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"content": "\u003cp>\u003ca href=\"https://thewaltdisneycompany.com/\" target=\"_blank\" rel=\"noopener\">Disney\u003c/a> is saying goodbye to \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener\">Netflix\u003c/a> and will aggressively enter the crowded subscription streaming market.\u003c/p>\n\u003cp>There will be one streaming service for sports and another for films and television shows, the \u003ca href=\"https://thewaltdisneycompany.com/walt-disney-company-acquire-majority-ownership-bamtech/\" target=\"_blank\" rel=\"noopener\">company announced\u003c/a> on Tuesday. The same day it reported weak fiscal third-quarter earnings.\u003c/p>\n\u003cp>Disney is trying to appeal to younger audiences who are choosing Netflix and other digital platforms over traditional television.\u003c/p>\n\u003cp>The streaming services will give Disney “much greater control over our own destiny in a rapidly changing market,” CEO Bob Iger told analysts on a conference call. He described the moves as an “entirely new growth strategy” for the company.\u003c/p>\n\u003cp>The sports streaming service, which will be under the ESPN name, will be available next year, and is expected to feature 10,000 sporting events annually, among them Major League Baseball, hockey and soccer games, tennis matches and college sports through ESPN’s popular mobile app.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Ultimately, we envision this will become a dynamic sports marketplace that will grow and be increasingly customizable, allowing sports fans to pick and choose content that reflects their personal interests,” Iger said.\u003c/p>\n\u003cp>“Disney will have to be careful that it doesn’t transfer too much sports programming from its TV channels to the app,” analyst Brian Weiser of Pivotal Research Group told The Associated Press. “Getting the balance wrong could upset cable companies and weigh on the price they pay Disney for ESPN.”\u003c/p>\n\u003cp>In 2019, Disney will stop providing new movies to Netflix and begin its own streaming service. The Disney-branded film and TV offering would include original content developed by Walt Disney Studios.\u003c/p>\n\u003cp>Reuters reports Disney is one of the most recognized names on Netflix:\u003c/p>\n\u003cblockquote>\n\u003cp>“By ending the Netflix movie deal, Disney will keep movies such as \u003cem>Toy Story 4\u003c/em> and \u003cem>Frozen 2\u003c/em> for its own offering. The company has not yet decided where it will distribute films from superhero studio Marvel and \u003cem>Star Wars\u003c/em> producer Lucasfilm after 2018.\u003c/p>\n\u003cp>“Netflix, which lately has been focusing on its own exclusive programming, said it would continue to do business with Disney globally, including keeping its exclusive shows from Marvel television.\u003c/p>\n\u003cp>” ‘U.S. Netflix members will have access to Disney films on the service through the end of 2019, including all new films that are shown theatrically through the end of 2018,’ the company said in a statement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In case anyone doubts whether Disney can win the two-front battle against cord cutters and other streaming services, CEO Iger expressed the company’s view to analysts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“No one is better positioned to lead the industry into this dynamic new era, and we’re accelerating our strategy to be at the forefront of this transformation.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Disney+Will+End+Netflix+Deal+And+Offer+Its+Own+Streaming+Services&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Ultimately, we envision this will become a dynamic sports marketplace that will grow and be increasingly customizable, allowing sports fans to pick and choose content that reflects their personal interests,” Iger said.\u003c/p>\n\u003cp>“Disney will have to be careful that it doesn’t transfer too much sports programming from its TV channels to the app,” analyst Brian Weiser of Pivotal Research Group told The Associated Press. “Getting the balance wrong could upset cable companies and weigh on the price they pay Disney for ESPN.”\u003c/p>\n\u003cp>In 2019, Disney will stop providing new movies to Netflix and begin its own streaming service. The Disney-branded film and TV offering would include original content developed by Walt Disney Studios.\u003c/p>\n\u003cp>Reuters reports Disney is one of the most recognized names on Netflix:\u003c/p>\n\u003cblockquote>\n\u003cp>“By ending the Netflix movie deal, Disney will keep movies such as \u003cem>Toy Story 4\u003c/em> and \u003cem>Frozen 2\u003c/em> for its own offering. The company has not yet decided where it will distribute films from superhero studio Marvel and \u003cem>Star Wars\u003c/em> producer Lucasfilm after 2018.\u003c/p>\n\u003cp>“Netflix, which lately has been focusing on its own exclusive programming, said it would continue to do business with Disney globally, including keeping its exclusive shows from Marvel television.\u003c/p>\n\u003cp>” ‘U.S. Netflix members will have access to Disney films on the service through the end of 2019, including all new films that are shown theatrically through the end of 2018,’ the company said in a statement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In case anyone doubts whether Disney can win the two-front battle against cord cutters and other streaming services, CEO Iger expressed the company’s view to analysts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“No one is better positioned to lead the industry into this dynamic new era, and we’re accelerating our strategy to be at the forefront of this transformation.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Disney+Will+End+Netflix+Deal+And+Offer+Its+Own+Streaming+Services&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s disarmingly easy to become an amateur DJ in 2017, when an iPhone and a $1.99 app will quickly have you on your way to learning the basics of mixing songs together, or a thumb drive filled with tracks ripped from the Internet and plugged into a digital player called a CDJ can soundtrack a party hundreds of hours long. But DJing has a long history of craft — and while the bar has lowered for amateurs, technology has steadily changed the game for professionals, too.\u003c/p>\n\u003cp>There are purists around the world who still prefer the same equipment used at the first hip-hop parties: vinyl records, two turntables and a two-channel mixer. But today, you might see that setup augmented with specially encoded vinyl and a software program like Serato DJ, allowing the user to physically mix and scratch digital files from a laptop. Some DJs mix their songs with controllers, machines that mimic the turntable and CDJ experiences in one piece of hardware. Others add sounds of their own, playing samplers and synthesizers between and on top of the tracks in their set. There have long been DJs who produce, producers who make original music and musicians who spin records, but new tools and business synergies have continued to blur the lines.\u003c/p>\n\u003cp>Last year, two companies announced a partnership that seemed aimed at eliminating those boundaries altogether. In September, New Zealand’s Serato and the pioneering Japanese electronic instrument company Roland unveiled the DJ-808: a digital controller that combines tools for DJing, production and composition into a single device.\u003c/p>\n\u003cp>“Playing with music, manipulating audio, is very much the core of everything we do,” Serato CEO Young Ly said \u003ca href=\"https://www.youtube.com/watch?v=PqyyRcDuP0Y\">in a video\u003c/a> announcing the DJ-808. “So when you take Roland, a company that’s known for iconic sounds and amazing instruments, and you take these sounds and you mix it with Serato tech, suddenly, are you scratching? Are you flipping? Are you mixing? Are you producing? Are you DJing? It all mixes together into live performance.”\u003c/p>\n\u003cp>If the 808 part sounds familiar, that’s because this new machine was named after one of the most important sound-makers in music history, the Roland TR-808 Rhythm Composer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yJiJSGsJH4U\u003c/p>\n\u003cp>Few electronic instruments have been as fetishized as the TR-808, the imperfectly perfect and rare drum machine that’s been a part of nearly every genre with a funky pulse. Though it was produced for just a short time between 1980 and 1983, the 808 has lent memorable sizzle to everyone from Phil Collins to Lil Jon. It gives Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=rjlSiASsUIs\">Sexual Healing\u003c/a>” its spare sway, helps Whitney Houston catch a groove on “\u003ca href=\"https://www.youtube.com/watch?v=eH3giaIzONA\">I Wanna Dance With Somebody\u003c/a>” and is the not-so-secret ingredient that propelled regional styles like New York electro, Detroit techno, Miami bass and New Orleans bounce into the international spotlight.\u003c/p>\n\u003cp>“I would call whoever: ‘Yo, you got the 808?’ And they’d say, ‘No, so and so has it.’ When you found out who had it you’d say, ‘I need to get the 808, when are you going to be done with it?'” Nathaniel “DJ Pierre” Jones, who pioneered the sound that would become acid house (with the help of another Roland machine, the bass-focused TB-303), says he never had an 808 of his own. In the ’80s, major recording facilities might have a unit in-house — the one at Manhattan’s Chung King Studios, for example, boomed on tracks by LL Cool J, Run-DMC and the Beastie Boys. But in Chicago, Pierre says, the progenitors of house music literally passed around a single 808 like a lending library.\u003c/p>\n\u003cp>“We were all very competitive as counterparts, but at the same time we were very community-oriented,” he says. “We didn’t let our competitive nature keep us from sharing the technology, because we all felt like we were confident in what we were doing — and whatever we were doing was going to be different from what they were doing, even if they were using the same thing.”\u003c/p>\n\u003cp>Only about 12,000 TR-808s were manufactured before the product was discontinued. In \u003ca href=\"https://www.youtube.com/watch?v=LMPzuRWoNgE\">the 2015 documentary \u003cem>808\u003c/em>\u003c/a>, Roland founder Ikutaro Kakehashi explains that the machines were deliberately built with defective transistors — which had a sound he described as “sizzling,” and which eventually became impossible to buy. “Semiconductor technology got better and better … so [there was] no way to come back,” said Kakehashi, who passed away this April at 87, just shy of the company’s 45th birthday.\u003c/p>\n\u003cp>Despite the relative scarcity of these machines, 808 sounds have remained ubiquitous in popular music. In the ’90s and beyond, that pervasiveness could be attributed to ReBirth, a software program that emulated the sounds and look of the 808 and its siblings the 303 and 909. ReBirth launched for computers in 1996 and later evolved into an iOS app after being discontinued for desktop systems in 2005. In June, Swedish company Propellerhead \u003ca href=\"http://www.factmag.com/2017/06/13/propellerhead-rebirth-ipad-discontinued-roland-ip-infringement/\">was forced to remove\u003c/a> it from the market altogether after IP infringement claims by Roland.\u003c/p>\n\u003cp>Even so, today you can find 808 samples and soundalikes in the libraries of most major music recording programs. And earlier this year, Canada’s System80 announced it would release \u003ca href=\"http://cdm.link/2017/01/system-80-control-control-808-clone-eurorack/\">a physical 808 clone\u003c/a> made specially for modular synthesizer systems. (Roland may have something to say about this copycat once it’s out.) If if you’ve got the cash, it’s still possible to find an original 808 on eBay, where they sell for upwards of $5,000. The machine even survives purely as a design object: The row of red, orange, yellow and white buttons across its front panel, representing a bar of music as 16 programmable “steps,” has inspired a \u003ca href=\"http://mixmag.net/read/these-roland-tr-808-adidas-are-fully-functional-news\">conceptual Adidas sneaker\u003c/a> that would sell by the boatload if it were real.\u003c/p>\n\u003cp>In the meantime, Roland has remained vital in the development of hip-hop and dance music, and in recent years has even released revamped, boutique versions of its vintage rhythm machines. But it has never formally ventured into the DJ market until now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X2PTwp2HZvQ\u003c/p>\n\u003cp>The essential pitch of the DJ-808 is that it does in a single unit what would otherwise require a table full of gear. The name owes to the set of onboard drum sounds — and in fact it’s a little misleading, since the DJ-808 also incorporates sounds from the 303, 909 and 707. Users can blend digital music files on the controller, build a beat piece by piece on an integrated sequencer (rendered in classic 808 colors), tap out drum parts on two sets of pads or use the vocal transformer to record and warp vocals on the fly. Effectively, you can make your own music while you spin someone else’s, and the elements should all remain in sync.\u003c/p>\n\u003cp>The price tag, around $1,299, is cheaper than the TR-808 at its debut ($1,195 in 1980 dollars, or about $3,500 today) — but orders of magnitude steeper than an entry-level controller, most of which can be had for just over $200. With so much more affordable gear on the market, the creators of the DJ-808 are banking on consumers seeing it the way DJ Pierre does. He was among the first artists with whom Roland shared the machine before its release, and says its range of functionality instantly impressed him.\u003c/p>\n\u003cp>“You can grow with it, and you can link other gear to it that will run smoothly,” Pierre says. “You always want to think big picture — don’t think just for today. Get something that can grow with you, that you can grow with.” Roland has also gifted the machine to artists Erykah Badu and Q-Tip, who began using it on his Beats 1 radio show on Apple Music after seeing Pete Rock post about it on social media. Biz Markie confessed he’s putting together a new room in his house just for the DJ-808. “It’s going to change the future,” he says. “It’s like a one-stop shop for DJs. It’s got a drum machine, you can break things up, \u003cem>and\u003c/em> you can DJ. It’s just super incredible.”\u003c/p>\n\u003cp>The success of DJ-808, however, may depend more on people like Cynthia Cherish Malaran. As DJ CherishTheLuv, she has worked events for Oprah Winfrey and Samantha Bee and has the distinction of being Whole Foods’ resident DJ in New York City. Malaran says she bought a DJ-808 as soon as it hit the market.\u003c/p>\n\u003cp>“You can use one beat of a song and create a whole new intro, and then drop the song into it,” she explains of the DJ-808’s ability to help restructure a tune. “People are like, ‘Whoa, that’s what that was, I knew that was familiar!’ It’s like you’re reprogramming the song to sound like something new and exciting.”\u003c/p>\n\u003cp>A generation and a hemisphere away, the machine is a new favorite of 14-year-old Belgian Amber Broos — who, as DJ 13 AMPS, has been teaching kids even younger than her to spin using the DJ-808 at the\u003ca href=\"http://www.begintodj.be/\"> Begin to DJ\u003c/a> school in Kortenberg, near Brussels. “The DJ-808 stimulates me to make my own tracks as a producer,” Broos says. “It gives me new ideas and creativity. The possibilities of adapting tracks are unlimited.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DLBNj1xSd2k\u003c/p>\n\u003cp>For Just Blaze, the super-producer who has crafted songs for JAY Z, Beyoncé and Kanye West (although not on West’s 2008 album \u003cem>808s & Heartbreak\u003c/em>), the DJ-808 represents a leap forward in merging DJing and production — something he says he’s always wanted to do but never found convenient enough. “We used to be, in the earlier days, at a place where the software was held back by what the computer was capable of,” he says. “Now, we’re kind of at the opposite end of the spectrum, where the computers are so powerful they can pretty much handle anything within reason that the software can throw at it.”\u003c/p>\n\u003cp>Just Blaze was able to offer a kind of informal beta testing to Roland before they released the DJ-808. He thinks they got the machine right for the most part (enough that he used it in \u003ca href=\"https://www.youtube.com/watch?v=YaDNDpO7vfg\">a live-streamed battle\u003c/a> with Swizz Beatz in February), though he has a small wish list of what he’d like to see next: “Now that we have computers that are capable of doing what we need them to do, maybe the next step is adding a keyboard section.”\u003c/p>\n\u003cp>Not everyone I spoke to was ready to get on board. Greg Broussard, an early electro producer who DJs and records as Egyptian Lover, is among the few artists in the world who still prefers to use vinyl records and an old TR-808 for his DJ sets. “That 808 makes my shows everything they are,” he insists. But he did play with the DJ-808 when it first came out and thought it was a great piece of gear for those who do.\u003c/p>\n\u003cp>“I’m extremely excited that Serato and Roland put out that DJ-808 for the new school,” he says. “Mixing and making beats while DJing is so futuristic and something I would have rocked if I was a new DJ today. I see all kinds of possibilities for today’s DJ with this product.”\u003c/p>\n\u003cp>A Roland sales manager told me the DJ-808’s sales had tapered off by the end of 2016 but are picking up gradually this year, as potential customers have had time to read reviews — and save up money. The machines are also starting to be seen on the secondhand market, which helped the original 808 find followers when getting one new wasn’t an option.\u003c/p>\n\u003cp>Meanwhile, the company has announced a new slate of products for Aug. 8 (#808Day, get it?), including a \u003ca href=\"http://cdm.link/2017/08/what-you-need-to-know-about-the-roland-boutique-101-808-remakes/\">reimagined standalone TR-808\u003c/a> in a portable size and at a more accessible price point — betting on a growing market of DJs looking to stretch the limits of their form and the persistence of a beloved set of numbers. If a keyboard \u003cem>is \u003c/em>brought into future iterations of the DJ-808, perhaps a strappable keytar formation to really bring it back to the ’80s wouldn’t be too far off? Just Blaze lights up at the prospect.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’ve dreamed about this for years,” he admits. “For me to be able to step in front of a crowd and give a straight up rock star-style scratch performance, that’s one of my musical dreams come true. So, Roland, if you’re listening … ” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+A+Fresh+Spin+On+The+808%2C+DJs+Become+Rhythm+Composers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s disarmingly easy to become an amateur DJ in 2017, when an iPhone and a $1.99 app will quickly have you on your way to learning the basics of mixing songs together, or a thumb drive filled with tracks ripped from the Internet and plugged into a digital player called a CDJ can soundtrack a party hundreds of hours long. But DJing has a long history of craft — and while the bar has lowered for amateurs, technology has steadily changed the game for professionals, too.\u003c/p>\n\u003cp>There are purists around the world who still prefer the same equipment used at the first hip-hop parties: vinyl records, two turntables and a two-channel mixer. But today, you might see that setup augmented with specially encoded vinyl and a software program like Serato DJ, allowing the user to physically mix and scratch digital files from a laptop. Some DJs mix their songs with controllers, machines that mimic the turntable and CDJ experiences in one piece of hardware. Others add sounds of their own, playing samplers and synthesizers between and on top of the tracks in their set. There have long been DJs who produce, producers who make original music and musicians who spin records, but new tools and business synergies have continued to blur the lines.\u003c/p>\n\u003cp>Last year, two companies announced a partnership that seemed aimed at eliminating those boundaries altogether. In September, New Zealand’s Serato and the pioneering Japanese electronic instrument company Roland unveiled the DJ-808: a digital controller that combines tools for DJing, production and composition into a single device.\u003c/p>\n\u003cp>“Playing with music, manipulating audio, is very much the core of everything we do,” Serato CEO Young Ly said \u003ca href=\"https://www.youtube.com/watch?v=PqyyRcDuP0Y\">in a video\u003c/a> announcing the DJ-808. “So when you take Roland, a company that’s known for iconic sounds and amazing instruments, and you take these sounds and you mix it with Serato tech, suddenly, are you scratching? Are you flipping? Are you mixing? Are you producing? Are you DJing? It all mixes together into live performance.”\u003c/p>\n\u003cp>If the 808 part sounds familiar, that’s because this new machine was named after one of the most important sound-makers in music history, the Roland TR-808 Rhythm Composer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/yJiJSGsJH4U'\n title='//www.youtube.com/embed/yJiJSGsJH4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Few electronic instruments have been as fetishized as the TR-808, the imperfectly perfect and rare drum machine that’s been a part of nearly every genre with a funky pulse. Though it was produced for just a short time between 1980 and 1983, the 808 has lent memorable sizzle to everyone from Phil Collins to Lil Jon. It gives Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=rjlSiASsUIs\">Sexual Healing\u003c/a>” its spare sway, helps Whitney Houston catch a groove on “\u003ca href=\"https://www.youtube.com/watch?v=eH3giaIzONA\">I Wanna Dance With Somebody\u003c/a>” and is the not-so-secret ingredient that propelled regional styles like New York electro, Detroit techno, Miami bass and New Orleans bounce into the international spotlight.\u003c/p>\n\u003cp>“I would call whoever: ‘Yo, you got the 808?’ And they’d say, ‘No, so and so has it.’ When you found out who had it you’d say, ‘I need to get the 808, when are you going to be done with it?'” Nathaniel “DJ Pierre” Jones, who pioneered the sound that would become acid house (with the help of another Roland machine, the bass-focused TB-303), says he never had an 808 of his own. In the ’80s, major recording facilities might have a unit in-house — the one at Manhattan’s Chung King Studios, for example, boomed on tracks by LL Cool J, Run-DMC and the Beastie Boys. But in Chicago, Pierre says, the progenitors of house music literally passed around a single 808 like a lending library.\u003c/p>\n\u003cp>“We were all very competitive as counterparts, but at the same time we were very community-oriented,” he says. “We didn’t let our competitive nature keep us from sharing the technology, because we all felt like we were confident in what we were doing — and whatever we were doing was going to be different from what they were doing, even if they were using the same thing.”\u003c/p>\n\u003cp>Only about 12,000 TR-808s were manufactured before the product was discontinued. In \u003ca href=\"https://www.youtube.com/watch?v=LMPzuRWoNgE\">the 2015 documentary \u003cem>808\u003c/em>\u003c/a>, Roland founder Ikutaro Kakehashi explains that the machines were deliberately built with defective transistors — which had a sound he described as “sizzling,” and which eventually became impossible to buy. “Semiconductor technology got better and better … so [there was] no way to come back,” said Kakehashi, who passed away this April at 87, just shy of the company’s 45th birthday.\u003c/p>\n\u003cp>Despite the relative scarcity of these machines, 808 sounds have remained ubiquitous in popular music. In the ’90s and beyond, that pervasiveness could be attributed to ReBirth, a software program that emulated the sounds and look of the 808 and its siblings the 303 and 909. ReBirth launched for computers in 1996 and later evolved into an iOS app after being discontinued for desktop systems in 2005. In June, Swedish company Propellerhead \u003ca href=\"http://www.factmag.com/2017/06/13/propellerhead-rebirth-ipad-discontinued-roland-ip-infringement/\">was forced to remove\u003c/a> it from the market altogether after IP infringement claims by Roland.\u003c/p>\n\u003cp>Even so, today you can find 808 samples and soundalikes in the libraries of most major music recording programs. And earlier this year, Canada’s System80 announced it would release \u003ca href=\"http://cdm.link/2017/01/system-80-control-control-808-clone-eurorack/\">a physical 808 clone\u003c/a> made specially for modular synthesizer systems. (Roland may have something to say about this copycat once it’s out.) If if you’ve got the cash, it’s still possible to find an original 808 on eBay, where they sell for upwards of $5,000. The machine even survives purely as a design object: The row of red, orange, yellow and white buttons across its front panel, representing a bar of music as 16 programmable “steps,” has inspired a \u003ca href=\"http://mixmag.net/read/these-roland-tr-808-adidas-are-fully-functional-news\">conceptual Adidas sneaker\u003c/a> that would sell by the boatload if it were real.\u003c/p>\n\u003cp>In the meantime, Roland has remained vital in the development of hip-hop and dance music, and in recent years has even released revamped, boutique versions of its vintage rhythm machines. But it has never formally ventured into the DJ market until now.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/X2PTwp2HZvQ'\n title='//www.youtube.com/embed/X2PTwp2HZvQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The essential pitch of the DJ-808 is that it does in a single unit what would otherwise require a table full of gear. The name owes to the set of onboard drum sounds — and in fact it’s a little misleading, since the DJ-808 also incorporates sounds from the 303, 909 and 707. Users can blend digital music files on the controller, build a beat piece by piece on an integrated sequencer (rendered in classic 808 colors), tap out drum parts on two sets of pads or use the vocal transformer to record and warp vocals on the fly. Effectively, you can make your own music while you spin someone else’s, and the elements should all remain in sync.\u003c/p>\n\u003cp>The price tag, around $1,299, is cheaper than the TR-808 at its debut ($1,195 in 1980 dollars, or about $3,500 today) — but orders of magnitude steeper than an entry-level controller, most of which can be had for just over $200. With so much more affordable gear on the market, the creators of the DJ-808 are banking on consumers seeing it the way DJ Pierre does. He was among the first artists with whom Roland shared the machine before its release, and says its range of functionality instantly impressed him.\u003c/p>\n\u003cp>“You can grow with it, and you can link other gear to it that will run smoothly,” Pierre says. “You always want to think big picture — don’t think just for today. Get something that can grow with you, that you can grow with.” Roland has also gifted the machine to artists Erykah Badu and Q-Tip, who began using it on his Beats 1 radio show on Apple Music after seeing Pete Rock post about it on social media. Biz Markie confessed he’s putting together a new room in his house just for the DJ-808. “It’s going to change the future,” he says. “It’s like a one-stop shop for DJs. It’s got a drum machine, you can break things up, \u003cem>and\u003c/em> you can DJ. It’s just super incredible.”\u003c/p>\n\u003cp>The success of DJ-808, however, may depend more on people like Cynthia Cherish Malaran. As DJ CherishTheLuv, she has worked events for Oprah Winfrey and Samantha Bee and has the distinction of being Whole Foods’ resident DJ in New York City. Malaran says she bought a DJ-808 as soon as it hit the market.\u003c/p>\n\u003cp>“You can use one beat of a song and create a whole new intro, and then drop the song into it,” she explains of the DJ-808’s ability to help restructure a tune. “People are like, ‘Whoa, that’s what that was, I knew that was familiar!’ It’s like you’re reprogramming the song to sound like something new and exciting.”\u003c/p>\n\u003cp>A generation and a hemisphere away, the machine is a new favorite of 14-year-old Belgian Amber Broos — who, as DJ 13 AMPS, has been teaching kids even younger than her to spin using the DJ-808 at the\u003ca href=\"http://www.begintodj.be/\"> Begin to DJ\u003c/a> school in Kortenberg, near Brussels. “The DJ-808 stimulates me to make my own tracks as a producer,” Broos says. “It gives me new ideas and creativity. The possibilities of adapting tracks are unlimited.”\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/DLBNj1xSd2k'\n title='//www.youtube.com/embed/DLBNj1xSd2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Just Blaze, the super-producer who has crafted songs for JAY Z, Beyoncé and Kanye West (although not on West’s 2008 album \u003cem>808s & Heartbreak\u003c/em>), the DJ-808 represents a leap forward in merging DJing and production — something he says he’s always wanted to do but never found convenient enough. “We used to be, in the earlier days, at a place where the software was held back by what the computer was capable of,” he says. “Now, we’re kind of at the opposite end of the spectrum, where the computers are so powerful they can pretty much handle anything within reason that the software can throw at it.”\u003c/p>\n\u003cp>Just Blaze was able to offer a kind of informal beta testing to Roland before they released the DJ-808. He thinks they got the machine right for the most part (enough that he used it in \u003ca href=\"https://www.youtube.com/watch?v=YaDNDpO7vfg\">a live-streamed battle\u003c/a> with Swizz Beatz in February), though he has a small wish list of what he’d like to see next: “Now that we have computers that are capable of doing what we need them to do, maybe the next step is adding a keyboard section.”\u003c/p>\n\u003cp>Not everyone I spoke to was ready to get on board. Greg Broussard, an early electro producer who DJs and records as Egyptian Lover, is among the few artists in the world who still prefers to use vinyl records and an old TR-808 for his DJ sets. “That 808 makes my shows everything they are,” he insists. But he did play with the DJ-808 when it first came out and thought it was a great piece of gear for those who do.\u003c/p>\n\u003cp>“I’m extremely excited that Serato and Roland put out that DJ-808 for the new school,” he says. “Mixing and making beats while DJing is so futuristic and something I would have rocked if I was a new DJ today. I see all kinds of possibilities for today’s DJ with this product.”\u003c/p>\n\u003cp>A Roland sales manager told me the DJ-808’s sales had tapered off by the end of 2016 but are picking up gradually this year, as potential customers have had time to read reviews — and save up money. The machines are also starting to be seen on the secondhand market, which helped the original 808 find followers when getting one new wasn’t an option.\u003c/p>\n\u003cp>Meanwhile, the company has announced a new slate of products for Aug. 8 (#808Day, get it?), including a \u003ca href=\"http://cdm.link/2017/08/what-you-need-to-know-about-the-roland-boutique-101-808-remakes/\">reimagined standalone TR-808\u003c/a> in a portable size and at a more accessible price point — betting on a growing market of DJs looking to stretch the limits of their form and the persistence of a beloved set of numbers. If a keyboard \u003cem>is \u003c/em>brought into future iterations of the DJ-808, perhaps a strappable keytar formation to really bring it back to the ’80s wouldn’t be too far off? Just Blaze lights up at the prospect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve dreamed about this for years,” he admits. “For me to be able to step in front of a crowd and give a straight up rock star-style scratch performance, that’s one of my musical dreams come true. So, Roland, if you’re listening … ” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=With+A+Fresh+Spin+On+The+808%2C+DJs+Become+Rhythm+Composers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Cartoon's Black Star Prompts A Fight: What Did Roman Britain Look Like?",
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"headTitle": "A Cartoon’s Black Star Prompts A Fight: What Did Roman Britain Look Like? | KQED",
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"content": "\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=nN_x9o8MV1o&gl=US\" target=\"_blank\" rel=\"noopener\">brief BBC cartoon\u003c/a> posted to YouTube late last December, a high-ranking Roman soldier and his family tackle the challenges of daily life in ancient Britain. The dad is off helping build the famed Hadrian’s wall at the province’s far northern edge; the son tries to make right for losing his father’s scarf. Everyone ends up happy ever after.\u003c/p>\n\u003cp>Yet benign as its plot may seem, this little film — which, sadly is only available for British viewers — has stirred up a big fight on social media. And it all revolves around the color of the leading characters’ skin.\u003c/p>\n\u003cp>Paul Joseph Watson, editor at Alex Jones’ far-right Infowars website, fired the first volley late last month, \u003ca href=\"https://www.infowars.com/bbc-depicts-black-people-as-typical-family-in-roman-britain/\" target=\"_blank\" rel=\"noopener\">casting the educational video\u003c/a> as an anachronistic attempt “to re-write history to pretend Britain always had mass immigration.”\u003c/p>\n\u003cp>“Thank God the BBC is portraying Roman Britain as ethnically diverse,” \u003ca href=\"https://twitter.com/PrisonPlanet/status/889804329082912769\" target=\"_blank\" rel=\"noopener\">Watson tweeted\u003c/a>. “I mean, who cares about historical accuracy, right?”\u003c/p>\n\u003cp>Historians — i.e., people who make their living caring about historical accuracy — promptly replied to the tweet. Several, including teacher Mike Stuchbery, offered some colorfully worded rebuttals, \u003ca href=\"https://twitter.com/mikestuchbery_/status/889847364558704640?lang=en\" target=\"_blank\" rel=\"noopener\">among other things saying\u003c/a>, “Roman Britain was ethnically diverse, almost by design.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But no one’s response drew more attention — or more backlash — than that of \u003ca href=\"http://www.npr.org/books/authors/221390928/mary-beard\" target=\"_blank\" rel=\"noopener\">Mary Beard\u003c/a>, a Cambridge classics professor who “has spent her career working through the texts and source materials of ancient Rome,” \u003ca href=\"http://www.npr.org/2015/11/30/457319066/from-gladiator-duels-to-caesars-last-words-the-myths-of-ancient-rome\" target=\"_blank\" rel=\"noopener\">according to Fresh Air in 2015\u003c/a>.\u003c/p>\n\u003cp>The cartoon “is indeed pretty accurate,” \u003ca href=\"https://twitter.com/wmarybeard/status/889925415032299520\" target=\"_blank\" rel=\"noopener\">Beard tweeted\u003c/a> in response to Watson, “there’s plenty of firm evidence for ethnic diversity in Roman Britain.”\u003c/p>\n\u003cp>The argument, as Beard and several other historians laid it out, was that for an empire that extended from Britain to North Africa — and from Spain to Syria — it was “unsurprising” to see nonwhite faces so far north. Soldiers were drawn from around the empire, and the University of Reading’s Matthew Nicholls \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">noted several instances\u003c/a> of Africans serving on Hadrian’s Wall specifically.\u003c/p>\n\u003cp>“I think, for example, that the BBC character was loosely based (with a bit of a chronological shift) on Quintus Lollius Urbicus, a man from what is now Algeria, who became governor of Britain,” Beard \u003ca href=\"https://www.the-tls.co.uk/roman-britain-black-white/\" target=\"_blank\" rel=\"noopener\">elaborated in the Times Supplement of London\u003c/a> last week. “You can still visit his grand tomb at Tiddis.”\u003c/p>\n\u003cp>What followed her original response, though, was “a torrent of aggressive insults, on everything from my historical competence and elitist ivory tower viewpoint to my age, shape and gender (batty old broad, obese, etc etc),” she wrote in the \u003cem>Supplement\u003c/em>.\u003c/p>\n\u003cp>Statistician Nassim Nicholas Taleb — who has also been \u003ca href=\"http://www.npr.org/sections/money/2011/01/28/129276793/deep-read-nassim-taleb-the-black-swan-guy\" target=\"_blank\" rel=\"noopener\">featured on NPR\u003c/a>, by the way — also waded into the fray, \u003ca href=\"https://twitter.com/nntaleb/status/892694339549351937\" target=\"_blank\" rel=\"noopener\">turning to genetic statistics\u003c/a> to argue against Beard’s point and calling her argument \u003ca href=\"https://twitter.com/nntaleb/status/892711071684763648\" target=\"_blank\" rel=\"noopener\">“BS”\u003c/a> (and terms more colorful). And that string included \u003ca href=\"https://twitter.com/nntaleb/status/892736047519608833\" target=\"_blank\" rel=\"noopener\">this taunt\u003c/a>: “I get more academic citations per year than you got all your life!”\u003c/p>\n\u003cp>Still, many historians did have their say — \u003ca href=\"https://thesphinxblog.com/2017/08/02/diversitas-et-multiculturalismus/\" target=\"_blank\" rel=\"noopener\">in\u003c/a> \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">favor of\u003c/a> Beard’s dissent. (Another statistician \u003ca href=\"https://iainews.iai.tv/articles/beard-nassem-taleb-twitter-feud-and-dangers-of-scientism-auid-868?access=ALL\" target=\"_blank\" rel=\"noopener\">supported\u003c/a> Beard, as well.)\u003c/p>\n\u003cp>On Monday, Beard’s employer, the University of Cambridge, supplied a defense of its own, noting “the evidence is in fact overwhelming that Roman Britain was indeed a multi-ethnic society.\u003c/p>\n\u003cp>“This was not, of course, evenly spread through the province,” the Cambridge faculty of classics continued, “and it would have been infinitely more noticeable — it can be assumed — in an urban or military context than in a rural one.”\u003c/p>\n\u003cp>Still, the university expressed optimism on one point: “We do hope participants in the public discussion and others will want to learn more about this subject.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then \u003ca href=\"http://www.classics.cam.ac.uk/roman-britain\" target=\"_blank\" rel=\"noopener\">they offered a reading list\u003c/a> — for all the disinterested onlookers who would like to decide for themselves. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Cartoon%27s+Black+Star+Prompts+A+Fight%3A+What+Did+Roman+Britain+Look+Like%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=nN_x9o8MV1o&gl=US\" target=\"_blank\" rel=\"noopener\">brief BBC cartoon\u003c/a> posted to YouTube late last December, a high-ranking Roman soldier and his family tackle the challenges of daily life in ancient Britain. The dad is off helping build the famed Hadrian’s wall at the province’s far northern edge; the son tries to make right for losing his father’s scarf. Everyone ends up happy ever after.\u003c/p>\n\u003cp>Yet benign as its plot may seem, this little film — which, sadly is only available for British viewers — has stirred up a big fight on social media. And it all revolves around the color of the leading characters’ skin.\u003c/p>\n\u003cp>Paul Joseph Watson, editor at Alex Jones’ far-right Infowars website, fired the first volley late last month, \u003ca href=\"https://www.infowars.com/bbc-depicts-black-people-as-typical-family-in-roman-britain/\" target=\"_blank\" rel=\"noopener\">casting the educational video\u003c/a> as an anachronistic attempt “to re-write history to pretend Britain always had mass immigration.”\u003c/p>\n\u003cp>“Thank God the BBC is portraying Roman Britain as ethnically diverse,” \u003ca href=\"https://twitter.com/PrisonPlanet/status/889804329082912769\" target=\"_blank\" rel=\"noopener\">Watson tweeted\u003c/a>. “I mean, who cares about historical accuracy, right?”\u003c/p>\n\u003cp>Historians — i.e., people who make their living caring about historical accuracy — promptly replied to the tweet. Several, including teacher Mike Stuchbery, offered some colorfully worded rebuttals, \u003ca href=\"https://twitter.com/mikestuchbery_/status/889847364558704640?lang=en\" target=\"_blank\" rel=\"noopener\">among other things saying\u003c/a>, “Roman Britain was ethnically diverse, almost by design.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But no one’s response drew more attention — or more backlash — than that of \u003ca href=\"http://www.npr.org/books/authors/221390928/mary-beard\" target=\"_blank\" rel=\"noopener\">Mary Beard\u003c/a>, a Cambridge classics professor who “has spent her career working through the texts and source materials of ancient Rome,” \u003ca href=\"http://www.npr.org/2015/11/30/457319066/from-gladiator-duels-to-caesars-last-words-the-myths-of-ancient-rome\" target=\"_blank\" rel=\"noopener\">according to Fresh Air in 2015\u003c/a>.\u003c/p>\n\u003cp>The cartoon “is indeed pretty accurate,” \u003ca href=\"https://twitter.com/wmarybeard/status/889925415032299520\" target=\"_blank\" rel=\"noopener\">Beard tweeted\u003c/a> in response to Watson, “there’s plenty of firm evidence for ethnic diversity in Roman Britain.”\u003c/p>\n\u003cp>The argument, as Beard and several other historians laid it out, was that for an empire that extended from Britain to North Africa — and from Spain to Syria — it was “unsurprising” to see nonwhite faces so far north. Soldiers were drawn from around the empire, and the University of Reading’s Matthew Nicholls \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">noted several instances\u003c/a> of Africans serving on Hadrian’s Wall specifically.\u003c/p>\n\u003cp>“I think, for example, that the BBC character was loosely based (with a bit of a chronological shift) on Quintus Lollius Urbicus, a man from what is now Algeria, who became governor of Britain,” Beard \u003ca href=\"https://www.the-tls.co.uk/roman-britain-black-white/\" target=\"_blank\" rel=\"noopener\">elaborated in the Times Supplement of London\u003c/a> last week. “You can still visit his grand tomb at Tiddis.”\u003c/p>\n\u003cp>What followed her original response, though, was “a torrent of aggressive insults, on everything from my historical competence and elitist ivory tower viewpoint to my age, shape and gender (batty old broad, obese, etc etc),” she wrote in the \u003cem>Supplement\u003c/em>.\u003c/p>\n\u003cp>Statistician Nassim Nicholas Taleb — who has also been \u003ca href=\"http://www.npr.org/sections/money/2011/01/28/129276793/deep-read-nassim-taleb-the-black-swan-guy\" target=\"_blank\" rel=\"noopener\">featured on NPR\u003c/a>, by the way — also waded into the fray, \u003ca href=\"https://twitter.com/nntaleb/status/892694339549351937\" target=\"_blank\" rel=\"noopener\">turning to genetic statistics\u003c/a> to argue against Beard’s point and calling her argument \u003ca href=\"https://twitter.com/nntaleb/status/892711071684763648\" target=\"_blank\" rel=\"noopener\">“BS”\u003c/a> (and terms more colorful). And that string included \u003ca href=\"https://twitter.com/nntaleb/status/892736047519608833\" target=\"_blank\" rel=\"noopener\">this taunt\u003c/a>: “I get more academic citations per year than you got all your life!”\u003c/p>\n\u003cp>Still, many historians did have their say — \u003ca href=\"https://thesphinxblog.com/2017/08/02/diversitas-et-multiculturalismus/\" target=\"_blank\" rel=\"noopener\">in\u003c/a> \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">favor of\u003c/a> Beard’s dissent. (Another statistician \u003ca href=\"https://iainews.iai.tv/articles/beard-nassem-taleb-twitter-feud-and-dangers-of-scientism-auid-868?access=ALL\" target=\"_blank\" rel=\"noopener\">supported\u003c/a> Beard, as well.)\u003c/p>\n\u003cp>On Monday, Beard’s employer, the University of Cambridge, supplied a defense of its own, noting “the evidence is in fact overwhelming that Roman Britain was indeed a multi-ethnic society.\u003c/p>\n\u003cp>“This was not, of course, evenly spread through the province,” the Cambridge faculty of classics continued, “and it would have been infinitely more noticeable — it can be assumed — in an urban or military context than in a rural one.”\u003c/p>\n\u003cp>Still, the university expressed optimism on one point: “We do hope participants in the public discussion and others will want to learn more about this subject.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then \u003ca href=\"http://www.classics.cam.ac.uk/roman-britain\" target=\"_blank\" rel=\"noopener\">they offered a reading list\u003c/a> — for all the disinterested onlookers who would like to decide for themselves. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Cartoon%27s+Black+Star+Prompts+A+Fight%3A+What+Did+Roman+Britain+Look+Like%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Haruo Nakajima, the Japanese actor who was the first person to put on the Godzilla suit and bring the iconic monster to life, has died. He was 88.\u003c/p>\n\u003cp>Nakajima died Monday of pneumonia, his daughter and the Japanese movie studio Toho confirmed to multiple news outlets. Nakajima played Godzilla in the 1954 original and 11 subsequent films, donning the suit that he said weighed about 220 pounds and wreaking havoc on model cities and rival monsters.\u003c/p>\n\u003cp>But he began his career in samurai films, including a small role in Akira Kurosawa’s legendary 1954 film \u003cem>Seven Samurai\u003c/em>. “I had the samurai top-knot hairstyle, holding a sword, and I often played the guy who gets killed,” Nakajima said \u003ca href=\"https://www.greatbigstory.com/stories/the-man-who-was-godzilla\">in an interview earlier this year\u003c/a> with the Great Big Story.\u003c/p>\n\u003cp>Nakajima recounted that he got the attention of \u003cem>Godzilla\u003c/em> director Ishiro Honda on the set of a WWII film. “There was a scene where an airplane was on fire and an actor had to jump out of it. That was my role,” he said. “Mr. Honda saw this scene and thought, ‘This guy is full of energy.’ They came to see me as someone who had guts, and I think that’s why they wanted me for the role of Godzilla.”\u003c/p>\n\u003cp>In a 2004 interview with NPR, Nakajima described studying large animals at a zoo to help him prepare for the role of the lumbering reptile. “I watched the feet of an elephant and also a bear to see how a monster would move,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Htlqcz9S1Tk\u003c/p>\n\u003cp>But even after mastering the monster’s movements, the suit itself posed a major challenge. Nakajima told \u003cem>Great Big Story\u003c/em> that it was difficult to obtain rubber in the wake of World War II:\u003c/p>\n\u003cblockquote>\n\u003cp>“Since materials were so rare, things like rubber were not available. Instead, they used ready-mixed concrete, so it weighed about 100kg. It was so heavy and hot, and with the lighting, it was even hot just to touch it. I was sweating all over my face, but I did the best I could.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In the original 1954 film, Godzilla emerges from the ocean depths following a hydrogen bomb test and goes on a rampage through Tokyo.\u003c/p>\n\u003cp>The movie was released just nine years after the U.S. dropped atomic bombs on Japan. As Columbia University’s Greg Pflugfelder told NPR in 2004, “It’s very clearly embedded, a message that if they, America, and more broadly we, the free world, continue down this path of destruction in developing nuclear weaponry, who knows what the result might be?”\u003c/p>\n\u003cp>In 1962, Nakajima’s Godzilla battled King Kong in \u003cem>King Kong vs Godzilla\u003c/em>. But he later played the role of Kong in 1967’s \u003cem>King Kong Escapes. \u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nuu_l24zQv4\u003c/p>\n\u003cp>And while Nakajima played some of the most recognizable roles in Japanese cinema, he told NPR that he has remained relatively anonymous.\u003c/p>\n\u003cp>“There is no impact on people when I walk the street,” Nakajima said. “I do not consider myself as a star. I thought it was going to be just one or two films.”\u003c/p>\n\u003cp>He \u003ca href=\"http://www.imdb.com/name/nm0620032/?ref_=fn_al_nm_1\">acted in some 50 films\u003c/a>, ending in 1973. \u003ca href=\"https://www.nytimes.com/2017/08/08/world/asia/godzilla-actor-haruo-nakajima-japan.html?_r=0\">According to The New York Times\u003c/a>, Nakajima “is reported to have briefly taken a job at the bowling alley on the Toho studio lot,” and later made regular appearances at comic and movie conventions.\u003c/p>\n\u003cp>The \u003cem>Godzilla\u003c/em> franchise is still going strong, the \u003cem>Times\u003c/em> reports, and “the next in the franchise will star Ken Watanabe and is scheduled for release in 2019.”\u003c/p>\n\u003cp>Special effects have largely replaced actors in monster suits, and the films’ original monsters certainly don’t appear lifelike. But author Steve Ryfle, who wrote a book about \u003cem>Godzilla \u003c/em>and its sequels, told NPR in 2004 that appearing real wasn’t really the point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think the purpose was to make something that looked spectacular,” Ryfle said, “and if you approach it from that standpoint, I think they’re very entertaining.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Haruo+Nakajima%2C+The+Original+Godzilla+Actor%2C+Dies+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Htlqcz9S1Tk'\n title='//www.youtube.com/embed/Htlqcz9S1Tk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But even after mastering the monster’s movements, the suit itself posed a major challenge. Nakajima told \u003cem>Great Big Story\u003c/em> that it was difficult to obtain rubber in the wake of World War II:\u003c/p>\n\u003cblockquote>\n\u003cp>“Since materials were so rare, things like rubber were not available. Instead, they used ready-mixed concrete, so it weighed about 100kg. It was so heavy and hot, and with the lighting, it was even hot just to touch it. I was sweating all over my face, but I did the best I could.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In the original 1954 film, Godzilla emerges from the ocean depths following a hydrogen bomb test and goes on a rampage through Tokyo.\u003c/p>\n\u003cp>The movie was released just nine years after the U.S. dropped atomic bombs on Japan. As Columbia University’s Greg Pflugfelder told NPR in 2004, “It’s very clearly embedded, a message that if they, America, and more broadly we, the free world, continue down this path of destruction in developing nuclear weaponry, who knows what the result might be?”\u003c/p>\n\u003cp>In 1962, Nakajima’s Godzilla battled King Kong in \u003cem>King Kong vs Godzilla\u003c/em>. But he later played the role of Kong in 1967’s \u003cem>King Kong Escapes. \u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nuu_l24zQv4'\n title='//www.youtube.com/embed/nuu_l24zQv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And while Nakajima played some of the most recognizable roles in Japanese cinema, he told NPR that he has remained relatively anonymous.\u003c/p>\n\u003cp>“There is no impact on people when I walk the street,” Nakajima said. “I do not consider myself as a star. I thought it was going to be just one or two films.”\u003c/p>\n\u003cp>He \u003ca href=\"http://www.imdb.com/name/nm0620032/?ref_=fn_al_nm_1\">acted in some 50 films\u003c/a>, ending in 1973. \u003ca href=\"https://www.nytimes.com/2017/08/08/world/asia/godzilla-actor-haruo-nakajima-japan.html?_r=0\">According to The New York Times\u003c/a>, Nakajima “is reported to have briefly taken a job at the bowling alley on the Toho studio lot,” and later made regular appearances at comic and movie conventions.\u003c/p>\n\u003cp>The \u003cem>Godzilla\u003c/em> franchise is still going strong, the \u003cem>Times\u003c/em> reports, and “the next in the franchise will star Ken Watanabe and is scheduled for release in 2019.”\u003c/p>\n\u003cp>Special effects have largely replaced actors in monster suits, and the films’ original monsters certainly don’t appear lifelike. But author Steve Ryfle, who wrote a book about \u003cem>Godzilla \u003c/em>and its sequels, told NPR in 2004 that appearing real wasn’t really the point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think the purpose was to make something that looked spectacular,” Ryfle said, “and if you approach it from that standpoint, I think they’re very entertaining.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Haruo+Nakajima%2C+The+Original+Godzilla+Actor%2C+Dies+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "On the Cusp of His North American Tour, Herbie Hancock is Still Hurtling Forward",
"headTitle": "On the Cusp of His North American Tour, Herbie Hancock is Still Hurtling Forward | KQED",
"content": "\u003cp>There’s an emblematic photograph of Herbie Hancock on the back cover of his album \u003cem>Sunlight\u003c/em>, which he began recording 40 years ago this month. He’s depicted against a red backdrop with a Sennheiser vocoder headset on his cranium, which is bowed in deep focus.\u003c/p>\n\u003cp>He’s also totally boxed in by his keyboards. The LP insert sleeve includes a diagram to help identify them by name: Oberheim Polyphonic Synthesizer, Sequential Circuits Prophet Synthesizer, ARP 2600, ARP Odyssey, Micro-Moog, Mini-Moog, Poly-Moog. (This is not a complete tally.)\u003c/p>\n\u003cp>At the time, Hancock had already proven his ability to work in a few divergent modes: taut acoustic postbop, of the sort he’d refined in the Miles Davis Quintet; coloristic chamber-jazz, on albums including \u003cem>Speak Like a Child\u003c/em>; and earthy jazz-funk, in and out of his spectacularly successful band The Headhunters. But \u003cem>Sunlight \u003c/em>opened yet another door to pop crossover, pushing even some admiring listeners to their limit.\u003c/p>\n\u003cfigure id=\"attachment_13804641\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85.jpeg\" alt=\"The back cover of Herbie Hancock's 1978 album 'Sunlight'\" width=\"400\" height=\"400\" class=\"size-full wp-image-13804641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-150x150.jpeg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The back cover of Herbie Hancock’s 1978 album ‘Sunlight’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave Tompkins chronicles one such reaction in his 2011 book \u003cem>How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, The Machine Speaks\u003c/em>. “What’s gotten into Herbie Hancock?” writes a disgruntled fan after a Boston concert, in a letter published in the July 1979 issue of \u003cem>Musician.\u003c/em> “Where does he think he’s going with that ridiculous vocoder? That thing isn’t just a waste of time, it’s a complete waste of taste.”\u003c/p>\n\u003cp>The music endured by this affronted concertgoer probably sounded much like it does in the clip below. Filmed in London on April 4, 1979, it features a performance of “I Thought It Was You,” \u003cem>Sunlight\u003c/em>‘s opening track, a radiant vocal number that set the mold for the more recent neo-disco alloy of Daft Punk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8agdCw7L0BE\u003c/p>\n\u003cp>The clip shows Hancock, slightly out of breath, prefacing the song with an endorsement of the vocoder: “With this device, even a keyboard player like Herbie Hancock can sing.” The performance that follows is hardly seamless in its execution, but Hancock, a former electrical engineering major, never looks less than delighted (if also a little harried).\u003c/p>\n\u003cp>Like the \u003cem>Sunlight\u003c/em> photograph, this footage captures a spirit of obsessive musical technophilia that Hancock still wears like a scout badge. At 77, he has stayed in the game long enough to embrace technologies barely imaginable back when \u003cem>Sunlight \u003c/em>first saw daylight, in 1978. \u003c/p>\n\u003cp>All of which is worth keeping in mind as Hancock — pianist, composer, NEA Jazz Master, UNESCO Goodwill Ambassador, 14-time Grammy winner, unabashed keytar assassin — forges onward with \u003ca href=\"http://herbiehancock.com/tour/\" target=\"_blank\" rel=\"noopener\">his current world tour\u003c/a>. (Its North American leg begins on Sunday, at the Count Basie Theater in Red Bank, N.J. Then come the Beacon Theater in New York City on Monday and the Kennedy Center in Washington, D.C. on Tuesday, followed by points west.)\u003c/p>\n\u003cp>Hancock thankfully travels lighter now than he did in the frontier age of analog synthesizers. “I have memory sticks that have my sounds on them, so I didn’t have to actually bring my keyboards on tour,” he said by phone last week. “I can use what’s provided, and put my sounds in them.”\u003c/p>\n\u003cp>Speaking from a tour bus during a 700-kilometer trek from St. Moritz, Switzerland to Marseille, France, Hancock touched on the evolution of his working band, the state of his hotly anticipated new album and the grinding exhaustion of the road.\u003c/p>\n\u003cp>“This is one of the hardest tours I’ve done, just because of the scheduling,” he said. “In six weeks of this European tour, there were only two days where we weren’t either playing a concert or traveling.” (During one of those off days, about 48 hours before our conversation, he’d dashed by private plane to Paris for the premiere of the intergalactic sci-fi movie \u003cem>Valerian and the City of a Thousand Planets, \u003c/em>\u003ca href=\"https://www.thrillist.com/entertainment/nation/herbie-hancock-valerian-movie\" target=\"_blank\" rel=\"noopener\">in which he has a cameo\u003c/a>.)\u003c/p>\n\u003cp>“We did, at one point, five concerts in five days in five different countries,” Hancock added. “It wasn’t easy, but you have no choice. So you commit to it, and say: ‘I’m going to give my all, no matter what.’ And you know what? Those were some of the best concerts that we did.”\u003c/p>\n\u003cp>Hancock’s band mainly consists of brilliantly adaptable musicians who have worked with him for years, like drummer Vinnie Colaiuta, bassist James Genus and guitarist Lionel Loueke. But it also features a newer arrival: Terrace Martin, the alto saxophonist, keyboardist and producer best known for his body of work on record with rappers Snoop Dogg and Kendrick Lamar. \u003c/p>\n\u003cp>Last summer Hancock and a close facsimile of this group appeared on the Celebrate Brooklyn! series, at Prospect Park Bandshell. The concert was filmed by Jazz Night in America, and the video captures both the charged interplay and gear-shifting ingenuity of the band.\u003c/p>\n\u003cp>When I asked Hancock how the sound of the band might have changed since, he responded at first in macro terms. “The very concept of how the band works means that it’s different every day,” he said. “Because the concept is that open. It can go from avant-garde to completely funky stuff. So the spirit of what happened in Brooklyn, we’re fine-tuning that more.”\u003c/p>\n\u003cp>But he also offered a concrete example of the band’s recombinant strategies, pointing to “Cantaloupe Island,” a loping funk confection that he first recorded in 1964. (It has been covered or sampled countless times, \u003ca href=\"https://youtu.be/JwBjhBL9G6U\" target=\"_blank\" rel=\"noopener\">most famously in the early ’90s\u003c/a> by Us3.) In its present form on tour, “Cantaloupe Island” comes spliced with a Lionel Loueke invention called “Flying,” featuring a tricky sequence of metric stutter-steps. \u003c/p>\n\u003cp>“The concerts are going way better than expected,” Hancock said, returning to a more general frame. “We’re constantly creating new ways of treating the material that we have. And the flow of the concerts is different than other tours I’ve done before.” \u003c/p>\n\u003cfigure id=\"attachment_13804630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-800x600.jpg\" alt=\"Herbie Hancock in his studio.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13804630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbie Hancock in his studio. \u003ccite>(Jessica Hancock/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s another way in which Hancock has lurched away from his usual protocols, and it can be traced to his home in West Hollywood. There, in a basement studio that calls to mind a state-of-the-art successor to Hancock’s old synth barricade, he has been working on another style-blending album, the details of which have been a subject of hungry scrutiny.\u003c/p>\n\u003cp>Hancock’s main partner in the studio has been \u003ca href=\"http://www.npr.org/artists/539033146/terrace-martin\" target=\"_blank\" rel=\"noopener\">Terrace Martin\u003c/a>, who was born about six months after \u003cem>Sunlight \u003c/em>was released, and has internalized its canny balance of live-band spark and high-gloss sheen. Martin belongs to a generation that grew up devouring Hancock’s pop hits, no less than his postbop innovations — and he understands how integral that crossover music, with its meld of brisk syncopation and emulsified texture, was to foundation of G-Funk. \u003c/p>\n\u003cp>In other words, Martin isn’t predisposed to regard Hancock’s synth-and-vocoder experiments as “a waste of taste,” or even an aberration. Rather, he sees it as part of a holistic expression, one that can still give up the occasional secret. \u003c/p>\n\u003cp>But this alert emulation isn’t a one-way street, as Hancock was quick to acknowledge. “I hear elements coming from Terrace, because of his generation, that I can add to my toolbox,” he said. “I don’t mean necessarily the songs, but the approach. How he approaches the process of producing my record is totally new for me; it’s not like anything I’ve been used to in the past.”\u003c/p>\n\u003cp>Martin travels in a vibrant creative orbit: He \u003ca href=\"http://www.npr.org/event/music/539020926/the-pollyseeds-intentions-oozes-style\" target=\"_blank\" rel=\"noopener\">just released an album\u003c/a> by a Los Angeles R&B collective he calls The Pollyseeds, and has collaborated with his fellow saxophonist Kamasi Washington, the electric bassist and vocalist Thundercat, and the electronic producer Flying Lotus, among others. One of Martin’s peer mentors is pianist and producer Robert Glasper, who has bridged much of the aesthetic and audience divide between hip-hop, R&B and modern jazz.\u003c/p>\n\u003cp>Every artist just mentioned is a member of Team Herbie, in one way or another. Flying Lotus \u003ca href=\"https://youtu.be/tNzZqcmukdk\" target=\"_blank\" rel=\"noopener\">featured Hancock’s playing\u003c/a> on a recent track; Glasper \u003ca href=\"https://youtu.be/zINCW1flz0U\" target=\"_blank\" rel=\"noopener\">covered a Hancock tune\u003c/a>, complete with vocoder, on a Robert Glasper Experiment album last year. By way of Martin, Glasper and Thundercat, there are moments on Kendrick Lamar’s epic \u003cem>To Pimp a Butterfly \u003c/em>that clearly evoke Hancockian precedent. \u003c/p>\n\u003cp>Lamar will reportedly make an appearance on Hancock’s new album. Hancock said Snoop Dogg has recorded a track, and Common has agreed to contribute. “Then we also have a track that Pharrell [Williams] wrote, and we kind of put it together in the studio,” he added. But it might not be accurate to suggest Herbie Hancock is making a hip-hop album, per se; he’s making a Herbie Hancock album, with parameters set to include some notable rappers.\u003c/p>\n\u003cp>Whatever the case, the goal is to have some music ready for release by early next year. “It’s coming a lot closer,” Hancock said. “We have some real melodies that we’ve come up with, instead of just building blocks.”\u003c/p>\n\u003cp>He paused, as if catching himself. “You know, it gets a little tricky when it’s taking years to put this together,” he said, laughing. “People can’t wait. If I let everything out in the press too soon, people will lose interest after a while. But it still seems to be building. Word is getting around.”\u003c/p>\n\u003cp>For all of his deftness as an early adopter, Hancock has also learned by experience to adopt the long view: It took years before \u003cem>Sunlight, \u003c/em>for example, was widely regarded as a success. In concert, he now receives applause for the album’s second track, “Come Running to Me,” which was memorably sampled by J Dilla for Slum Village. (Glasper recently \u003ca href=\"http://www.npr.org/event/music/524393926/jazz-is-the-mother-of-hip-hop-how-sampling-connects-genres\" target=\"_blank\" rel=\"noopener\">unpacked that sample\u003c/a>, among others, in a Jazz Night in America video short.) \u003c/p>\n\u003cp>Hancock has composed more enduring jazz standards, to be sure, and had bigger breakout hits. When people talk about Afrofuturism, rightly placing him in its vanguard, they often fixate on the sci-fi imagery of an album like \u003cem>Thrust\u003c/em>, or the landmark hip-hop synergies of “Rockit.” \u003c/p>\n\u003cp>Still, that image on the back cover of \u003cem>Sunlight\u003c/em> frames the idea in beguilingly practical terms, as if Hancock were a magician producing all his cards for inspection. Not that seeing the cards, fanned out on the table, does anything to disarm the sleight of hand.\u003c/p>\n\u003cp>Describing the episodic, quick-fire digression of his show, Hancock chuckled. “The reaction I see from people is that they’re on the edge of their seat,” he said, “not knowing what we’re going to do next.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Herbie Hancock appears at the Count Basie Theater in Red Bank, N.J. on Sunday; the Beacon Theater in New York City on Monday; and the Kennedy Center in Washington, D.C. on Tuesday. For more tour dates and other information, visit \u003c/em>\u003ca href=\"http://www.herbiehancock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>herbiehancock.com\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+The+Cusp+Of+His+North+American+Tour%2C+Herbie+Hancock+Is+Still+Hurtling+Forward&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Working with a new band and deep into the making of a new record with collaborator Terrace Martin, Herbie Hancock finds himself in conversation with his own visions of the future, now 40 years old.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an emblematic photograph of Herbie Hancock on the back cover of his album \u003cem>Sunlight\u003c/em>, which he began recording 40 years ago this month. He’s depicted against a red backdrop with a Sennheiser vocoder headset on his cranium, which is bowed in deep focus.\u003c/p>\n\u003cp>He’s also totally boxed in by his keyboards. The LP insert sleeve includes a diagram to help identify them by name: Oberheim Polyphonic Synthesizer, Sequential Circuits Prophet Synthesizer, ARP 2600, ARP Odyssey, Micro-Moog, Mini-Moog, Poly-Moog. (This is not a complete tally.)\u003c/p>\n\u003cp>At the time, Hancock had already proven his ability to work in a few divergent modes: taut acoustic postbop, of the sort he’d refined in the Miles Davis Quintet; coloristic chamber-jazz, on albums including \u003cem>Speak Like a Child\u003c/em>; and earthy jazz-funk, in and out of his spectacularly successful band The Headhunters. But \u003cem>Sunlight \u003c/em>opened yet another door to pop crossover, pushing even some admiring listeners to their limit.\u003c/p>\n\u003cfigure id=\"attachment_13804641\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85.jpeg\" alt=\"The back cover of Herbie Hancock's 1978 album 'Sunlight'\" width=\"400\" height=\"400\" class=\"size-full wp-image-13804641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-150x150.jpeg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The back cover of Herbie Hancock’s 1978 album ‘Sunlight’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave Tompkins chronicles one such reaction in his 2011 book \u003cem>How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, The Machine Speaks\u003c/em>. “What’s gotten into Herbie Hancock?” writes a disgruntled fan after a Boston concert, in a letter published in the July 1979 issue of \u003cem>Musician.\u003c/em> “Where does he think he’s going with that ridiculous vocoder? That thing isn’t just a waste of time, it’s a complete waste of taste.”\u003c/p>\n\u003cp>The music endured by this affronted concertgoer probably sounded much like it does in the clip below. Filmed in London on April 4, 1979, it features a performance of “I Thought It Was You,” \u003cem>Sunlight\u003c/em>‘s opening track, a radiant vocal number that set the mold for the more recent neo-disco alloy of Daft Punk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8agdCw7L0BE'\n title='//www.youtube.com/embed/8agdCw7L0BE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The clip shows Hancock, slightly out of breath, prefacing the song with an endorsement of the vocoder: “With this device, even a keyboard player like Herbie Hancock can sing.” The performance that follows is hardly seamless in its execution, but Hancock, a former electrical engineering major, never looks less than delighted (if also a little harried).\u003c/p>\n\u003cp>Like the \u003cem>Sunlight\u003c/em> photograph, this footage captures a spirit of obsessive musical technophilia that Hancock still wears like a scout badge. At 77, he has stayed in the game long enough to embrace technologies barely imaginable back when \u003cem>Sunlight \u003c/em>first saw daylight, in 1978. \u003c/p>\n\u003cp>All of which is worth keeping in mind as Hancock — pianist, composer, NEA Jazz Master, UNESCO Goodwill Ambassador, 14-time Grammy winner, unabashed keytar assassin — forges onward with \u003ca href=\"http://herbiehancock.com/tour/\" target=\"_blank\" rel=\"noopener\">his current world tour\u003c/a>. (Its North American leg begins on Sunday, at the Count Basie Theater in Red Bank, N.J. Then come the Beacon Theater in New York City on Monday and the Kennedy Center in Washington, D.C. on Tuesday, followed by points west.)\u003c/p>\n\u003cp>Hancock thankfully travels lighter now than he did in the frontier age of analog synthesizers. “I have memory sticks that have my sounds on them, so I didn’t have to actually bring my keyboards on tour,” he said by phone last week. “I can use what’s provided, and put my sounds in them.”\u003c/p>\n\u003cp>Speaking from a tour bus during a 700-kilometer trek from St. Moritz, Switzerland to Marseille, France, Hancock touched on the evolution of his working band, the state of his hotly anticipated new album and the grinding exhaustion of the road.\u003c/p>\n\u003cp>“This is one of the hardest tours I’ve done, just because of the scheduling,” he said. “In six weeks of this European tour, there were only two days where we weren’t either playing a concert or traveling.” (During one of those off days, about 48 hours before our conversation, he’d dashed by private plane to Paris for the premiere of the intergalactic sci-fi movie \u003cem>Valerian and the City of a Thousand Planets, \u003c/em>\u003ca href=\"https://www.thrillist.com/entertainment/nation/herbie-hancock-valerian-movie\" target=\"_blank\" rel=\"noopener\">in which he has a cameo\u003c/a>.)\u003c/p>\n\u003cp>“We did, at one point, five concerts in five days in five different countries,” Hancock added. “It wasn’t easy, but you have no choice. So you commit to it, and say: ‘I’m going to give my all, no matter what.’ And you know what? Those were some of the best concerts that we did.”\u003c/p>\n\u003cp>Hancock’s band mainly consists of brilliantly adaptable musicians who have worked with him for years, like drummer Vinnie Colaiuta, bassist James Genus and guitarist Lionel Loueke. But it also features a newer arrival: Terrace Martin, the alto saxophonist, keyboardist and producer best known for his body of work on record with rappers Snoop Dogg and Kendrick Lamar. \u003c/p>\n\u003cp>Last summer Hancock and a close facsimile of this group appeared on the Celebrate Brooklyn! series, at Prospect Park Bandshell. The concert was filmed by Jazz Night in America, and the video captures both the charged interplay and gear-shifting ingenuity of the band.\u003c/p>\n\u003cp>When I asked Hancock how the sound of the band might have changed since, he responded at first in macro terms. “The very concept of how the band works means that it’s different every day,” he said. “Because the concept is that open. It can go from avant-garde to completely funky stuff. So the spirit of what happened in Brooklyn, we’re fine-tuning that more.”\u003c/p>\n\u003cp>But he also offered a concrete example of the band’s recombinant strategies, pointing to “Cantaloupe Island,” a loping funk confection that he first recorded in 1964. (It has been covered or sampled countless times, \u003ca href=\"https://youtu.be/JwBjhBL9G6U\" target=\"_blank\" rel=\"noopener\">most famously in the early ’90s\u003c/a> by Us3.) In its present form on tour, “Cantaloupe Island” comes spliced with a Lionel Loueke invention called “Flying,” featuring a tricky sequence of metric stutter-steps. \u003c/p>\n\u003cp>“The concerts are going way better than expected,” Hancock said, returning to a more general frame. “We’re constantly creating new ways of treating the material that we have. And the flow of the concerts is different than other tours I’ve done before.” \u003c/p>\n\u003cfigure id=\"attachment_13804630\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-800x600.jpg\" alt=\"Herbie Hancock in his studio.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13804630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbie Hancock in his studio. \u003ccite>(Jessica Hancock/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s another way in which Hancock has lurched away from his usual protocols, and it can be traced to his home in West Hollywood. There, in a basement studio that calls to mind a state-of-the-art successor to Hancock’s old synth barricade, he has been working on another style-blending album, the details of which have been a subject of hungry scrutiny.\u003c/p>\n\u003cp>Hancock’s main partner in the studio has been \u003ca href=\"http://www.npr.org/artists/539033146/terrace-martin\" target=\"_blank\" rel=\"noopener\">Terrace Martin\u003c/a>, who was born about six months after \u003cem>Sunlight \u003c/em>was released, and has internalized its canny balance of live-band spark and high-gloss sheen. Martin belongs to a generation that grew up devouring Hancock’s pop hits, no less than his postbop innovations — and he understands how integral that crossover music, with its meld of brisk syncopation and emulsified texture, was to foundation of G-Funk. \u003c/p>\n\u003cp>In other words, Martin isn’t predisposed to regard Hancock’s synth-and-vocoder experiments as “a waste of taste,” or even an aberration. Rather, he sees it as part of a holistic expression, one that can still give up the occasional secret. \u003c/p>\n\u003cp>But this alert emulation isn’t a one-way street, as Hancock was quick to acknowledge. “I hear elements coming from Terrace, because of his generation, that I can add to my toolbox,” he said. “I don’t mean necessarily the songs, but the approach. How he approaches the process of producing my record is totally new for me; it’s not like anything I’ve been used to in the past.”\u003c/p>\n\u003cp>Martin travels in a vibrant creative orbit: He \u003ca href=\"http://www.npr.org/event/music/539020926/the-pollyseeds-intentions-oozes-style\" target=\"_blank\" rel=\"noopener\">just released an album\u003c/a> by a Los Angeles R&B collective he calls The Pollyseeds, and has collaborated with his fellow saxophonist Kamasi Washington, the electric bassist and vocalist Thundercat, and the electronic producer Flying Lotus, among others. One of Martin’s peer mentors is pianist and producer Robert Glasper, who has bridged much of the aesthetic and audience divide between hip-hop, R&B and modern jazz.\u003c/p>\n\u003cp>Every artist just mentioned is a member of Team Herbie, in one way or another. Flying Lotus \u003ca href=\"https://youtu.be/tNzZqcmukdk\" target=\"_blank\" rel=\"noopener\">featured Hancock’s playing\u003c/a> on a recent track; Glasper \u003ca href=\"https://youtu.be/zINCW1flz0U\" target=\"_blank\" rel=\"noopener\">covered a Hancock tune\u003c/a>, complete with vocoder, on a Robert Glasper Experiment album last year. By way of Martin, Glasper and Thundercat, there are moments on Kendrick Lamar’s epic \u003cem>To Pimp a Butterfly \u003c/em>that clearly evoke Hancockian precedent. \u003c/p>\n\u003cp>Lamar will reportedly make an appearance on Hancock’s new album. Hancock said Snoop Dogg has recorded a track, and Common has agreed to contribute. “Then we also have a track that Pharrell [Williams] wrote, and we kind of put it together in the studio,” he added. But it might not be accurate to suggest Herbie Hancock is making a hip-hop album, per se; he’s making a Herbie Hancock album, with parameters set to include some notable rappers.\u003c/p>\n\u003cp>Whatever the case, the goal is to have some music ready for release by early next year. “It’s coming a lot closer,” Hancock said. “We have some real melodies that we’ve come up with, instead of just building blocks.”\u003c/p>\n\u003cp>He paused, as if catching himself. “You know, it gets a little tricky when it’s taking years to put this together,” he said, laughing. “People can’t wait. If I let everything out in the press too soon, people will lose interest after a while. But it still seems to be building. Word is getting around.”\u003c/p>\n\u003cp>For all of his deftness as an early adopter, Hancock has also learned by experience to adopt the long view: It took years before \u003cem>Sunlight, \u003c/em>for example, was widely regarded as a success. In concert, he now receives applause for the album’s second track, “Come Running to Me,” which was memorably sampled by J Dilla for Slum Village. (Glasper recently \u003ca href=\"http://www.npr.org/event/music/524393926/jazz-is-the-mother-of-hip-hop-how-sampling-connects-genres\" target=\"_blank\" rel=\"noopener\">unpacked that sample\u003c/a>, among others, in a Jazz Night in America video short.) \u003c/p>\n\u003cp>Hancock has composed more enduring jazz standards, to be sure, and had bigger breakout hits. When people talk about Afrofuturism, rightly placing him in its vanguard, they often fixate on the sci-fi imagery of an album like \u003cem>Thrust\u003c/em>, or the landmark hip-hop synergies of “Rockit.” \u003c/p>\n\u003cp>Still, that image on the back cover of \u003cem>Sunlight\u003c/em> frames the idea in beguilingly practical terms, as if Hancock were a magician producing all his cards for inspection. Not that seeing the cards, fanned out on the table, does anything to disarm the sleight of hand.\u003c/p>\n\u003cp>Describing the episodic, quick-fire digression of his show, Hancock chuckled. “The reaction I see from people is that they’re on the edge of their seat,” he said, “not knowing what we’re going to do next.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Herbie Hancock appears at the Count Basie Theater in Red Bank, N.J. on Sunday; the Beacon Theater in New York City on Monday; and the Kennedy Center in Washington, D.C. on Tuesday. For more tour dates and other information, visit \u003c/em>\u003ca href=\"http://www.herbiehancock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>herbiehancock.com\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\" target=\"_blank\" rel=\"noopener\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+The+Cusp+Of+His+North+American+Tour%2C+Herbie+Hancock+Is+Still+Hurtling+Forward&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Bandcamp Holds Fundraiser for Transgender Law Center",
"headTitle": "Bandcamp Holds Fundraiser for Transgender Law Center | KQED",
"content": "\u003cp>The music distribution site Bandcamp will be donating \u003ca href=\"https://daily.bandcamp.com/2017/07/31/this-friday-stand-with-bandcamp-in-support-of-trans-rights/\" target=\"_blank\" rel=\"noopener\">100 percent\u003c/a> of its share of music sales Friday to the Transgender Law Center, a nonprofit based in Oakland.\u003c/p>\n\u003cp>In an announcement of the fundraiser posted on July 31, the company declared that it is meant as a direct response to President Trump’s recent \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/07/26/539470211/trump-says-transgender-people-cant-serve-in-military\" target=\"_blank\" rel=\"noopener\">Twitter announcement\u003c/a> that the government will bar transgender people from serving in the U.S. military.\u003c/p>\n\u003cp>“We support our LGBT+ users and staff, and we stand against any person or group that would see them further marginalized,” the company’s staff wrote in the announcement. “This includes the current U.S. administration, and its recent capricious declaration that transgender troops will no longer be able to serve in the military. That this announcement was motivated in part to help fund the border wall exposes it as part of the administration’s cynical, discriminatory agenda.”\u003c/p>\n\u003cp>Friday’s activity is modeled after a fundraiser the site held in January. The fundraiser generated \u003ca href=\"https://daily.bandcamp.com/2017/02/03/update-on-todays-aclu-fundraising-frenzy/\" target=\"_blank\" rel=\"noopener\">$1 million in sales\u003c/a>. Bandcamp says it donated its share of the proceeds — about $120,000 — to the ACLU after President Trump issued an \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order\u003c/a> that aimed to temporarily ban travelers from seven Muslim-majority nations. It also says that many of the record labels and artists have pledged to donate some of the rest of the proceeds as well.\u003c/p>\n\u003cp>Since Bandcamp made its original announcement of Friday’s fundraiser, over 200 labels and artists have \u003ca href=\"https://daily.bandcamp.com/2017/08/03/labels-artists-join-us-in-donating-todays-profits-to-transgender-law-center/\" target=\"_blank\" rel=\"noopener\">declared\u003c/a> that they will also donate percentages of their sales shares Friday to the Transgender Law Center; some of those companies and musicians have extended their donations in various ways (for example, to apply to all sales during the month of August). Participants include Car Seat Headrest, King Britt and Speedy Ortiz, as well as dozens of record labels including Sub Pop, Merge, ANTI-, Kill Rock Stars and Greenleaf.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bandcamp has emerged as one of the most important commercial conduits between musicians and fans. The site allows listeners to stream music and buy songs from independent artists and labels, with \u003ca href=\"https://www.nytimes.com/2016/08/20/arts/music/bandcamp-shopping-for-music.html\" target=\"_blank\" rel=\"noopener\">85 percent\u003c/a> of the profit going to the musicians. According to the company, fans have paid artists \u003ca href=\"https://bandcamp.com/about\" target=\"_blank\" rel=\"noopener\">$231 million\u003c/a> since the company’s launch in 2008. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bandcamp+Holds+Fundraiser+For+Transgender+Law+Center&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "More than 200 record labels and artists will also be donating proceeds from their sales Friday to the nonprofit.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music distribution site Bandcamp will be donating \u003ca href=\"https://daily.bandcamp.com/2017/07/31/this-friday-stand-with-bandcamp-in-support-of-trans-rights/\" target=\"_blank\" rel=\"noopener\">100 percent\u003c/a> of its share of music sales Friday to the Transgender Law Center, a nonprofit based in Oakland.\u003c/p>\n\u003cp>In an announcement of the fundraiser posted on July 31, the company declared that it is meant as a direct response to President Trump’s recent \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/07/26/539470211/trump-says-transgender-people-cant-serve-in-military\" target=\"_blank\" rel=\"noopener\">Twitter announcement\u003c/a> that the government will bar transgender people from serving in the U.S. military.\u003c/p>\n\u003cp>“We support our LGBT+ users and staff, and we stand against any person or group that would see them further marginalized,” the company’s staff wrote in the announcement. “This includes the current U.S. administration, and its recent capricious declaration that transgender troops will no longer be able to serve in the military. That this announcement was motivated in part to help fund the border wall exposes it as part of the administration’s cynical, discriminatory agenda.”\u003c/p>\n\u003cp>Friday’s activity is modeled after a fundraiser the site held in January. The fundraiser generated \u003ca href=\"https://daily.bandcamp.com/2017/02/03/update-on-todays-aclu-fundraising-frenzy/\" target=\"_blank\" rel=\"noopener\">$1 million in sales\u003c/a>. Bandcamp says it donated its share of the proceeds — about $120,000 — to the ACLU after President Trump issued an \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order\u003c/a> that aimed to temporarily ban travelers from seven Muslim-majority nations. It also says that many of the record labels and artists have pledged to donate some of the rest of the proceeds as well.\u003c/p>\n\u003cp>Since Bandcamp made its original announcement of Friday’s fundraiser, over 200 labels and artists have \u003ca href=\"https://daily.bandcamp.com/2017/08/03/labels-artists-join-us-in-donating-todays-profits-to-transgender-law-center/\" target=\"_blank\" rel=\"noopener\">declared\u003c/a> that they will also donate percentages of their sales shares Friday to the Transgender Law Center; some of those companies and musicians have extended their donations in various ways (for example, to apply to all sales during the month of August). Participants include Car Seat Headrest, King Britt and Speedy Ortiz, as well as dozens of record labels including Sub Pop, Merge, ANTI-, Kill Rock Stars and Greenleaf.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bandcamp has emerged as one of the most important commercial conduits between musicians and fans. The site allows listeners to stream music and buy songs from independent artists and labels, with \u003ca href=\"https://www.nytimes.com/2016/08/20/arts/music/bandcamp-shopping-for-music.html\" target=\"_blank\" rel=\"noopener\">85 percent\u003c/a> of the profit going to the musicians. According to the company, fans have paid artists \u003ca href=\"https://bandcamp.com/about\" target=\"_blank\" rel=\"noopener\">$231 million\u003c/a> since the company’s launch in 2008. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bandcamp+Holds+Fundraiser+For+Transgender+Law+Center&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If Barney the Dinosaur also played all five members of Voltron, he would look something like Brigsby Bear, a man in a giant teddy bear suit who stomps around against an outer-space backdrop blinking his animatronic eyes and learning lessons. \u003cem>Brigsby Bear Adventures\u003c/em> has been on the air for some time, and the substance of those lessons has evolved from simple arithmetic to advanced scientific concepts, often accompanied by a telling refrain: “Curiosity is an unnatural emotion.”\u003c/p>\n\u003cp>Before we get curious, first a warning. It’s fitting that a film about the ways entertainment can damage our psychology would be super-spoilery. There’s a giant “twist” in \u003cem>Brigsby Bear\u003c/em> that occurs shortly after the film starts, one the marketing materials have smartly chosen not to reveal. And for those who haven’t had it told to them, it’s worth going into the film completely in the dark, much like its protagonist is at the beginning.\u003c/p>\n\u003cp>But a review that only talks about the first five minutes of a movie, and labels the rest off-limits, is just stunting its reader’s maturity. So consider this a word of warning: What follows will set you free.\u003c/p>\n\u003cp>https://youtu.be/InqSiQENDYY\u003c/p>\n\u003cp>We know about Brigsby only through his number-one fan, the gawky overgrown child James Pope (\u003cem>Saturday Night Live\u003c/em>‘s Kyle Mooney), who lives in an underground bunker with parents Ted and April (Mark Hamill and Jane Adams). James never leaves the bunker, because he’s been told there’s nothing outside but danger; instead, he watches new Brigsby videos in his room via the VHS tapes that have been arriving mysteriously, like clockwork, his entire life. They’re low-rent affairs, but he’s totally satisfied, having — like Jim Carrey’s Truman in \u003cem>The Truman Show \u003c/em>— never known any other world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then one night, as James sits on the upper deck admiring the vast desert expanse, he sees flashes of red and blue in the distance: cops, finally tracking him down after a decades-long search. James soon learns that Ted and April are children’s entertainers on the lam who kidnapped him from the hospital as a baby, and that his real parents are middle-class Utahns Greg and Louise (Matt Walsh and Michaela Watkins). But once he’s back at home, meeting his surly sister (Ryan Simpkins) and being introduced to things like basketball and psychiatrists and beer, all James wants to do is cuddle up back in Brigsby’s giant bear arms, safe in the cocoon of the show that had all the answers.\u003c/p>\n\u003cfigure id=\"attachment_13788686\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/1.jpg\" alt=\"Kyle Mooney as James in 'Brigsby Bear.'\" width=\"1100\" height=\"619\" class=\"size-full wp-image-13788686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney as James in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a problem, since Ted and April were the ones making the shows, and now that they’re in prison there’s no one left who understands James’s distinct, obsessive pain. When he discovers the existence of movies, he takes it upon himself to make a movie version of \u003cem>Brigsby\u003c/em>… you know, to finally wrap up all those dangling loose ends in the mythology. It’s a while before we realize whose mythology is truly at stake.\u003c/p>\n\u003cp>Since his \u003cem>SNL\u003c/em> debut in 2013, Mooney has been stealthily perfecting the character type of a sheltered child in a gawky man’s body (not to be confused with the ribald man-child preferred by \u003cem>SNL \u003c/em>alum Adam Sandler). In \u003cem>Brigsby\u003c/em>, which Mooney co-wrote with Kevin Costello, he’s found the big-little boy he was born to play. James hides his true delusions behind a wall of impishness so high that it takes a while for us to figure out just how deep the damage goes: Unlike Brie Larson in \u003cem>Room\u003c/em> or the many real-world kidnapping nightmares, he loved his life in the bunker and has no desire to join society. The film does have jokes, but Mooney, channeling the spirit of Peter Sellers, delivers them all without even the slightest hint that he knows he’s joking.\u003c/p>\n\u003cfigure id=\"attachment_13788925\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/2.jpg\" alt=\"Still from 'Brigsby Bear.'\" width=\"729\" height=\"306\" class=\"size-full wp-image-13788925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-520x218.jpg 520w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave McCary, Mooney’s childhood buddy and an \u003cem>SNL\u003c/em> director who formerly partnered with him in the sketch comedy group Good Neighbor, directs with considerably more cinematic flair than one is used to seeing in sketch-troupe movies. The early bunker scenes combine wood-paneled-basement chic with a futurist sheen, and the rest of the cast, though mostly comedy ringers, never gets outwardly jokey — Hamill, in particular, is terrifying for how naturally he creates his parental fantasy. It’s too bad the film’s second half, in which James enlists the whole town to help him make his weird little movie, gets overly earnest and bland. Suddenly we’re watching just another \u003cem>Lars and the Real Girl \u003c/em>Sundance special about a kid and his delusions, without the dark edge of earlier, inventive scenes that hint at brainwashing and the ways television can make the viewer complacent in their own prison. (One nice touch: There’s a Brigsby “online” fan board, made up only of James and several avatars played by Ted.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In truth, the existence of Brigsby himself opens up so many ideas that the fun comes in parsing through them after the movie ends. For example, did Ted and April create the show to entertain this kid they stole, or did they kidnap the kid to wean an audience on their ridiculously elaborate show? So maybe the film’s true genius is that it leaves us wanting the same thing James does: more time with Brigsby.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Barney the Dinosaur also played all five members of Voltron, he would look something like Brigsby Bear, a man in a giant teddy bear suit who stomps around against an outer-space backdrop blinking his animatronic eyes and learning lessons. \u003cem>Brigsby Bear Adventures\u003c/em> has been on the air for some time, and the substance of those lessons has evolved from simple arithmetic to advanced scientific concepts, often accompanied by a telling refrain: “Curiosity is an unnatural emotion.”\u003c/p>\n\u003cp>Before we get curious, first a warning. It’s fitting that a film about the ways entertainment can damage our psychology would be super-spoilery. There’s a giant “twist” in \u003cem>Brigsby Bear\u003c/em> that occurs shortly after the film starts, one the marketing materials have smartly chosen not to reveal. And for those who haven’t had it told to them, it’s worth going into the film completely in the dark, much like its protagonist is at the beginning.\u003c/p>\n\u003cp>But a review that only talks about the first five minutes of a movie, and labels the rest off-limits, is just stunting its reader’s maturity. So consider this a word of warning: What follows will set you free.\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/InqSiQENDYY'\n title='//www.youtube.com/embed/InqSiQENDYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We know about Brigsby only through his number-one fan, the gawky overgrown child James Pope (\u003cem>Saturday Night Live\u003c/em>‘s Kyle Mooney), who lives in an underground bunker with parents Ted and April (Mark Hamill and Jane Adams). James never leaves the bunker, because he’s been told there’s nothing outside but danger; instead, he watches new Brigsby videos in his room via the VHS tapes that have been arriving mysteriously, like clockwork, his entire life. They’re low-rent affairs, but he’s totally satisfied, having — like Jim Carrey’s Truman in \u003cem>The Truman Show \u003c/em>— never known any other world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then one night, as James sits on the upper deck admiring the vast desert expanse, he sees flashes of red and blue in the distance: cops, finally tracking him down after a decades-long search. James soon learns that Ted and April are children’s entertainers on the lam who kidnapped him from the hospital as a baby, and that his real parents are middle-class Utahns Greg and Louise (Matt Walsh and Michaela Watkins). But once he’s back at home, meeting his surly sister (Ryan Simpkins) and being introduced to things like basketball and psychiatrists and beer, all James wants to do is cuddle up back in Brigsby’s giant bear arms, safe in the cocoon of the show that had all the answers.\u003c/p>\n\u003cfigure id=\"attachment_13788686\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/1.jpg\" alt=\"Kyle Mooney as James in 'Brigsby Bear.'\" width=\"1100\" height=\"619\" class=\"size-full wp-image-13788686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney as James in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a problem, since Ted and April were the ones making the shows, and now that they’re in prison there’s no one left who understands James’s distinct, obsessive pain. When he discovers the existence of movies, he takes it upon himself to make a movie version of \u003cem>Brigsby\u003c/em>… you know, to finally wrap up all those dangling loose ends in the mythology. It’s a while before we realize whose mythology is truly at stake.\u003c/p>\n\u003cp>Since his \u003cem>SNL\u003c/em> debut in 2013, Mooney has been stealthily perfecting the character type of a sheltered child in a gawky man’s body (not to be confused with the ribald man-child preferred by \u003cem>SNL \u003c/em>alum Adam Sandler). In \u003cem>Brigsby\u003c/em>, which Mooney co-wrote with Kevin Costello, he’s found the big-little boy he was born to play. James hides his true delusions behind a wall of impishness so high that it takes a while for us to figure out just how deep the damage goes: Unlike Brie Larson in \u003cem>Room\u003c/em> or the many real-world kidnapping nightmares, he loved his life in the bunker and has no desire to join society. The film does have jokes, but Mooney, channeling the spirit of Peter Sellers, delivers them all without even the slightest hint that he knows he’s joking.\u003c/p>\n\u003cfigure id=\"attachment_13788925\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/2.jpg\" alt=\"Still from 'Brigsby Bear.'\" width=\"729\" height=\"306\" class=\"size-full wp-image-13788925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-520x218.jpg 520w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave McCary, Mooney’s childhood buddy and an \u003cem>SNL\u003c/em> director who formerly partnered with him in the sketch comedy group Good Neighbor, directs with considerably more cinematic flair than one is used to seeing in sketch-troupe movies. The early bunker scenes combine wood-paneled-basement chic with a futurist sheen, and the rest of the cast, though mostly comedy ringers, never gets outwardly jokey — Hamill, in particular, is terrifying for how naturally he creates his parental fantasy. It’s too bad the film’s second half, in which James enlists the whole town to help him make his weird little movie, gets overly earnest and bland. Suddenly we’re watching just another \u003cem>Lars and the Real Girl \u003c/em>Sundance special about a kid and his delusions, without the dark edge of earlier, inventive scenes that hint at brainwashing and the ways television can make the viewer complacent in their own prison. (One nice touch: There’s a Brigsby “online” fan board, made up only of James and several avatars played by Ted.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In truth, the existence of Brigsby himself opens up so many ideas that the fun comes in parsing through them after the movie ends. For example, did Ted and April create the show to entertain this kid they stole, or did they kidnap the kid to wean an audience on their ridiculously elaborate show? So maybe the film’s true genius is that it leaves us wanting the same thing James does: more time with Brigsby.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "LL Cool J to Become Kennedy Center's First Hip-Hop Honoree",
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"content": "\u003cp>Thirty years after becoming rap’s first sex symbol, LL Cool J will be the first hip-hop artist to receive Kennedy Center Honors in its 40-year history.\u003c/p>\n\u003cp>The rapper-turned-actor born James Todd Smith will be inducted with a prestigious 2017 class — including pop stars Gloria Estefan, Lionel Richie, television icon Norman Lear and choreographer Carmen de Lavallade – on Sunday, Dec. 3 at the Kennedy Center Opera House in Washington, D.C.\u003c/p>\n\u003cp>The honorees will be saluted by performers while seated alongside President Trump and First Lady Melania Trump.\u003c/p>\n\u003cp>While Kennedy Center Honors acknowledge the lifetime achievements of contributors to American culture, the list has traditionally been limited in scope. But the inclusion of LL, born James Todd Smith, in this year’s honoree list further expands the center’s growing embrace of hip-hop culture. Earlier this year the center appointed Simone Eccleston as its first director of Hip-Hop Culture after naming A Tribe Called Quest’s Q-Tip as artistic director of Hip-Hop Culture in 2016. Historic performances by Kendrick Lamar and Common have also underlined the center’s investment, and more programming for the 2017-18 season is expected to be announced in the coming months.\u003c/p>\n\u003cp>At 49, LL will become the Kennedy Center’s youngest honoree, too. It’s a long way from home for the St. Albans, Queens native who made his first record, “I Need A Beat,” at 16, after his demo tape made it to the ears of producer and Def Jam founder Rick Rubin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As rap’s first bona fide solo star, LL was larger than life in the ’80s, the first to embody the street-corner swagger and sex appeal that would become a blueprint for future hip-hop icons ranging from Big Daddy Kane to Biggie. Before an artist like Drake could legitimately mix hip-hop lyricism with R&B vulnerability, LL turned out the first hit rap ballad with 1987’s “I Need Love.” And the ladies loved him for it.\u003c/p>\n\u003cp>Best known today for his starring roles in TV and film, he received his star on the Hollywood Walk of Fame last year. But after a career spanning 30-plus years and 13 albums, he’s yet to leave rap alone — he’s rumored to be in the studio recording with Dr. Dre.\u003c/p>\n\u003cp>In his statement on the Kennedy Center honor, LL credits his grandmother — the same one who inspired his 1990 hit, “Mama Said Knock You Out” — for his success, while dedicating the award to the hip-hop pioneers who preceded and the generations who have since followed.\u003c/p>\n\u003cp>“My late grandmother passed some wise advice to me: ‘If a task is once begun, never leave it ’til it’s done. Be thy labor great or small, do it well or not at all.’ That adage has guided everything I have ever done in my life and I couldn’t be more grateful because it has led me here,” he says. “To be the first rap artist honored by the Kennedy Center is beyond anything I could have imagined. I dedicate this honor to the hip-hop artists who came before me and those who came after me. This simply proves that dreams don’t have deadlines. God is great.”\u003c/p>\n\u003cp>But it takes a teen-aged LL to truly put his pioneering achievements in perspective. When rap still in its infancy, LL was already positioning himself as its rising star.\u003c/p>\n\u003cp>“There hasn’t been a rap star yet, just rappers,” a 19-year-old LL stated in a 1987 for a Bill Adler-penned bio that appeared inside his Def Jam Tour ’87 concert program. “There’ll be a rap star when one of us is standing next to Michael Jackson at the Grammy’s getting just as many as he is\u003cstrong> \u003c/strong>… I want the Bob Hope house and the Benz and the Corvette and the pool. I want to throw balls to my dog in the pool.”\u003c/p>\n\u003cp>“And just remember this,” he added. “I don’t write rhymes to make money. I write from the heart.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 40th Annual Honors will air on CBS on Tuesday, December 26 at 9 p.m. ET.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=LL+Cool+J+To+Become+Kennedy+Center%27s+First+Hip-Hop+Honoree&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The rapper is part of an evolving appreciation of hip-hop for the Kennedy Center — and is also the youngest honoree in its history.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty years after becoming rap’s first sex symbol, LL Cool J will be the first hip-hop artist to receive Kennedy Center Honors in its 40-year history.\u003c/p>\n\u003cp>The rapper-turned-actor born James Todd Smith will be inducted with a prestigious 2017 class — including pop stars Gloria Estefan, Lionel Richie, television icon Norman Lear and choreographer Carmen de Lavallade – on Sunday, Dec. 3 at the Kennedy Center Opera House in Washington, D.C.\u003c/p>\n\u003cp>The honorees will be saluted by performers while seated alongside President Trump and First Lady Melania Trump.\u003c/p>\n\u003cp>While Kennedy Center Honors acknowledge the lifetime achievements of contributors to American culture, the list has traditionally been limited in scope. But the inclusion of LL, born James Todd Smith, in this year’s honoree list further expands the center’s growing embrace of hip-hop culture. Earlier this year the center appointed Simone Eccleston as its first director of Hip-Hop Culture after naming A Tribe Called Quest’s Q-Tip as artistic director of Hip-Hop Culture in 2016. Historic performances by Kendrick Lamar and Common have also underlined the center’s investment, and more programming for the 2017-18 season is expected to be announced in the coming months.\u003c/p>\n\u003cp>At 49, LL will become the Kennedy Center’s youngest honoree, too. It’s a long way from home for the St. Albans, Queens native who made his first record, “I Need A Beat,” at 16, after his demo tape made it to the ears of producer and Def Jam founder Rick Rubin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As rap’s first bona fide solo star, LL was larger than life in the ’80s, the first to embody the street-corner swagger and sex appeal that would become a blueprint for future hip-hop icons ranging from Big Daddy Kane to Biggie. Before an artist like Drake could legitimately mix hip-hop lyricism with R&B vulnerability, LL turned out the first hit rap ballad with 1987’s “I Need Love.” And the ladies loved him for it.\u003c/p>\n\u003cp>Best known today for his starring roles in TV and film, he received his star on the Hollywood Walk of Fame last year. But after a career spanning 30-plus years and 13 albums, he’s yet to leave rap alone — he’s rumored to be in the studio recording with Dr. Dre.\u003c/p>\n\u003cp>In his statement on the Kennedy Center honor, LL credits his grandmother — the same one who inspired his 1990 hit, “Mama Said Knock You Out” — for his success, while dedicating the award to the hip-hop pioneers who preceded and the generations who have since followed.\u003c/p>\n\u003cp>“My late grandmother passed some wise advice to me: ‘If a task is once begun, never leave it ’til it’s done. Be thy labor great or small, do it well or not at all.’ That adage has guided everything I have ever done in my life and I couldn’t be more grateful because it has led me here,” he says. “To be the first rap artist honored by the Kennedy Center is beyond anything I could have imagined. I dedicate this honor to the hip-hop artists who came before me and those who came after me. This simply proves that dreams don’t have deadlines. God is great.”\u003c/p>\n\u003cp>But it takes a teen-aged LL to truly put his pioneering achievements in perspective. When rap still in its infancy, LL was already positioning himself as its rising star.\u003c/p>\n\u003cp>“There hasn’t been a rap star yet, just rappers,” a 19-year-old LL stated in a 1987 for a Bill Adler-penned bio that appeared inside his Def Jam Tour ’87 concert program. “There’ll be a rap star when one of us is standing next to Michael Jackson at the Grammy’s getting just as many as he is\u003cstrong> \u003c/strong>… I want the Bob Hope house and the Benz and the Corvette and the pool. I want to throw balls to my dog in the pool.”\u003c/p>\n\u003cp>“And just remember this,” he added. “I don’t write rhymes to make money. I write from the heart.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 40th Annual Honors will air on CBS on Tuesday, December 26 at 9 p.m. ET.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=LL+Cool+J+To+Become+Kennedy+Center%27s+First+Hip-Hop+Honoree&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What We Saw at Newport Folk 2017",
"headTitle": "What We Saw at Newport Folk 2017 | KQED",
"content": "\u003cp>Moments of unexpected magic are the Newport Folk Festival’s calling card. The festival typically sells out well before its lineup is even announced — but the official lineup is more of a rough guideline, anyway, since the weekend is peppered every year with surprise performances and collaborations.\u003c/p>\n\u003cp>An unannounced slot at the smallest of Newport’s main stages turned out to belong to Nathaniel Rateliff and The Night Sweats, who played some new music with the Preservation Hall Jazz Band and finished out their set by parading, second-line style, through the enormous crowd that had assembled.\u003c/p>\n\u003cp>Hiss Golden Messenger’s M.C. Taylor assembled a few friends — including Justin Vernon, Phil Cook and Natalie Prass — to perform a tribute to Bill Withers’ music.\u003c/p>\n\u003cp>And master songwriter John Prine, who played Sunday evening’s last set, brought out Vernon, Rateliff, Jim James, Margo Price and Roger Waters, before a stageful of the weekend’s performers gathered to sing “Paradise.”\u003c/p>\n\u003cp>Newport’s most dedicated festivalgoers, affectionately known as the Folk, know to expect surprises like this; they’re what have made Newport Folk Festival one of the country’s most unique and beloved music festivals for almost 60 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR Music’s photographer Adam Kissick is ready for those surprises, too. He spent the weekend chasing them down, traversing the festival grounds at Fort Adams State Park many times over. (We asked him to check his step counter at the end of one day’s work: eight miles.) Below, find some of what we saw at this year’s festival. For some of what we heard, check back over the coming days as we continue to post audio from selected sets. \u003c/p>\n\u003cfigure id=\"attachment_13789409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg\" alt=\"The gates are open — no running!\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13789409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gates are open — no running! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg\" alt=\"Roger Waters and John Prine.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Waters and John Prine. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg\" alt=\"Nancy And Beth (and Shakey Graves, and Nick Offerman).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy And Beth (and Shakey Graves, and Nick Offerman). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg\" alt=\"Jim James and Preservation Hall Jazz Band.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13789424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-520x345.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim James and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg\" alt=\"Hurray For The Riff Raff.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hurray For The Riff Raff. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg\" alt=\"Angel Olsen\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angel Olsen \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg\" alt=\"High five!\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">High five! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg\" alt=\"L.A. Salami.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Salami. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg\" alt=\"The Avett Brothers\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg\" alt=\"Rhiannon Giddens\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rhiannon Giddens \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg\" alt=\"Chicano Batman\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg\" alt=\"Grandma's Hands (M.C. Taylor and friends).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grandma’s Hands (M.C. Taylor and friends). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg\" alt=\"Nathaniel Rateliff and Preservation Hall Jazz Band.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathaniel Rateliff and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Sharon Van Etten' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Sharon Van Etten \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg\" alt=\"Jalen N'Gonda\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jalen N’Gonda \u003ccite>(Jalen N'Gonda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg\" alt=\"Robert Ellis\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ellis \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg\" alt=\"Ben Gibbard\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Gibbard \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg\" alt=\"Mandolin Orange.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandolin Orange \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg\" alt=\"Wilco and Billy Bragg\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilco and Billy Bragg \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Margo Price and Zach Williams' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Margo Price and Zach Williams \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg\" alt=\"It was all a blur\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It was all a blur \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+We+Saw+At+Newport+Folk+2017&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Newport Folk Festival is not just a festival — it's an annualized community. Photographer Adam Kissick captured it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moments of unexpected magic are the Newport Folk Festival’s calling card. The festival typically sells out well before its lineup is even announced — but the official lineup is more of a rough guideline, anyway, since the weekend is peppered every year with surprise performances and collaborations.\u003c/p>\n\u003cp>An unannounced slot at the smallest of Newport’s main stages turned out to belong to Nathaniel Rateliff and The Night Sweats, who played some new music with the Preservation Hall Jazz Band and finished out their set by parading, second-line style, through the enormous crowd that had assembled.\u003c/p>\n\u003cp>Hiss Golden Messenger’s M.C. Taylor assembled a few friends — including Justin Vernon, Phil Cook and Natalie Prass — to perform a tribute to Bill Withers’ music.\u003c/p>\n\u003cp>And master songwriter John Prine, who played Sunday evening’s last set, brought out Vernon, Rateliff, Jim James, Margo Price and Roger Waters, before a stageful of the weekend’s performers gathered to sing “Paradise.”\u003c/p>\n\u003cp>Newport’s most dedicated festivalgoers, affectionately known as the Folk, know to expect surprises like this; they’re what have made Newport Folk Festival one of the country’s most unique and beloved music festivals for almost 60 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR Music’s photographer Adam Kissick is ready for those surprises, too. He spent the weekend chasing them down, traversing the festival grounds at Fort Adams State Park many times over. (We asked him to check his step counter at the end of one day’s work: eight miles.) Below, find some of what we saw at this year’s festival. For some of what we heard, check back over the coming days as we continue to post audio from selected sets. \u003c/p>\n\u003cfigure id=\"attachment_13789409\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg\" alt=\"The gates are open — no running!\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13789409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gates are open — no running! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789410\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg\" alt=\"Roger Waters and John Prine.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Waters and John Prine. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg\" alt=\"Nancy And Beth (and Shakey Graves, and Nick Offerman).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy And Beth (and Shakey Graves, and Nick Offerman). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789424\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg\" alt=\"Jim James and Preservation Hall Jazz Band.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13789424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-520x345.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim James and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789454\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg\" alt=\"Hurray For The Riff Raff.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hurray For The Riff Raff. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg\" alt=\"Angel Olsen\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angel Olsen \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789466\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg\" alt=\"High five!\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">High five! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789520\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg\" alt=\"L.A. Salami.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Salami. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789575\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg\" alt=\"The Avett Brothers\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789646\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg\" alt=\"Rhiannon Giddens\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rhiannon Giddens \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789649\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg\" alt=\"Chicano Batman\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg\" alt=\"Grandma's Hands (M.C. Taylor and friends).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grandma’s Hands (M.C. Taylor and friends). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789657\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg\" alt=\"Nathaniel Rateliff and Preservation Hall Jazz Band.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathaniel Rateliff and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789656\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Sharon Van Etten' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Sharon Van Etten \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789655\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg\" alt=\"Jalen N'Gonda\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jalen N’Gonda \u003ccite>(Jalen N'Gonda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789654\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg\" alt=\"Robert Ellis\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ellis \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789653\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg\" alt=\"Ben Gibbard\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Gibbard \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789652\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg\" alt=\"Mandolin Orange.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandolin Orange \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789651\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg\" alt=\"Wilco and Billy Bragg\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilco and Billy Bragg \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789650\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Margo Price and Zach Williams' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Margo Price and Zach Williams \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789666\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg\" alt=\"It was all a blur\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It was all a blur \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+We+Saw+At+Newport+Folk+2017&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Bill Calling for Transparency in Music is Surprisingly Opaque",
"headTitle": "New Bill Calling for Transparency in Music is Surprisingly Opaque | KQED",
"content": "\u003cp>It’s accurate, but not entirely helpful, when thinking about the business of music to imagine in your mind a tangled knot about the size of an elephant. The free ends, rope made up of different gauges and materials, trail out from its center, resembling an asterisk. Holding each is a representative from one of the industry’s many stakeholders — record labels and publishing companies, legislators and record store owners, tech companies and non-profit advocates. Oh, and artists too. With uneven strength, they all pull at all times, a never-ending game of tug of war with each other and with the knot, which grows ever tighter. Its circuity is, for some involved, not a bug but a feature — what’s called informational asymmetry. To others this density keeps them from a comprehensive understanding of their own business. If the knot were untied, many would benefit. Some others wouldn’t.\u003c/p>\n\u003cp>Recently, Republican congressman Jim Sensenbrenner of Wisconsin picked up an unattended end of this squiggle, unveiling his “Transparency in Music Licensing and Ownership Act.” Rep. Sensenbrenner’s \u003ca href=\"https://artistrightswatchdotcom.files.wordpress.com/2017/07/sensen_034_xml.pdf\" target=\"_blank\" rel=\"noopener\">new bill\u003c/a> is ambitious.\u003c/p>\n\u003cp>Sensenbrenner, who sits on the House Judiciary Committee — through which he has conducted (by his own account) 20 hearings on copyright reform — is calling for the establishment of a comprehensive database of compositions and recordings and those works’ owners and identification numbers. It’s a project that has been attempted at least once before, and which failed spectacularly due to the competing interests involved in its creation, as well as its significant cost, which no one has been inclined to shoulder. What’s more, this database will be free and public.\u003c/p>\n\u003cp>The lack of a central repository for this information has resulted in many legal and public-relations confrontations over the years, most recently two lawsuits \u003ca href=\"http://www.npr.org/sections/therecord/2017/07/21/538501163/spotify-sued-yet-again-over-compositions\" target=\"_blank\" rel=\"noopener\">against Spotify\u003c/a> that accuse it of failing to properly license the rights for and of failing to create a system that could intake those rights were it notified of them. (The company \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\" target=\"_blank\" rel=\"noopener\">settled\u003c/a> one class action suit over the same issue recently.) That word “central” is important — this information is out there, but diffused among its owners, some of whom consider this data a trade secret. Rep. Sensenbrenner’s bill would create the database Spotify failed to, at no cost to it.\u003c/p>\n\u003cp>The bill, which we’ll call the Music Transparency Act, was ostensibly written to help businesses like bars and restaurants have clarity on what they are allowed to play, by giving them a place to see which company controls which artist’s work. However, the availability of this information is not the same thing as the availability to \u003cem>license\u003c/em> this music. To do that — and so to legally play music in certain establishments — a license from a performance rights organization is required. The two leading performance rights organizations in the world are ASCAP and BMI, who jointly control the performance rights of some 90 percent of recorded music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because there is no off switch for music from ASCAP or from BMI on the radio, or on Pandora, or on Spotify, the problem of businesses having to license from \u003cem>all\u003c/em> of the performance rights organizations — because at any moment a song from any one of these organizations could pop up in a shuffle — would still be required.\u003c/p>\n\u003cp>So what does the Music Transparency Act hope to accomplish? In addition to creating this public database, to be administered by the Copyright Office, the bill also places the responsibility of its data collection on songwriters and music publishers, the companies which help manage the business of song compositions for songwriters. (Compositions are not recordings, but the music \u003cem>underneath\u003c/em> those recordings.) If they don’t register appropriately, then the legal recourse they have against people who use their work without permission — like Spotify is accused of doing in those two lawsuits — is curtailed.\u003c/p>\n\u003cp>“It’s basically a prophylactic for copyright infringement,” says Lisa Alter, an attorney who has worked on music copyright on behalf of artists for more than two decades, over the phone with NPR. “It puts the whole burden on the creators … It’s very cloak and dagger.” Alter also was curious as to who would bankroll such a massive technological project — when asked about its funding, a spokesperson for Rep. Sensenbrenner emailed that registrants would pay to file with the Copyright Office in order to finance it.\u003c/p>\n\u003cp>If this all sounds intractable, that’s because it kind of is. Remember our elephantine knot? Opinions around the merits of Rep. Sensenbrenner’s bill seem to break down along a fissure between people who create music and those who want to use it.\u003c/p>\n\u003cp>The MIC Coalition, a lobbying group that represents businesses who use music, \u003ca href=\"http://mic-coalition.org/news-posts/transparency-music-licensing-ownership-act-promotes-vibrant-music-licensing-marketplace/\" target=\"_blank\" rel=\"noopener\">voiced\u003c/a> its “enthusiastic” support of the bill the same day Rep. Sensenbrenner \u003ca href=\"https://sensenbrenner.house.gov/press-releases-statements?ID=F3B8D172-50CA-4F24-A2ED-159A55BD79EE\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it. \u003cem>[Disclosure: NPR was an early member of the MIC Coalition, \u003c/em>\u003ca href=\"http://www.billboard.com/articles/business/6633536/npr-follows-amazon-in-withdrawing-from-mic-coalition\" target=\"_blank\" rel=\"noopener\">\u003cem>before exiting\u003c/em>\u003c/a>\u003cem> about six months after its formation.]\u003c/em>\u003c/p>\n\u003cp>“A common-sense solution to a systemic problem in the music industry,” Spotify’s general counsel \u003ca href=\"https://twitter.com/horaciog/status/888472599633707008\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> the following day.\u003c/p>\n\u003cp>“Utter bulls***,” \u003ca href=\"https://thetrichordist.com/2017/07/30/heres-how-you-know-mic-coalition-shiv-act-is-about-screwing-songwriters-not-transparency/amp/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> David Lowery, a songwriter who regularly criticizes technology companies’ treatment of songwriters.\u003c/p>\n\u003cp>“I don’t believe it is burdensome on creators and rights holders,” Sasha Moss, technology policy manager with R Street, a Washington think tank that promotes “free markets and limited, effective government,” wrote in an email to NPR.\u003c/p>\n\u003cp>“We’re supportive of more transparency generally, but the devil’s in the details,” Kevin Erickson, national organizing director of the Future of Music Coalition, a Washington-based organization that works on artist pay and industry transparency, told NPR. “This bill leaves us with too many questions to be able to endorse at this time.”\u003c/p>\n\u003cp>The National Association of Broadcasters, which lobbies on behalf of radio stations and television broadcasters, is “in the yes column” on the bill, said Dennis Wharton, the group’s spokesperson.\u003c/p>\n\u003cp>Not to be outdone, ASCAP and BMI announced last week that, after decades of competition, they would be combining their separate databases, a first step to creating the same thing Rep. Sensenbrenner’s bill calls for. (ASCAP and BMI’s announcement was, it would appear, pushed up after Rep. Sensenbrenner revealed his bill — the pair state the project has been in the works for a year and won’t be available for use until the end of 2018.)\u003c/p>\n\u003cp>“I’ve seen efforts like this around the world fail time and time again,” Mike O’Neill, president and CEO of BMI, tells NPR, referring to Rep. Sensenbrenner’s proposal, “because they try to get to the finished product from day one, instead of a solution that would \u003cem>lead\u003c/em> to a finished product.”\u003c/p>\n\u003cp>Sensenbrenner responded quickly to ASCAP and BMI’s announcement, writing in \u003ca href=\"https://sensenbrenner.house.gov/2017/7/pros-introduce-incomplete-music-database-to-combat-sensenbrenner-bill\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> that the pair are “grasping at straws; trying to maintain power over a failing process that only serves their interests, not those of the American consumer.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And so the knot tightens. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Bill+Calling+For+Transparency+In+Music+Is+Surprisingly+Opaque&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s accurate, but not entirely helpful, when thinking about the business of music to imagine in your mind a tangled knot about the size of an elephant. The free ends, rope made up of different gauges and materials, trail out from its center, resembling an asterisk. Holding each is a representative from one of the industry’s many stakeholders — record labels and publishing companies, legislators and record store owners, tech companies and non-profit advocates. Oh, and artists too. With uneven strength, they all pull at all times, a never-ending game of tug of war with each other and with the knot, which grows ever tighter. Its circuity is, for some involved, not a bug but a feature — what’s called informational asymmetry. To others this density keeps them from a comprehensive understanding of their own business. If the knot were untied, many would benefit. Some others wouldn’t.\u003c/p>\n\u003cp>Recently, Republican congressman Jim Sensenbrenner of Wisconsin picked up an unattended end of this squiggle, unveiling his “Transparency in Music Licensing and Ownership Act.” Rep. Sensenbrenner’s \u003ca href=\"https://artistrightswatchdotcom.files.wordpress.com/2017/07/sensen_034_xml.pdf\" target=\"_blank\" rel=\"noopener\">new bill\u003c/a> is ambitious.\u003c/p>\n\u003cp>Sensenbrenner, who sits on the House Judiciary Committee — through which he has conducted (by his own account) 20 hearings on copyright reform — is calling for the establishment of a comprehensive database of compositions and recordings and those works’ owners and identification numbers. It’s a project that has been attempted at least once before, and which failed spectacularly due to the competing interests involved in its creation, as well as its significant cost, which no one has been inclined to shoulder. What’s more, this database will be free and public.\u003c/p>\n\u003cp>The lack of a central repository for this information has resulted in many legal and public-relations confrontations over the years, most recently two lawsuits \u003ca href=\"http://www.npr.org/sections/therecord/2017/07/21/538501163/spotify-sued-yet-again-over-compositions\" target=\"_blank\" rel=\"noopener\">against Spotify\u003c/a> that accuse it of failing to properly license the rights for and of failing to create a system that could intake those rights were it notified of them. (The company \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\" target=\"_blank\" rel=\"noopener\">settled\u003c/a> one class action suit over the same issue recently.) That word “central” is important — this information is out there, but diffused among its owners, some of whom consider this data a trade secret. Rep. Sensenbrenner’s bill would create the database Spotify failed to, at no cost to it.\u003c/p>\n\u003cp>The bill, which we’ll call the Music Transparency Act, was ostensibly written to help businesses like bars and restaurants have clarity on what they are allowed to play, by giving them a place to see which company controls which artist’s work. However, the availability of this information is not the same thing as the availability to \u003cem>license\u003c/em> this music. To do that — and so to legally play music in certain establishments — a license from a performance rights organization is required. The two leading performance rights organizations in the world are ASCAP and BMI, who jointly control the performance rights of some 90 percent of recorded music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because there is no off switch for music from ASCAP or from BMI on the radio, or on Pandora, or on Spotify, the problem of businesses having to license from \u003cem>all\u003c/em> of the performance rights organizations — because at any moment a song from any one of these organizations could pop up in a shuffle — would still be required.\u003c/p>\n\u003cp>So what does the Music Transparency Act hope to accomplish? In addition to creating this public database, to be administered by the Copyright Office, the bill also places the responsibility of its data collection on songwriters and music publishers, the companies which help manage the business of song compositions for songwriters. (Compositions are not recordings, but the music \u003cem>underneath\u003c/em> those recordings.) If they don’t register appropriately, then the legal recourse they have against people who use their work without permission — like Spotify is accused of doing in those two lawsuits — is curtailed.\u003c/p>\n\u003cp>“It’s basically a prophylactic for copyright infringement,” says Lisa Alter, an attorney who has worked on music copyright on behalf of artists for more than two decades, over the phone with NPR. “It puts the whole burden on the creators … It’s very cloak and dagger.” Alter also was curious as to who would bankroll such a massive technological project — when asked about its funding, a spokesperson for Rep. Sensenbrenner emailed that registrants would pay to file with the Copyright Office in order to finance it.\u003c/p>\n\u003cp>If this all sounds intractable, that’s because it kind of is. Remember our elephantine knot? Opinions around the merits of Rep. Sensenbrenner’s bill seem to break down along a fissure between people who create music and those who want to use it.\u003c/p>\n\u003cp>The MIC Coalition, a lobbying group that represents businesses who use music, \u003ca href=\"http://mic-coalition.org/news-posts/transparency-music-licensing-ownership-act-promotes-vibrant-music-licensing-marketplace/\" target=\"_blank\" rel=\"noopener\">voiced\u003c/a> its “enthusiastic” support of the bill the same day Rep. Sensenbrenner \u003ca href=\"https://sensenbrenner.house.gov/press-releases-statements?ID=F3B8D172-50CA-4F24-A2ED-159A55BD79EE\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it. \u003cem>[Disclosure: NPR was an early member of the MIC Coalition, \u003c/em>\u003ca href=\"http://www.billboard.com/articles/business/6633536/npr-follows-amazon-in-withdrawing-from-mic-coalition\" target=\"_blank\" rel=\"noopener\">\u003cem>before exiting\u003c/em>\u003c/a>\u003cem> about six months after its formation.]\u003c/em>\u003c/p>\n\u003cp>“A common-sense solution to a systemic problem in the music industry,” Spotify’s general counsel \u003ca href=\"https://twitter.com/horaciog/status/888472599633707008\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> the following day.\u003c/p>\n\u003cp>“Utter bulls***,” \u003ca href=\"https://thetrichordist.com/2017/07/30/heres-how-you-know-mic-coalition-shiv-act-is-about-screwing-songwriters-not-transparency/amp/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> David Lowery, a songwriter who regularly criticizes technology companies’ treatment of songwriters.\u003c/p>\n\u003cp>“I don’t believe it is burdensome on creators and rights holders,” Sasha Moss, technology policy manager with R Street, a Washington think tank that promotes “free markets and limited, effective government,” wrote in an email to NPR.\u003c/p>\n\u003cp>“We’re supportive of more transparency generally, but the devil’s in the details,” Kevin Erickson, national organizing director of the Future of Music Coalition, a Washington-based organization that works on artist pay and industry transparency, told NPR. “This bill leaves us with too many questions to be able to endorse at this time.”\u003c/p>\n\u003cp>The National Association of Broadcasters, which lobbies on behalf of radio stations and television broadcasters, is “in the yes column” on the bill, said Dennis Wharton, the group’s spokesperson.\u003c/p>\n\u003cp>Not to be outdone, ASCAP and BMI announced last week that, after decades of competition, they would be combining their separate databases, a first step to creating the same thing Rep. Sensenbrenner’s bill calls for. (ASCAP and BMI’s announcement was, it would appear, pushed up after Rep. Sensenbrenner revealed his bill — the pair state the project has been in the works for a year and won’t be available for use until the end of 2018.)\u003c/p>\n\u003cp>“I’ve seen efforts like this around the world fail time and time again,” Mike O’Neill, president and CEO of BMI, tells NPR, referring to Rep. Sensenbrenner’s proposal, “because they try to get to the finished product from day one, instead of a solution that would \u003cem>lead\u003c/em> to a finished product.”\u003c/p>\n\u003cp>Sensenbrenner responded quickly to ASCAP and BMI’s announcement, writing in \u003ca href=\"https://sensenbrenner.house.gov/2017/7/pros-introduce-incomplete-music-database-to-combat-sensenbrenner-bill\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> that the pair are “grasping at straws; trying to maintain power over a failing process that only serves their interests, not those of the American consumer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And so the knot tightens. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Bill+Calling+For+Transparency+In+Music+Is+Surprisingly+Opaque&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sam Shepard, 'Poet Laureate Of America's Emotional Badlands,' Dies at 73",
"headTitle": "Sam Shepard, ‘Poet Laureate Of America’s Emotional Badlands,’ Dies at 73 | KQED",
"content": "\u003cp>\u003cstrong>Updated at 1:34 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For more than half a century, playwright Sam Shepard stood as a towering presence in American theater and cinema, penning dozens of plays and earning an Oscar nomination as an actor in his own right. Delving deeply into the complicated, often bleak nature of family life, the Pulitzer Prize winner earned the title — \u003ca href=\"https://books.google.com/books?id=Af7PDAAAQBAJ&pg=PT21&lpg=PT21&dq=%22jack+kroll%22+%22poet+laureate+of+America%27s+emotional+badlands%22&source=bl&ots=fARoHxMmPd&sig=jv8zszWvsm10C-Aj-b_vVP6lWlI&hl=en&sa=X&ved=0ahUKEwiXxeKW77PVAhXHOT4KHW7kB6EQ6AEIKDAA#v=onepage&q=%22jack%20kroll%22%20%22poet%20laureate%20of%20America's%20emotional%20badlands%22&f=false\" target=\"_blank\" rel=\"noopener\">in drama critic Jack Kroll’s words\u003c/a> — of “poet laureate of America’s emotional badlands.”\u003c/p>\n\u003cp>That influential “poet laureate” — who was not only a playwright, but an actor and director too — died Thursday at 73 of complications from Lou Gehrig’s disease, also called called amyotrophic lateral sclerosis. A family representative said he died at his home in Kentucky.\u003c/p>\n\u003cp>“The family requests privacy at this difficult time,” spokesman Chris Boneau said Monday.\u003c/p>\n\u003cp>Born Samuel Shepard Rogers in Illinois, the playwright spent much of his youth moving from place to place with his family, eventually attending high school just east of LA in Duarte, Calif. And by the time he opened his career in his early 20s with a string of one-act plays, the mythology of the fading West had firmly taken hold in him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003ca href=\"http://www.nytimes.com/1984/01/29/theater/myths-dreams-realities-sam-shepard-s-america.html\" target=\"_blank\" rel=\"noopener\">he told The New York Times\u003c/a> in 1983, he was fascinated by the ebb tide of a myth — and how people seek to replace it with others.\u003c/p>\n\u003cp>“People are starved for the truth,” he told the \u003cem>Times\u003c/em>, “and when something comes along that even looks like the truth, people will latch on to it because everything’s so false. People are starved for a way of life — they’re hunting for a way to be or to act toward the world.”\u003c/p>\n\u003cp>In his early works and throughout his career, as he was helping trailblaze a space for playwrights off-Broadway and attracting a cult following of his own, Shepard continued to return to the West — and to another space where nostalgia often runs aground on reality: the family.\u003c/p>\n\u003cp>These muddled, sometimes dangerous familial ties served as the centerpiece of Shepard’s Pulitzer Prize-winning play, 1979’s \u003cem>Buried Child\u003c/em>. He would also go on to earn Pulitzer nominations for 1981’s \u003cem>True West\u003c/em> and 1983’s \u003cem>Fool for Love\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/NationalTheatre/status/892060996369567745\u003c/p>\n\u003cp>It was in 1983 that Shepard also took a star turn on the big screen, playing the test pilot Chuck Yeager in the film \u003cem>The Right Stuff\u003c/em>. That role would earn him an \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1984\" target=\"_blank\" rel=\"noopener\">Oscar nomination for best supporting actor\u003c/a> the next year.\u003c/p>\n\u003cp>Shepard continued to play roles in front of the camera, even as he wrote for the stage. In fact, his most recent role was in the Netflix series \u003cem>Bloodline\u003c/em>, the final season of which was released earlier this year.\u003c/p>\n\u003cp>https://twitter.com/BeauWillimon/status/892033403196932098\u003c/p>\n\u003cp>In these performances on-screen, as in so many of his plays, the writer and actor said he often looked inward to find the complexities of the people he portrayed.\u003c/p>\n\u003cp>“It’s very difficult to escape your background. You know, I don’t think it’s necessary to even try to escape it,” Shepard told \u003cem>Fresh Air\u003c/em> in 1998. “More and more, I start to think that it’s necessary to see exactly what it is that you inherited on both ends of the stick: your timidity, your courage, your self-deceit, and your honesty — and all the rest of it.”\u003c/p>\n\u003cp>Shepard added: “It’s necessary to include all of that in order to be able to accept oneself.” \u003c/p>\n\u003cp>\u003ci>Watch Sam Shepard play drums with the Holy Modal Rounders on Rowan & Martin’s ‘Laugh-In’ in 1968:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xvX9yPZvFgQ\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sam+Shepard%2C+%27Poet+Laureate+Of+America%27s+Emotional+Badlands%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:34 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For more than half a century, playwright Sam Shepard stood as a towering presence in American theater and cinema, penning dozens of plays and earning an Oscar nomination as an actor in his own right. Delving deeply into the complicated, often bleak nature of family life, the Pulitzer Prize winner earned the title — \u003ca href=\"https://books.google.com/books?id=Af7PDAAAQBAJ&pg=PT21&lpg=PT21&dq=%22jack+kroll%22+%22poet+laureate+of+America%27s+emotional+badlands%22&source=bl&ots=fARoHxMmPd&sig=jv8zszWvsm10C-Aj-b_vVP6lWlI&hl=en&sa=X&ved=0ahUKEwiXxeKW77PVAhXHOT4KHW7kB6EQ6AEIKDAA#v=onepage&q=%22jack%20kroll%22%20%22poet%20laureate%20of%20America's%20emotional%20badlands%22&f=false\" target=\"_blank\" rel=\"noopener\">in drama critic Jack Kroll’s words\u003c/a> — of “poet laureate of America’s emotional badlands.”\u003c/p>\n\u003cp>That influential “poet laureate” — who was not only a playwright, but an actor and director too — died Thursday at 73 of complications from Lou Gehrig’s disease, also called called amyotrophic lateral sclerosis. A family representative said he died at his home in Kentucky.\u003c/p>\n\u003cp>“The family requests privacy at this difficult time,” spokesman Chris Boneau said Monday.\u003c/p>\n\u003cp>Born Samuel Shepard Rogers in Illinois, the playwright spent much of his youth moving from place to place with his family, eventually attending high school just east of LA in Duarte, Calif. And by the time he opened his career in his early 20s with a string of one-act plays, the mythology of the fading West had firmly taken hold in him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"http://www.nytimes.com/1984/01/29/theater/myths-dreams-realities-sam-shepard-s-america.html\" target=\"_blank\" rel=\"noopener\">he told The New York Times\u003c/a> in 1983, he was fascinated by the ebb tide of a myth — and how people seek to replace it with others.\u003c/p>\n\u003cp>“People are starved for the truth,” he told the \u003cem>Times\u003c/em>, “and when something comes along that even looks like the truth, people will latch on to it because everything’s so false. People are starved for a way of life — they’re hunting for a way to be or to act toward the world.”\u003c/p>\n\u003cp>In his early works and throughout his career, as he was helping trailblaze a space for playwrights off-Broadway and attracting a cult following of his own, Shepard continued to return to the West — and to another space where nostalgia often runs aground on reality: the family.\u003c/p>\n\u003cp>These muddled, sometimes dangerous familial ties served as the centerpiece of Shepard’s Pulitzer Prize-winning play, 1979’s \u003cem>Buried Child\u003c/em>. He would also go on to earn Pulitzer nominations for 1981’s \u003cem>True West\u003c/em> and 1983’s \u003cem>Fool for Love\u003c/em>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It was in 1983 that Shepard also took a star turn on the big screen, playing the test pilot Chuck Yeager in the film \u003cem>The Right Stuff\u003c/em>. That role would earn him an \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1984\" target=\"_blank\" rel=\"noopener\">Oscar nomination for best supporting actor\u003c/a> the next year.\u003c/p>\n\u003cp>Shepard continued to play roles in front of the camera, even as he wrote for the stage. In fact, his most recent role was in the Netflix series \u003cem>Bloodline\u003c/em>, the final season of which was released earlier this year.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In these performances on-screen, as in so many of his plays, the writer and actor said he often looked inward to find the complexities of the people he portrayed.\u003c/p>\n\u003cp>“It’s very difficult to escape your background. You know, I don’t think it’s necessary to even try to escape it,” Shepard told \u003cem>Fresh Air\u003c/em> in 1998. “More and more, I start to think that it’s necessary to see exactly what it is that you inherited on both ends of the stick: your timidity, your courage, your self-deceit, and your honesty — and all the rest of it.”\u003c/p>\n\u003cp>Shepard added: “It’s necessary to include all of that in order to be able to accept oneself.” \u003c/p>\n\u003cp>\u003ci>Watch Sam Shepard play drums with the Holy Modal Rounders on Rowan & Martin’s ‘Laugh-In’ in 1968:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xvX9yPZvFgQ'\n title='//www.youtube.com/embed/xvX9yPZvFgQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sam+Shepard%2C+%27Poet+Laureate+Of+America%27s+Emotional+Badlands%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For an entire generation of writers, Michiko Kakutani acted at times as intrepid champion, hated villain or helping hand. But from her perch as chief book critic at \u003cem>The New York Times\u003c/em>, the Pulitzer Prize winner rarely left one thing in doubt: her vast influence over the literary world she assessed.\u003c/p>\n\u003cp>On Thursday, after 38 years, Kakutani announced she is stepping down.\u003c/p>\n\u003cp>“It is with profound gratitude for her tremendous service to readers of The Times and readers of books everywhere that we take a moment to recognize her remarkable contributions over the past four decades,” editors Pamela Paul and Parul Sehgal \u003ca href=\"http://www.nytco.com/michiko-kakutani-steps-down-as-chief-book-critic-parul-sehgal-named-book-critic/\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a> Thursday.\u003c/p>\n\u003cp>“She has been one of our signature writers,” \u003cem>Times\u003c/em> Executive Editor Dean Baquet \u003ca href=\"https://twitter.com/xanalter/status/890619590660595713\" target=\"_blank\" rel=\"noopener\">said in a note\u003c/a> to the paper’s staff. “It is hard to imagine the story of the modern New York Times without a hefty chapter bearing her name.”\u003c/p>\n\u003cp>https://twitter.com/xanalter/status/890619590660595713\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Name a marquee author of the past several decades, and it’s just about certain that leading light was subjected to Kakutani’s scrutiny, along with hundreds of others. And a big name was far from a guarantor of a favorable review.\u003c/p>\n\u003cp>She was there to celebrate Nobel laureate Toni Morrison’s \u003cem>Beloved\u003c/em> as \u003ca href=\"http://www.nytimes.com/1987/09/02/books/books-of-the-times-788887.html\" target=\"_blank\" rel=\"noopener\">“dazzling”\u003c/a> — and to deride Morrison’s later work, \u003cem>Love\u003c/em>, as \u003ca href=\"http://www.nytimes.com/2003/10/31/books/books-of-the-times-family-secrets-feuding-women.html\" target=\"_blank\" rel=\"noopener\">“haphazard.”\u003c/a> She was as prepared to label Don Delillo’s \u003cem>Cosmopolis\u003c/em> \u003ca href=\"http://www.nytimes.com/2003/03/24/books/books-of-the-times-headed-toward-a-crash-of-sorts-in-a-stretch-limo.html\" target=\"_blank\" rel=\"noopener\">“a major dud”\u003c/a> as she was to laud his \u003cem>Underworld\u003c/em> as \u003ca href=\"http://www.nytimes.com/1997/09/16/books/books-of-the-times-of-america-as-a-splendid-junk-heap.html\" target=\"_blank\" rel=\"noopener\">“a dazzling, phosphorescent work of art.”\u003c/a>\u003c/p>\n\u003cp>It is perhaps this inclination toward mercilessness that earned Kakutani a fair share of critics in her own right — including \u003ca href=\"http://www.thecrimson.com/article.aspx?ref=523349\" target=\"_blank\" rel=\"noopener\">Jonathan Franzen\u003c/a> and Nicholson Baker, who said reading her reviews of his books was “like having my liver taken out without anaesthesia.”\u003c/p>\n\u003cp>“Bless her heart, she has reviewed seven of my books and I think she may have liked two and a half of them,” Baker \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1536561\" target=\"_blank\" rel=\"noopener\">told NPR in 2003\u003c/a>. “You know, so she always gives me a bad review, and she just doesn’t like my kind of writing.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/07/michiko-kakutani-retires/535113/\" target=\"_blank\" rel=\"noopener\">The Atlantic notes\u003c/a> that along with this bitterness often came respect:\u003c/p>\n\u003cblockquote>\n\u003cp>“And yet Kakutani, operating within a book culture that can sometimes bend toward hagiography and enthusiasm and smarm, has also distinguished herself by embracing ‘criticism’ in every sense of the word. She has been sharp, but she was never cruel. She has been on the side of the reader, always. If a book was a ‘lumpy hodgepodge,’ she has said that it was a lumpy hodgepodge—even if the creator of the mess happened to have been Margaret Atwood.\u003c/p>\n\u003cp>“And this in turn meant that, when Michiko Kakutani liked a book, the liking itself was a very, very big deal. Her criticism helped to make the careers of David Foster Wallace, and Zadie Smith, and George Saunders, and Mary Karr. And it helped to make her byline itself into a literary destination of its own. When Kakutani won the Pulitzer Prize in 1998, the judging committee cited not only her ‘fearless and authoritative’ journalism, but also the fact that her work had become ‘destination programming’ for people in the book world, such as it is, and beyond.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“It was like having the good fairy touch you on the shoulder with her wand,” Karr said of \u003ca href=\"http://www.nytimes.com/1995/05/26/books/books-of-the-times-they-re-liars-and-that-s-just-the-least-of-their-problems.html\" target=\"_blank\" rel=\"noopener\">the glowing review\u003c/a> she got from Kakutani. The review “was mostly about what a genius I was,” Karr laughed, “so yeah, she’s my best friend.”\u003c/p>\n\u003cp>Kakutani said Thursday she may be leaving criticism, but she will not be leaving writing. “Moving on to focus on longer pieces about politics & culture,” \u003ca href=\"https://twitter.com/michikokakutani/status/890632785572114432\" target=\"_blank\" rel=\"noopener\">she tweeted\u003c/a>, “though i will always love & write about books.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a commemoration of her career in criticism, the \u003cem>Times\u003c/em> compiled a \u003ca href=\"https://www.nytimes.com/2017/07/27/books/38-years-on-books-the-essential-michiko-kakutani-reader.html\" target=\"_blank\" rel=\"noopener\">highlight reel of her works here\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michiko+Kakutani%2C+Chief+%27Times%27+Book+Critic%2C+Steps+Down+After+Nearly+4+Decades&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For an entire generation of writers, Michiko Kakutani acted at times as intrepid champion, hated villain or helping hand. But from her perch as chief book critic at \u003cem>The New York Times\u003c/em>, the Pulitzer Prize winner rarely left one thing in doubt: her vast influence over the literary world she assessed.\u003c/p>\n\u003cp>On Thursday, after 38 years, Kakutani announced she is stepping down.\u003c/p>\n\u003cp>“It is with profound gratitude for her tremendous service to readers of The Times and readers of books everywhere that we take a moment to recognize her remarkable contributions over the past four decades,” editors Pamela Paul and Parul Sehgal \u003ca href=\"http://www.nytco.com/michiko-kakutani-steps-down-as-chief-book-critic-parul-sehgal-named-book-critic/\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a> Thursday.\u003c/p>\n\u003cp>“She has been one of our signature writers,” \u003cem>Times\u003c/em> Executive Editor Dean Baquet \u003ca href=\"https://twitter.com/xanalter/status/890619590660595713\" target=\"_blank\" rel=\"noopener\">said in a note\u003c/a> to the paper’s staff. “It is hard to imagine the story of the modern New York Times without a hefty chapter bearing her name.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Name a marquee author of the past several decades, and it’s just about certain that leading light was subjected to Kakutani’s scrutiny, along with hundreds of others. And a big name was far from a guarantor of a favorable review.\u003c/p>\n\u003cp>She was there to celebrate Nobel laureate Toni Morrison’s \u003cem>Beloved\u003c/em> as \u003ca href=\"http://www.nytimes.com/1987/09/02/books/books-of-the-times-788887.html\" target=\"_blank\" rel=\"noopener\">“dazzling”\u003c/a> — and to deride Morrison’s later work, \u003cem>Love\u003c/em>, as \u003ca href=\"http://www.nytimes.com/2003/10/31/books/books-of-the-times-family-secrets-feuding-women.html\" target=\"_blank\" rel=\"noopener\">“haphazard.”\u003c/a> She was as prepared to label Don Delillo’s \u003cem>Cosmopolis\u003c/em> \u003ca href=\"http://www.nytimes.com/2003/03/24/books/books-of-the-times-headed-toward-a-crash-of-sorts-in-a-stretch-limo.html\" target=\"_blank\" rel=\"noopener\">“a major dud”\u003c/a> as she was to laud his \u003cem>Underworld\u003c/em> as \u003ca href=\"http://www.nytimes.com/1997/09/16/books/books-of-the-times-of-america-as-a-splendid-junk-heap.html\" target=\"_blank\" rel=\"noopener\">“a dazzling, phosphorescent work of art.”\u003c/a>\u003c/p>\n\u003cp>It is perhaps this inclination toward mercilessness that earned Kakutani a fair share of critics in her own right — including \u003ca href=\"http://www.thecrimson.com/article.aspx?ref=523349\" target=\"_blank\" rel=\"noopener\">Jonathan Franzen\u003c/a> and Nicholson Baker, who said reading her reviews of his books was “like having my liver taken out without anaesthesia.”\u003c/p>\n\u003cp>“Bless her heart, she has reviewed seven of my books and I think she may have liked two and a half of them,” Baker \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1536561\" target=\"_blank\" rel=\"noopener\">told NPR in 2003\u003c/a>. “You know, so she always gives me a bad review, and she just doesn’t like my kind of writing.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/07/michiko-kakutani-retires/535113/\" target=\"_blank\" rel=\"noopener\">The Atlantic notes\u003c/a> that along with this bitterness often came respect:\u003c/p>\n\u003cblockquote>\n\u003cp>“And yet Kakutani, operating within a book culture that can sometimes bend toward hagiography and enthusiasm and smarm, has also distinguished herself by embracing ‘criticism’ in every sense of the word. She has been sharp, but she was never cruel. She has been on the side of the reader, always. If a book was a ‘lumpy hodgepodge,’ she has said that it was a lumpy hodgepodge—even if the creator of the mess happened to have been Margaret Atwood.\u003c/p>\n\u003cp>“And this in turn meant that, when Michiko Kakutani liked a book, the liking itself was a very, very big deal. Her criticism helped to make the careers of David Foster Wallace, and Zadie Smith, and George Saunders, and Mary Karr. And it helped to make her byline itself into a literary destination of its own. When Kakutani won the Pulitzer Prize in 1998, the judging committee cited not only her ‘fearless and authoritative’ journalism, but also the fact that her work had become ‘destination programming’ for people in the book world, such as it is, and beyond.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“It was like having the good fairy touch you on the shoulder with her wand,” Karr said of \u003ca href=\"http://www.nytimes.com/1995/05/26/books/books-of-the-times-they-re-liars-and-that-s-just-the-least-of-their-problems.html\" target=\"_blank\" rel=\"noopener\">the glowing review\u003c/a> she got from Kakutani. The review “was mostly about what a genius I was,” Karr laughed, “so yeah, she’s my best friend.”\u003c/p>\n\u003cp>Kakutani said Thursday she may be leaving criticism, but she will not be leaving writing. “Moving on to focus on longer pieces about politics & culture,” \u003ca href=\"https://twitter.com/michikokakutani/status/890632785572114432\" target=\"_blank\" rel=\"noopener\">she tweeted\u003c/a>, “though i will always love & write about books.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a commemoration of her career in criticism, the \u003cem>Times\u003c/em> compiled a \u003ca href=\"https://www.nytimes.com/2017/07/27/books/38-years-on-books-the-essential-michiko-kakutani-reader.html\" target=\"_blank\" rel=\"noopener\">highlight reel of her works here\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michiko+Kakutani%2C+Chief+%27Times%27+Book+Critic%2C+Steps+Down+After+Nearly+4+Decades&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
"source": "npr"
},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
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"id": "fresh-air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
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