to their parents who make tremendous sacrifices to support their children and do so honestly. \u003c/p>\n\u003cp>“My daughter knew absolutely nothing about my actions, and in my misguided and profoundly wrong way, I have betrayed her. This transgression toward her and the public I will carry for the rest of my life. My desire to help my daughter is no excuse to break the law or engage in dishonesty.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Plea hearings in the case have not yet been scheduled. The defendants who improperly took tax deductions for the bribes they paid have agreed to cooperate with the IRS to pay back taxes, prosecutors say. \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=Felicity+Huffman+And+12+Other+Parents+To+Plead+Guilty+In+College+Cheating+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jazz Heavyweights Herbie Hancock And Kamasi Washington Announce Joint Tour",
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"content": "\u003cp>Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.\u003c/p>\n\u003cp>Their initial slew of dates, starting July 30 in Vienna, Va. and ending Aug. 23 in Berkeley, Calif., should go on sale to the general public this Friday. (Tickets for the pair’s first date, in Virginia, are \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__www.wolftrap.org_f_073019&d=DwMGaQ&c=E2nBno7hEddFhl23N5nD1Q&r=vn4_qmdn67yk26Ar2jgxyeTiyH7gFcj_zMqcLtzTixE&m=yykryLsorWw_3_l2rL3sxKf0COh684nl5LPg2lE1_48&s=IrpMFsgsxl36-9T4rnTSR6mgzZW0Hyc8eoAmnJ01um8&e=\">already available\u003c/a>.)\u003c/p>\n\u003cp>Hancock, a 14-time Grammy-winning pianist and NEA Jazz Master, will lead a band similar to the one featured a few years ago in a\u003ca href=\"https://www.npr.org/2016/10/20/498672744/herbie-hancocks-latest-voyage\"> \u003cem>Jazz Night in America\u003c/em> concert film\u003c/a>: Lionel Loueke on guitars, Terrace Martin on alto saxophone and synthesizers, James Genus on electric bass, and Vinnie Colaiuta on drums. Their set list will combine Hancock favorites and material from a highly anticipated forthcoming album.\u003c/p>\n\u003cp>Hancock has long been an exemplar of jazz crossover: he’s the rare instrumental virtuoso to credibly break through to a mainstream audience, let alone the pop album chart. He received his first gold record in 1974 with \u003cem>Head Hunters\u003c/em>, the self-titled debut by his new jazz-funk band. At the time, the critic Lee Underwood stamped a concert review with a smirk: “Mr. Communicate-With-A-Wider-Audience, Herbie Hancock, opened to a full house recently, again pleasing the funkers while disappointing the more cerebrally oriented connoisseurs.”\u003c/p>\n\u003cp>Washington has earned a similar reputation since the release of his debut triple album, \u003cem>The Epic, \u003c/em>in 2015. A tenor saxophonist and bandleader with a talent for the ecstatic, Washington is the key figure in what has lately been touted as a jazz resurgence in popular culture. (“Mr. Communicate-With-A-Wider-Audience” is an epithet he’d probably wear as a badge of honor.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13845721' *hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/12/GettyImages-946721988-1920x1080.jpg'* target='_blank']\u003c/p>\n\u003cp>His follow-up to \u003cem>The Epic\u003c/em>, a double album titled \u003cem>Heaven and Earth\u003c/em>, received widespread acclaim last year, landing at No. 12 on the\u003ca href=\"https://www.npr.org/2019/01/05/682193795/the-2018-npr-music-jazz-critics-poll\"> NPR Music Jazz Critics Poll\u003c/a>. And at the beginning of this year, Washington had a premiere at Sundance: \u003cem>As Told to G/D Thyself\u003c/em>, a dreamy, episodic short film, featuring the work of African-American filmmakers like Bradford Young and Jenn Nkiru. (The film has just been made\u003ca href=\"https://itunes.apple.com/us/music-movie/as-told-to-g-d-thyself/1455427714\"> available for streaming\u003c/a> on Apple Music.)\u003c/p>\n\u003cp>Both Hancock and Washington will be busy in the weeks and months leading up to their tour. Hancock, as chairman of the\u003ca href=\"https://hancockinstitute.org/\"> Herbie Hancock Institute of Jazz\u003c/a>, is preparing for International Jazz Day festivities in Australia at the end of this month, culminating in a global all-star concert in Melbourne on April 30. Hancock is also scheduled to perform at the Beacon Theater in New York on Aug. 1, and at the\u003ca href=\"http://www.newportjazz.org/\"> Newport Jazz Festival\u003c/a> in Rhode Island on Aug. 2 and 3.\u003c/p>\n\u003cp>Washington is also headlining at Newport, on Aug. 3, but that’s far from the only synchronicity he has with his co-headliner. Terrace Martin, a longtime Washington associate, is another one. (It seems likely that Martin will also play with Washington on the tour.) Hancock and Washington also both appeared on\u003ca href=\"https://vimeo.com/103317489\"> \u003cem>You’re Dead!\u003c/em>\u003c/a>\u003cem>, \u003c/em>the 2014 album by producer Flying Lotus. And there have been reliable reports that Hancock’s next album-in-progress will feature Washington (along with Martin, Flying Lotus and rapper Kendrick Lamar).\u003c/p>\n\u003cp>Moving out of the realm of the speculative, there’s a bit of precedent for this tour. In 2017, Hancock headlined a concert at the Hollywood Bowl, with Washington as the opener. Reviewing that concert for the \u003cem>Los Angeles Times, \u003c/em>Chris Barton \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-herbie-hancock-kamasi-washington-20170824-story.html\">painted the picture\u003c/a> of a hometown victory lap for Washington, and a show of dominion by Hancock.\u003c/p>\n\u003cp>“The only note missing in Hancock’s arsenal was a guest spot from Washington, a seemingly natural choice that could have built a bridge between two generations,” Barton wrote. “A missed opportunity for a special moment, maybe — but if you were listening, the bridge was there all along.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Dates\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>7/30/19 – Vienna, VA, Wolf Trap\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/4/19 – Philadelphia, PA, The Met\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/6/19 – Toronto, ONT, Roy Thompson Hall\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/7/19 – Huber Heights, OH, Rose Music Center at The Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/8/19 – Detroit, MI, Aretha Franklin Amphitheatre\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/9 or 10/19 (TBC) – Chicago, IL, Huntington Bank Pavilion at Northerly Island\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/14/19 – Denver, CO, The Mission Ballroom\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/16/19 – Seattle, WA, Marymoor\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/17/19 – Portland, OR, Oregon Zoo\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/23/19 – Berkeley, CA, The Greek Theatre\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional performances are expected to be announced shortly.\u003c/em>\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=Jazz+Heavyweights+Herbie+Hancock+And+Kamasi+Washington+Announce+Joint+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The tour, which brings together two of the brightest lights in jazz, will be playing across the U.S. in July and August.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.\u003c/p>\n\u003cp>Their initial slew of dates, starting July 30 in Vienna, Va. and ending Aug. 23 in Berkeley, Calif., should go on sale to the general public this Friday. (Tickets for the pair’s first date, in Virginia, are \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__www.wolftrap.org_f_073019&d=DwMGaQ&c=E2nBno7hEddFhl23N5nD1Q&r=vn4_qmdn67yk26Ar2jgxyeTiyH7gFcj_zMqcLtzTixE&m=yykryLsorWw_3_l2rL3sxKf0COh684nl5LPg2lE1_48&s=IrpMFsgsxl36-9T4rnTSR6mgzZW0Hyc8eoAmnJ01um8&e=\">already available\u003c/a>.)\u003c/p>\n\u003cp>Hancock, a 14-time Grammy-winning pianist and NEA Jazz Master, will lead a band similar to the one featured a few years ago in a\u003ca href=\"https://www.npr.org/2016/10/20/498672744/herbie-hancocks-latest-voyage\"> \u003cem>Jazz Night in America\u003c/em> concert film\u003c/a>: Lionel Loueke on guitars, Terrace Martin on alto saxophone and synthesizers, James Genus on electric bass, and Vinnie Colaiuta on drums. Their set list will combine Hancock favorites and material from a highly anticipated forthcoming album.\u003c/p>\n\u003cp>Hancock has long been an exemplar of jazz crossover: he’s the rare instrumental virtuoso to credibly break through to a mainstream audience, let alone the pop album chart. He received his first gold record in 1974 with \u003cem>Head Hunters\u003c/em>, the self-titled debut by his new jazz-funk band. At the time, the critic Lee Underwood stamped a concert review with a smirk: “Mr. Communicate-With-A-Wider-Audience, Herbie Hancock, opened to a full house recently, again pleasing the funkers while disappointing the more cerebrally oriented connoisseurs.”\u003c/p>\n\u003cp>Washington has earned a similar reputation since the release of his debut triple album, \u003cem>The Epic, \u003c/em>in 2015. A tenor saxophonist and bandleader with a talent for the ecstatic, Washington is the key figure in what has lately been touted as a jazz resurgence in popular culture. (“Mr. Communicate-With-A-Wider-Audience” is an epithet he’d probably wear as a badge of honor.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His follow-up to \u003cem>The Epic\u003c/em>, a double album titled \u003cem>Heaven and Earth\u003c/em>, received widespread acclaim last year, landing at No. 12 on the\u003ca href=\"https://www.npr.org/2019/01/05/682193795/the-2018-npr-music-jazz-critics-poll\"> NPR Music Jazz Critics Poll\u003c/a>. And at the beginning of this year, Washington had a premiere at Sundance: \u003cem>As Told to G/D Thyself\u003c/em>, a dreamy, episodic short film, featuring the work of African-American filmmakers like Bradford Young and Jenn Nkiru. (The film has just been made\u003ca href=\"https://itunes.apple.com/us/music-movie/as-told-to-g-d-thyself/1455427714\"> available for streaming\u003c/a> on Apple Music.)\u003c/p>\n\u003cp>Both Hancock and Washington will be busy in the weeks and months leading up to their tour. Hancock, as chairman of the\u003ca href=\"https://hancockinstitute.org/\"> Herbie Hancock Institute of Jazz\u003c/a>, is preparing for International Jazz Day festivities in Australia at the end of this month, culminating in a global all-star concert in Melbourne on April 30. Hancock is also scheduled to perform at the Beacon Theater in New York on Aug. 1, and at the\u003ca href=\"http://www.newportjazz.org/\"> Newport Jazz Festival\u003c/a> in Rhode Island on Aug. 2 and 3.\u003c/p>\n\u003cp>Washington is also headlining at Newport, on Aug. 3, but that’s far from the only synchronicity he has with his co-headliner. Terrace Martin, a longtime Washington associate, is another one. (It seems likely that Martin will also play with Washington on the tour.) Hancock and Washington also both appeared on\u003ca href=\"https://vimeo.com/103317489\"> \u003cem>You’re Dead!\u003c/em>\u003c/a>\u003cem>, \u003c/em>the 2014 album by producer Flying Lotus. And there have been reliable reports that Hancock’s next album-in-progress will feature Washington (along with Martin, Flying Lotus and rapper Kendrick Lamar).\u003c/p>\n\u003cp>Moving out of the realm of the speculative, there’s a bit of precedent for this tour. In 2017, Hancock headlined a concert at the Hollywood Bowl, with Washington as the opener. Reviewing that concert for the \u003cem>Los Angeles Times, \u003c/em>Chris Barton \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-herbie-hancock-kamasi-washington-20170824-story.html\">painted the picture\u003c/a> of a hometown victory lap for Washington, and a show of dominion by Hancock.\u003c/p>\n\u003cp>“The only note missing in Hancock’s arsenal was a guest spot from Washington, a seemingly natural choice that could have built a bridge between two generations,” Barton wrote. “A missed opportunity for a special moment, maybe — but if you were listening, the bridge was there all along.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Dates\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>7/30/19 – Vienna, VA, Wolf Trap\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/4/19 – Philadelphia, PA, The Met\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/6/19 – Toronto, ONT, Roy Thompson Hall\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/7/19 – Huber Heights, OH, Rose Music Center at The Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/8/19 – Detroit, MI, Aretha Franklin Amphitheatre\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/9 or 10/19 (TBC) – Chicago, IL, Huntington Bank Pavilion at Northerly Island\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/14/19 – Denver, CO, The Mission Ballroom\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/16/19 – Seattle, WA, Marymoor\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/17/19 – Portland, OR, Oregon Zoo\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/23/19 – Berkeley, CA, The Greek Theatre\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional performances are expected to be announced shortly.\u003c/em>\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=Jazz+Heavyweights+Herbie+Hancock+And+Kamasi+Washington+Announce+Joint+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In The Bleakly Beautiful 'Diane,' Mary Kay Place Can't Help But Keep Helping",
"headTitle": "In The Bleakly Beautiful ‘Diane,’ Mary Kay Place Can’t Help But Keep Helping | KQED",
"content": "\u003cp>In his first narrative feature, \u003cem>Diane\u003c/em>, the critic and documentary filmmaker Kent Jones (\u003cem>Hitchock/Truffaut\u003c/em>) comes in praise of older women, the crankier the better. The troubled New England woman at the center of his drama seems at first to embody a familiar type: the fussy old enabler without a life of her own. But Jones proves a loving, if clear-eyed world-builder who invites us into the orbit of a woman muddling through a complicated life, rather than peddling a tactfully edited “senior” identity. \u003c/p>\n\u003cp>It’s a world he knows with intimate particularity. A fictional composite of the women who peopled Jones’s childhood in the Berkshires, Diane (Mary Kay Place) is lined and worn and unobtrusive, the kind of older woman to whom you probably wouldn’t give a second glance on the street. But though I can think of other actresses who would do credit to the role of an invisible woman with a seething inner life—Annette Bening or Kathy Bates, for starters—no one can drab down her physical self while projecting inner tumult quite like Place. As the over-involved mother of a drug-addicted grown son, the actress projects a bewildered resignation that slowly escalates into impotent rage.\u003c/p>\n\u003cp>https://youtu.be/Yl1WJA0T5II\u003c/p>\n\u003cp>When she’s not driving the wintry back roads of New England to deliver casseroles to sick friends, Diane is a textbook enabler who can’t stop herself from stocking up the fridge, the coffers, and anything else that her son, Brian, can’t or won’t manage for himself. For his part Brian (ably rendered by Jake Lacy, whom you might have seen doing something altogether different as a wholesome love interest in 2015’s \u003cem>Obvious Child\u003c/em>) remains vocally ungrateful for services rendered, to the point of calling his mother a sexual organ. You may sympathize a little: His mother has the classic enabler’s habit of railing at her son even as she continues to baby him into sullen paralysis. \u003c/p>\n\u003cp>This is Diane’s story, though, and with a bleakly beautiful sense of place and a moody score, \u003cem>Diane\u003c/em> slowly and with strategic repetition builds her a rich inner universe and a vibrantly testy community of friends and family. She can’t stop serving them either, but though hers may be a grim existence, the tone is far from glum. Jones’s crisp dialogue is at its mordantly funniest when Diane gets together with the friends she’s known forever (it would spoil the fun if I named the movie’s terrific vintage female ensemble), a bunch of witty, fractious storytellers reliving their collective past, roaring at their own bawdy jokes, robustly dredging up old grudges—and falling into tactful silence when Brian’s name crops up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Again and again, Diane shows up in her son’s chaotically filthy den. Over and over, she is rebuffed or extorted until, at last, something happens to shift the neurotic power nexus that keeps this symbiotic pair unwillingly joined at the hip. Toward the end of \u003cem>Diane\u003c/em>, a secret is aired (without resorting to flashbacks) that turns out to mask a bigger reveal that involves Diane’s guilt over a long-ago perceived sin. Its fallout has spread like a malign ink stain through both their lives, stunting the ability of both to move ahead. \u003c/p>\n\u003cp>Brian will set Diane straight about her errors of judgment, but this isn’t the kind of movie where insight sends mother and son into a rosy sunset. “This time’s different,” a cleaned-up Brian insists, and you’d be right to murmur “maybe” under your breath. But the fundamentalist church that keeps him sober can never bring solace to a skeptic like Diane. Instead, Jones fills her existential space with a bracing, though never unfeeling, inquiry into what it feels like to confront the steady drip of accumulating pain, and loss, and no longer being needed as we age. If that makes \u003cem>Diane\u003c/em> sounds like a heaping pile of misery, it’s anything but. But look for no spurious closure here, unless you count the one sure outcome we all face. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In his first narrative feature, \u003cem>Diane\u003c/em>, the critic and documentary filmmaker Kent Jones (\u003cem>Hitchock/Truffaut\u003c/em>) comes in praise of older women, the crankier the better. The troubled New England woman at the center of his drama seems at first to embody a familiar type: the fussy old enabler without a life of her own. But Jones proves a loving, if clear-eyed world-builder who invites us into the orbit of a woman muddling through a complicated life, rather than peddling a tactfully edited “senior” identity. \u003c/p>\n\u003cp>It’s a world he knows with intimate particularity. A fictional composite of the women who peopled Jones’s childhood in the Berkshires, Diane (Mary Kay Place) is lined and worn and unobtrusive, the kind of older woman to whom you probably wouldn’t give a second glance on the street. But though I can think of other actresses who would do credit to the role of an invisible woman with a seething inner life—Annette Bening or Kathy Bates, for starters—no one can drab down her physical self while projecting inner tumult quite like Place. As the over-involved mother of a drug-addicted grown son, the actress projects a bewildered resignation that slowly escalates into impotent rage.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Yl1WJA0T5II'\n title='//www.youtube.com/embed/Yl1WJA0T5II'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When she’s not driving the wintry back roads of New England to deliver casseroles to sick friends, Diane is a textbook enabler who can’t stop herself from stocking up the fridge, the coffers, and anything else that her son, Brian, can’t or won’t manage for himself. For his part Brian (ably rendered by Jake Lacy, whom you might have seen doing something altogether different as a wholesome love interest in 2015’s \u003cem>Obvious Child\u003c/em>) remains vocally ungrateful for services rendered, to the point of calling his mother a sexual organ. You may sympathize a little: His mother has the classic enabler’s habit of railing at her son even as she continues to baby him into sullen paralysis. \u003c/p>\n\u003cp>This is Diane’s story, though, and with a bleakly beautiful sense of place and a moody score, \u003cem>Diane\u003c/em> slowly and with strategic repetition builds her a rich inner universe and a vibrantly testy community of friends and family. She can’t stop serving them either, but though hers may be a grim existence, the tone is far from glum. Jones’s crisp dialogue is at its mordantly funniest when Diane gets together with the friends she’s known forever (it would spoil the fun if I named the movie’s terrific vintage female ensemble), a bunch of witty, fractious storytellers reliving their collective past, roaring at their own bawdy jokes, robustly dredging up old grudges—and falling into tactful silence when Brian’s name crops up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Again and again, Diane shows up in her son’s chaotically filthy den. Over and over, she is rebuffed or extorted until, at last, something happens to shift the neurotic power nexus that keeps this symbiotic pair unwillingly joined at the hip. Toward the end of \u003cem>Diane\u003c/em>, a secret is aired (without resorting to flashbacks) that turns out to mask a bigger reveal that involves Diane’s guilt over a long-ago perceived sin. Its fallout has spread like a malign ink stain through both their lives, stunting the ability of both to move ahead. \u003c/p>\n\u003cp>Brian will set Diane straight about her errors of judgment, but this isn’t the kind of movie where insight sends mother and son into a rosy sunset. “This time’s different,” a cleaned-up Brian insists, and you’d be right to murmur “maybe” under your breath. But the fundamentalist church that keeps him sober can never bring solace to a skeptic like Diane. Instead, Jones fills her existential space with a bracing, though never unfeeling, inquiry into what it feels like to confront the steady drip of accumulating pain, and loss, and no longer being needed as we age. If that makes \u003cem>Diane\u003c/em> sounds like a heaping pile of misery, it’s anything but. But look for no spurious closure here, unless you count the one sure outcome we all face. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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