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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\" target=\"_blank\" rel=\"noopener\">“Weird Al” Yankovic\u003c/a> has been the king of parody for 30 years, outlasting and, in some cases, outselling the artists he’s sent up. He also mastered the genre pastiche — original songs that nail a famous artist’s style — long before Jimmy Fallon made the practice a viral phenomenon.\u003c/p>\n\u003cp>Yankovic is about to release his fourteenth album,\u003cem> \u003c/em>\u003cem>Mandatory Fun\u003c/em>, and he’s taking that title seriously: Starting Monday, he will release eight new music videos in eight days. He spoke with NPR’s Tamara Keith about testing song ideas on his teenaged daughter, how YouTube has forced him to focus his craft, and why \u003cem>Mandatory Fun\u003c/em> is likely his last proper album. Hear the radio version at the audio link, and read more of their conversation below.\u003c/p>\n\u003cp>\u003cstrong>Tamara Keith: \u003cem>Mandatory Fun\u003c/em> is the name of your album. Is that how you’d describe your approach to life?\u003c/strong>\u003c/p>\n\u003cp>“\u003cstrong>Weird Al” Yankovic: \u003c/strong>That was just an oxymoron that I’ve always been amused by. It’s used a lot in corporate retreats and, I’m told, in the military. Also, this is the last album of a 32-year-long record contract, so some fans have theorized that that might have something to do with it as well, but I can’t really comment on that.\u003c/p>\n\u003cp>\u003cstrong>You’ve kept a pretty tight lock on this album, but one thing we know is coming is a song called “Word Crimes,” a parody of Robin Thicke’s “Blurred Lines.”\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s correct. When I do my parodies, because of YouTube, I’m never the first person to do a parody of a certain song. And all the obvious ideas seem to be taken already, so nowadays when I do a parody I try to think of an angle that might be a little bit different or left-of-center that somebody else hasn’t thought of already. And I don’t think anybody, to this point, had done a “Blurred Lines” parody about proper use of grammar.\u003c/p>\n\u003cp>\u003cstrong>The original song was pretty controversial, and so many of the parodies that I’ve found on YouTube play on the misogyny angle. Your parody doesn’t; in fact, it almost makes it wholesome. Are you a wholesome person by nature?\u003c/strong>\u003c/p>\n\u003cp>Well, I guess I kind of am. It’s sort of the way I was raised, and my art and my comedy and my music is sort of an extension of my personality. I didn’t set out to be a family-friendly recording artist but that’s sort of the way it happened, and it’s a wonderful thing. When I look out into my concert audience, it’s all generations out there. It’s sort of a family bonding experience.\u003c/p>\n\u003cp>\u003cstrong>Have you ever been slapped with one of those parental warnings?\u003c/strong>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>I haven’t ever gotten a parental warning sticker, although my song “\u003ca href=\"https://www.youtube.com/watch?v=hEcjgJSqSRU\" target=\"_blank\" rel=\"noopener\">The Saga Begins\u003c/a>” got censored by Radio Disney when it came out. There was a line about, ‘Did you see me hitting on the queen?’ That was apparently too risqué for Radio Disney, so I think it was changed to ‘talking to the queen,’ which is more acceptable.\u003c/p>\n\u003cp>\u003cstrong>There was a time the “Weird Al” parody was it. And now, \u003ca href=\"https://www.youtube.com/watch?v=-qTIGg3I5y8\" target=\"_blank\" rel=\"noopener\">Cookie Monster has done a version\u003c/a> of Carly Rae Jepsen’s “Call Me Maybe.” \u003c/strong>\u003c/p>\n\u003cp>Yeah, Cookie Monster is my No. 1 competition right now. Actually, I don’t view it as a competition at all. I think it’s wonderful that there’s a level playing field now. Anybody can upload their videos to YouTube and you don’t have to get the blessing of some record executive somewhere to get your stuff heard. If your stuff is good, chances are people will hear it.\u003c/p>\n\u003cp>I did have the field to myself pretty much throughout the 80s and 90s, and it’s more of a challenge now because I have to make sure my material rises above on its own merits. I can’t just say “Well, I’m the only person with a major label recording deal.” Now I have to compete with the thousands and thousands of people that are also putting out comedic songs and parodies.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>And MTV is sort of a different thing than it was. “Eat It” was an anthem of my childhood more than “Beat It” was; it was in such heavy rotation on MTV.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZcJjMnHoIBI\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Well, MTV is a completely different animal now, obviously. Back when I was first starting out in the 80s, people watched it for hours on end, and they would memorize every tiny detail of every music video. When I came along and I just tweaked those little video moments, people understood and got the humor immediately. Nowadays, MTV is more of a reality show channel, and I’m not really focused on that, and they’re certainly not focused on me. So the internet is the new MTV, at least as far as I’m concerned.\u003c/p>\n\u003cp>\u003cstrong>You are going to be releasing eight music videos in eight days for this album. Why did you decide to do it this way?\u003c/strong>\u003c/p>\n\u003cp>I wanted to really do what is ostensibly my last album with a big splash. I wanted the first week to be big; I wanted every single day of release week to be an event. I wanted a video to go viral for an entire day and have people talking about that video, and then the next day they’re talking about a new video. I just thought that would be a really fun way to do it, to make a big deal out of release week.\u003c/p>\n\u003cp>\u003cstrong>Is this in any way an homage to \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s sort of unorthodox release of her album late last year?\u003c/strong>\u003c/p>\n\u003cp>You know, a few people have said that. My last album, which came out three years ago, I had a video for every single song, and they all came out at once. And nobody said to Beyoncé, “Hey, you’re doing a Weird Al, aren’t ya?” So for the record, I was first.\u003c/p>\n\u003cp>\u003cstrong>I want to ask you about the accordion, which you’ve been playing since you were a little boy. Was that your first instrument?\u003c/strong>\u003c/p>\n\u003cp>It was, yeah. My parents decided that I should take accordion lessons, because they obviously wanted me to be really popular in school: Who doesn’t love an accordion player? Who doesn’t want an accordion player at their party? It’s the life of the party, come on!\u003c/p>\n\u003cp>\u003cstrong>It is like an entire orchestra in one big, obnoxious instrument.\u003c/strong> \u003cstrong>\u003c/strong>\u003cstrong>Did you struggle with that?\u003c/strong>\u003c/p>\n\u003cp>I didn’t think it was an un-hip instrument until I started asking my friends if I could join their rock bands, and I learned pretty quickly that wasn’t really going to fly. My friends didn’t seem to have a need for that for some odd reason, and I found out pretty early on that if I wanted to play my accordion I had to kind of go down my own path.\u003c/p>\n\u003cp>\u003cstrong>Which you have. When did you start hearing funny lyrics? Did you just hear them in your mind just as you were listening to songs?\u003c/strong>\u003c/p>\n\u003cp>I got into the Dr. Demento radio show in my early teens, but I think my brain was warped even before that. I went through some old [notebooks], with accordion sheet music of the popular songs of the day, and even as a small child, 8, 9 years old, I saw that I had re-written some of the words to the pop songs. And it was horrible — it was about as clever as an 8-year-old could write a parody. But my brain was thinking in those patterns even back then.\u003c/p>\n\u003cp>\u003cstrong>What did your parents think? Did you say, “Hey Mom! Hey Dad! I’ve got this great new song!”?\u003c/strong>\u003c/p>\n\u003cp>If I did, I’m sure they humored me, but I don’t think they ever really thought that that was the way my life was headed. I was a straight-A student, and I always was very adult minded. I went to college and got my degree in architecture, and I thought that someday I would be an adult and have a real job.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>I guess that didn’t work out?\u003c/strong>\u003c/p>\n\u003cp>It didn’t quite work out like that, so I’m still going through my prolonged adolescence.\u003c/p>\n\u003cp>\u003cstrong>What’s your process like? Are there songs where you’re like ‘I just have to do that one’? Is it ever a struggle?\u003c/strong>\u003c/p>\n\u003cp>Well, I start with a list of possible candidates. I go through the Billboard charts, I listen to the radio, I keep my finger on the pulse of what’s happening online and I make a master list of songs that I think would be reasonable targets. Then I’ll go down that list and do variations on a theme. I’ll think, ‘What are all the possible ways I could go with this song to make if funny? What are the puns based on the title? What are the directions I can go?’\u003c/p>\n\u003cp>I’ll generate ideas, and 99 percent of those ideas are horrible. I have no problem coming up with ideas, but good ideas are hard to come by. When I do find a good idea, then I’ll start riffing on concepts based on that idea, and come up with pages and pages of notes based on that. When I came up with the idea for “Word Crimes” I thought, “That’s great, because I’m pretty obsessed with grammar anyway.” I’m always correcting peoples’ grammar. In fact I’ve done some videos for YouTube where I’m correcting road signs and making the grammar better, on the highway and in the supermarket. “Twelve items or \u003cem>fewer\u003c/em>,” that kind of thing.\u003c/p>\n\u003cp>\u003cstrong>That must make you popular at parties.\u003c/strong>\u003c/p>\n\u003cp>It makes me a hero among a small subset of the population.\u003c/p>\n\u003cp>\u003cstrong>Do you run these by anybody? Test them on a small audience?\u003c/strong>\u003c/p>\n\u003cp>My daughter is going into sixth grade, so she is sort of my ears to the ground. A couple months ago I said, “Are they talking about Iggy Azalea at school?” And she says, “Well, not so much.” I asked the same thing two weeks later and she said, ‘Oh yeah, that’s all they’re talking about now! They won’t shut up about Iggy Azalea!’ So, that was the tipping point. That’s when I knew it was okay to do it.\u003c/p>\n\u003cp>\u003cstrong>Your original songs, I’ve read that you feel like they don’t get as much attention as you’d like them to.\u003c/strong>\u003c/p>\n\u003cp>Well, that’s true. Certainly among the general population I’m known as the parody guy, and to this day, after 30 years, a lot of people still say, “Do you ever write your own songs?” And I can’t blame them for saying that, because virtually all of my hits have been parodies. But the fans, the people that listen to the whole album, know that half of my material is original — although most of those are style parodies or pastiches.\u003c/p>\n\u003cp>\u003cstrong>Can we ever expect an album of all originals from you?\u003c/strong>\u003c/p>\n\u003cp>I don’t think that’s really necessary. If fans want to make their own all-original albums based on what I’ve put out already, they can burn their own. I love doing the parodies as well as the originals, so it’s not like I’d ever give up one in favor of the other. And in fact, I don’t know that I’m going to be doing any more traditional albums after this point, now that my record label deal is over. I think that digital distribution is more the way for me to go: putting out a single at a time, possibly two or three tracks or an EP. I don’t know that putting out 12 songs at once in this day and age is the best way for me to get my music out there, because if I’m waiting that long, chances are a lot of the material is going to be somewhat dated by the time it comes out.\u003c/p>\n\u003cp>\u003cstrong>Wow, so this is the last “Weird Al” album?\u003c/strong>\u003c/p>\n\u003cp>Well, I have to be careful about that, because a lot of people listen to that and say “Oh, Al’s retiring!” I am not retiring, I intend to keep making music like I have in the past. All I’m saying is, there’s a pretty good chance this is the last conventional album.\u003c/p>\n\u003cp>\u003cstrong>Or you could do one of those comeback tours in like six months.\u003c/strong>\u003c/p>\n\u003cp>Every tour I do is a comeback tour. People really perceive it that way: Every album I put out: “Oh, Al’s back!”\u003c/p>\n\u003cp>\u003cstrong>Is it true that you don’t need permission to do a parody of a song?\u003c/strong>\u003c/p>\n\u003cp>Legally, I say it’s a gray area. I could get away with not getting permission, but I’ve never wanted to get away with that. I think it’s more taking the high road to make sure that the artist feels like they’re in on the joke. I want them to know that it is in fact an homage, it’s a tribute. Like I say, it’s more a poke in the ribs that a kick in the butt.\u003c/p>\n\u003cp>\u003cstrong> What’s the favorite reaction you’ve gotten from an artist?\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=N9qYF9DZPdw\u003c/p>\n\u003cp>There have been so many. One of my favorites was Chamillionaire, who of course did “\u003ca href=\"https://www.youtube.com/watch?v=CtwJvgPJ9xw\" target=\"_blank\" rel=\"noopener\">Ridin\u003c/a>‘,'” which I did the parody “White and Nerdy” off of. He ran into me at the Grammys a couple years ago, right after he’d won the Grammy for Best Rap Song. He approached me on the red carpet and said, “Thank you for this. I think your parody is a big reason why I won this Grammy, because you made it undeniable that my song was the rap song of the year.”\u003c/p>\n\u003cp>\u003cstrong>Are you going to be Weird Al forever?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. If you had asked me 30 years ago if I’d still be doing it today, I’d say that’s pretty unlikely. But I love doing this. I can’t imagine a job I’d rather have. I love comedy, I love music. I’m sure people will let me know when it’s time to hang up the accordion and call it quits, but it’s a lot of fun for me still, and as long as people don’t mind, I’ll keep doing it. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>For a bit of extra Al fun, read this \u003ca href=\"http://yerdoingreat.wordpress.com/2014/07/17/the-greatest-interview-of-all-time-grand-royal-talks-to-weird-al-yankovic/\" target=\"_blank\" rel=\"noopener\">amazing interview\u003c/a> conducted by Russell Simins, drummer for the \u003ca href=\"http://thejonspencerbluesexplosion.com/\" target=\"_blank\" rel=\"noopener\">Jon Spencer Blues Explosion,\u003c/a> that ran in Grand Royal magazine back in 1996.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Weird+Al%27+Yankovic+On+Parody+In+The+Age+Of+YouTube&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15291400/-weird-al-yankovic\" target=\"_blank\" rel=\"noopener\">“Weird Al” Yankovic\u003c/a> has been the king of parody for 30 years, outlasting and, in some cases, outselling the artists he’s sent up. He also mastered the genre pastiche — original songs that nail a famous artist’s style — long before Jimmy Fallon made the practice a viral phenomenon.\u003c/p>\n\u003cp>Yankovic is about to release his fourteenth album,\u003cem> \u003c/em>\u003cem>Mandatory Fun\u003c/em>, and he’s taking that title seriously: Starting Monday, he will release eight new music videos in eight days. He spoke with NPR’s Tamara Keith about testing song ideas on his teenaged daughter, how YouTube has forced him to focus his craft, and why \u003cem>Mandatory Fun\u003c/em> is likely his last proper album. Hear the radio version at the audio link, and read more of their conversation below.\u003c/p>\n\u003cp>\u003cstrong>Tamara Keith: \u003cem>Mandatory Fun\u003c/em> is the name of your album. Is that how you’d describe your approach to life?\u003c/strong>\u003c/p>\n\u003cp>“\u003cstrong>Weird Al” Yankovic: \u003c/strong>That was just an oxymoron that I’ve always been amused by. It’s used a lot in corporate retreats and, I’m told, in the military. Also, this is the last album of a 32-year-long record contract, so some fans have theorized that that might have something to do with it as well, but I can’t really comment on that.\u003c/p>\n\u003cp>\u003cstrong>You’ve kept a pretty tight lock on this album, but one thing we know is coming is a song called “Word Crimes,” a parody of Robin Thicke’s “Blurred Lines.”\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s correct. When I do my parodies, because of YouTube, I’m never the first person to do a parody of a certain song. And all the obvious ideas seem to be taken already, so nowadays when I do a parody I try to think of an angle that might be a little bit different or left-of-center that somebody else hasn’t thought of already. And I don’t think anybody, to this point, had done a “Blurred Lines” parody about proper use of grammar.\u003c/p>\n\u003cp>\u003cstrong>The original song was pretty controversial, and so many of the parodies that I’ve found on YouTube play on the misogyny angle. Your parody doesn’t; in fact, it almost makes it wholesome. Are you a wholesome person by nature?\u003c/strong>\u003c/p>\n\u003cp>Well, I guess I kind of am. It’s sort of the way I was raised, and my art and my comedy and my music is sort of an extension of my personality. I didn’t set out to be a family-friendly recording artist but that’s sort of the way it happened, and it’s a wonderful thing. When I look out into my concert audience, it’s all generations out there. It’s sort of a family bonding experience.\u003c/p>\n\u003cp>\u003cstrong>Have you ever been slapped with one of those parental warnings?\u003c/strong>\u003cstrong> \u003c/strong>\u003c/p>\n\u003cp>I haven’t ever gotten a parental warning sticker, although my song “\u003ca href=\"https://www.youtube.com/watch?v=hEcjgJSqSRU\" target=\"_blank\" rel=\"noopener\">The Saga Begins\u003c/a>” got censored by Radio Disney when it came out. There was a line about, ‘Did you see me hitting on the queen?’ That was apparently too risqué for Radio Disney, so I think it was changed to ‘talking to the queen,’ which is more acceptable.\u003c/p>\n\u003cp>\u003cstrong>There was a time the “Weird Al” parody was it. And now, \u003ca href=\"https://www.youtube.com/watch?v=-qTIGg3I5y8\" target=\"_blank\" rel=\"noopener\">Cookie Monster has done a version\u003c/a> of Carly Rae Jepsen’s “Call Me Maybe.” \u003c/strong>\u003c/p>\n\u003cp>Yeah, Cookie Monster is my No. 1 competition right now. Actually, I don’t view it as a competition at all. I think it’s wonderful that there’s a level playing field now. Anybody can upload their videos to YouTube and you don’t have to get the blessing of some record executive somewhere to get your stuff heard. If your stuff is good, chances are people will hear it.\u003c/p>\n\u003cp>I did have the field to myself pretty much throughout the 80s and 90s, and it’s more of a challenge now because I have to make sure my material rises above on its own merits. I can’t just say “Well, I’m the only person with a major label recording deal.” Now I have to compete with the thousands and thousands of people that are also putting out comedic songs and parodies.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>And MTV is sort of a different thing than it was. “Eat It” was an anthem of my childhood more than “Beat It” was; it was in such heavy rotation on MTV.\u003c/strong>\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/ZcJjMnHoIBI'\n title='//www.youtube.com/embed/ZcJjMnHoIBI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>\u003c/strong>Well, MTV is a completely different animal now, obviously. Back when I was first starting out in the 80s, people watched it for hours on end, and they would memorize every tiny detail of every music video. When I came along and I just tweaked those little video moments, people understood and got the humor immediately. Nowadays, MTV is more of a reality show channel, and I’m not really focused on that, and they’re certainly not focused on me. So the internet is the new MTV, at least as far as I’m concerned.\u003c/p>\n\u003cp>\u003cstrong>You are going to be releasing eight music videos in eight days for this album. Why did you decide to do it this way?\u003c/strong>\u003c/p>\n\u003cp>I wanted to really do what is ostensibly my last album with a big splash. I wanted the first week to be big; I wanted every single day of release week to be an event. I wanted a video to go viral for an entire day and have people talking about that video, and then the next day they’re talking about a new video. I just thought that would be a really fun way to do it, to make a big deal out of release week.\u003c/p>\n\u003cp>\u003cstrong>Is this in any way an homage to \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s sort of unorthodox release of her album late last year?\u003c/strong>\u003c/p>\n\u003cp>You know, a few people have said that. My last album, which came out three years ago, I had a video for every single song, and they all came out at once. And nobody said to Beyoncé, “Hey, you’re doing a Weird Al, aren’t ya?” So for the record, I was first.\u003c/p>\n\u003cp>\u003cstrong>I want to ask you about the accordion, which you’ve been playing since you were a little boy. Was that your first instrument?\u003c/strong>\u003c/p>\n\u003cp>It was, yeah. My parents decided that I should take accordion lessons, because they obviously wanted me to be really popular in school: Who doesn’t love an accordion player? Who doesn’t want an accordion player at their party? It’s the life of the party, come on!\u003c/p>\n\u003cp>\u003cstrong>It is like an entire orchestra in one big, obnoxious instrument.\u003c/strong> \u003cstrong>\u003c/strong>\u003cstrong>Did you struggle with that?\u003c/strong>\u003c/p>\n\u003cp>I didn’t think it was an un-hip instrument until I started asking my friends if I could join their rock bands, and I learned pretty quickly that wasn’t really going to fly. My friends didn’t seem to have a need for that for some odd reason, and I found out pretty early on that if I wanted to play my accordion I had to kind of go down my own path.\u003c/p>\n\u003cp>\u003cstrong>Which you have. When did you start hearing funny lyrics? Did you just hear them in your mind just as you were listening to songs?\u003c/strong>\u003c/p>\n\u003cp>I got into the Dr. Demento radio show in my early teens, but I think my brain was warped even before that. I went through some old [notebooks], with accordion sheet music of the popular songs of the day, and even as a small child, 8, 9 years old, I saw that I had re-written some of the words to the pop songs. And it was horrible — it was about as clever as an 8-year-old could write a parody. But my brain was thinking in those patterns even back then.\u003c/p>\n\u003cp>\u003cstrong>What did your parents think? Did you say, “Hey Mom! Hey Dad! I’ve got this great new song!”?\u003c/strong>\u003c/p>\n\u003cp>If I did, I’m sure they humored me, but I don’t think they ever really thought that that was the way my life was headed. I was a straight-A student, and I always was very adult minded. I went to college and got my degree in architecture, and I thought that someday I would be an adult and have a real job.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>I guess that didn’t work out?\u003c/strong>\u003c/p>\n\u003cp>It didn’t quite work out like that, so I’m still going through my prolonged adolescence.\u003c/p>\n\u003cp>\u003cstrong>What’s your process like? Are there songs where you’re like ‘I just have to do that one’? Is it ever a struggle?\u003c/strong>\u003c/p>\n\u003cp>Well, I start with a list of possible candidates. I go through the Billboard charts, I listen to the radio, I keep my finger on the pulse of what’s happening online and I make a master list of songs that I think would be reasonable targets. Then I’ll go down that list and do variations on a theme. I’ll think, ‘What are all the possible ways I could go with this song to make if funny? What are the puns based on the title? What are the directions I can go?’\u003c/p>\n\u003cp>I’ll generate ideas, and 99 percent of those ideas are horrible. I have no problem coming up with ideas, but good ideas are hard to come by. When I do find a good idea, then I’ll start riffing on concepts based on that idea, and come up with pages and pages of notes based on that. When I came up with the idea for “Word Crimes” I thought, “That’s great, because I’m pretty obsessed with grammar anyway.” I’m always correcting peoples’ grammar. In fact I’ve done some videos for YouTube where I’m correcting road signs and making the grammar better, on the highway and in the supermarket. “Twelve items or \u003cem>fewer\u003c/em>,” that kind of thing.\u003c/p>\n\u003cp>\u003cstrong>That must make you popular at parties.\u003c/strong>\u003c/p>\n\u003cp>It makes me a hero among a small subset of the population.\u003c/p>\n\u003cp>\u003cstrong>Do you run these by anybody? Test them on a small audience?\u003c/strong>\u003c/p>\n\u003cp>My daughter is going into sixth grade, so she is sort of my ears to the ground. A couple months ago I said, “Are they talking about Iggy Azalea at school?” And she says, “Well, not so much.” I asked the same thing two weeks later and she said, ‘Oh yeah, that’s all they’re talking about now! They won’t shut up about Iggy Azalea!’ So, that was the tipping point. That’s when I knew it was okay to do it.\u003c/p>\n\u003cp>\u003cstrong>Your original songs, I’ve read that you feel like they don’t get as much attention as you’d like them to.\u003c/strong>\u003c/p>\n\u003cp>Well, that’s true. Certainly among the general population I’m known as the parody guy, and to this day, after 30 years, a lot of people still say, “Do you ever write your own songs?” And I can’t blame them for saying that, because virtually all of my hits have been parodies. But the fans, the people that listen to the whole album, know that half of my material is original — although most of those are style parodies or pastiches.\u003c/p>\n\u003cp>\u003cstrong>Can we ever expect an album of all originals from you?\u003c/strong>\u003c/p>\n\u003cp>I don’t think that’s really necessary. If fans want to make their own all-original albums based on what I’ve put out already, they can burn their own. I love doing the parodies as well as the originals, so it’s not like I’d ever give up one in favor of the other. And in fact, I don’t know that I’m going to be doing any more traditional albums after this point, now that my record label deal is over. I think that digital distribution is more the way for me to go: putting out a single at a time, possibly two or three tracks or an EP. I don’t know that putting out 12 songs at once in this day and age is the best way for me to get my music out there, because if I’m waiting that long, chances are a lot of the material is going to be somewhat dated by the time it comes out.\u003c/p>\n\u003cp>\u003cstrong>Wow, so this is the last “Weird Al” album?\u003c/strong>\u003c/p>\n\u003cp>Well, I have to be careful about that, because a lot of people listen to that and say “Oh, Al’s retiring!” I am not retiring, I intend to keep making music like I have in the past. All I’m saying is, there’s a pretty good chance this is the last conventional album.\u003c/p>\n\u003cp>\u003cstrong>Or you could do one of those comeback tours in like six months.\u003c/strong>\u003c/p>\n\u003cp>Every tour I do is a comeback tour. People really perceive it that way: Every album I put out: “Oh, Al’s back!”\u003c/p>\n\u003cp>\u003cstrong>Is it true that you don’t need permission to do a parody of a song?\u003c/strong>\u003c/p>\n\u003cp>Legally, I say it’s a gray area. I could get away with not getting permission, but I’ve never wanted to get away with that. I think it’s more taking the high road to make sure that the artist feels like they’re in on the joke. I want them to know that it is in fact an homage, it’s a tribute. Like I say, it’s more a poke in the ribs that a kick in the butt.\u003c/p>\n\u003cp>\u003cstrong> What’s the favorite reaction you’ve gotten from an artist?\u003c/strong>\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/N9qYF9DZPdw'\n title='//www.youtube.com/embed/N9qYF9DZPdw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There have been so many. One of my favorites was Chamillionaire, who of course did “\u003ca href=\"https://www.youtube.com/watch?v=CtwJvgPJ9xw\" target=\"_blank\" rel=\"noopener\">Ridin\u003c/a>‘,'” which I did the parody “White and Nerdy” off of. He ran into me at the Grammys a couple years ago, right after he’d won the Grammy for Best Rap Song. He approached me on the red carpet and said, “Thank you for this. I think your parody is a big reason why I won this Grammy, because you made it undeniable that my song was the rap song of the year.”\u003c/p>\n\u003cp>\u003cstrong>Are you going to be Weird Al forever?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. If you had asked me 30 years ago if I’d still be doing it today, I’d say that’s pretty unlikely. But I love doing this. I can’t imagine a job I’d rather have. I love comedy, I love music. I’m sure people will let me know when it’s time to hang up the accordion and call it quits, but it’s a lot of fun for me still, and as long as people don’t mind, I’ll keep doing it. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>For a bit of extra Al fun, read this \u003ca href=\"http://yerdoingreat.wordpress.com/2014/07/17/the-greatest-interview-of-all-time-grand-royal-talks-to-weird-al-yankovic/\" target=\"_blank\" rel=\"noopener\">amazing interview\u003c/a> conducted by Russell Simins, drummer for the \u003ca href=\"http://thejonspencerbluesexplosion.com/\" target=\"_blank\" rel=\"noopener\">Jon Spencer Blues Explosion,\u003c/a> that ran in Grand Royal magazine back in 1996.\u003c/i>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Weird+Al%27+Yankovic+On+Parody+In+The+Age+Of+YouTube&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Without Tommy, There's No Ramones'",
"headTitle": "‘Without Tommy, There’s No Ramones’ | KQED",
"content": "\u003cp>Punk rock music has lost one of its earliest pioneers.\u003c/p>\n\u003cp>Tommy Ramone \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/07/12/330893277/tommy-ramone-last-original-member-of-the-ramones-dies-at-62\" target=\"_blank\" rel=\"noopener\">died of cancer on Friday\u003c/a> at his home in Queens, N.Y. He was the last surviving member of the original Ramones.\u003c/p>\n\u003cp>Tommy Ramone was Tamás Erdélyi before he became a “Ramone” and produced punk rock classics like “Rockaway Beach.”\u003c/p>\n\u003cp>He was born in Budapest, where, as kid, he once had a memorable trip to see a movie about America.\u003c/p>\n\u003cp>“What they showed was a bunch of teenagers going absolutely crazy and wild over boogie-woogie music,” Ramone \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4180686\" target=\"_blank\" rel=\"noopener\">recalled in 2004\u003c/a> at the Hungarian Embassy. “And I was watching this thing, going, ‘Boy, that’s good music!’ ”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ramone wanted to recapture that good music from the early days of rock ‘n’ roll and take in a new direction. So in 1974, he joined up with three friends from Queens with bowl haircuts, leather jackets, and a mission.\u003c/p>\n\u003cfigure id=\"attachment_10139005\" class=\"wp-caption alignright\" style=\"max-width: 554px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ramones.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ramones.jpg\" alt='\"Ramones on Subway, \"NYC. 1975. By Bob Gruen (American, born 1945). ' width=\"554\" height=\"441\" class=\"size-full wp-image-10139005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones-300x238.jpg 300w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Ramones on Subway, “NYC. 1975. By Bob Gruen (American, born 1945). \u003ccite>(The Museum of Modern Art Library.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The bands I listened to on my radio when I was a kid, when I came to the United States, that … quick energy, the sexuality, the excitement,” he said in 2004. “We wanted to bring that back. And we wanted to bring back short songs, and we wanted to play them fast.”\u003c/p>\n\u003cp>Filmmaker Jim Fields spent eight years following the Ramones for his 2003 documentary \u003cem>End of the Century: The Story of the Ramones\u003c/em>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“This band was so influential, so innovative, and led to so much change in music, and influenced so many generations,” Fields says. “They thought they were going to be the Rolling Stones. You know, they thought they were going to be huge.”\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>But they never had a bona fide hit.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“That’s the weird thing about the Ramones,” says \u003cem>Punk\u003c/em> magazine co-founder John Holmstrom. “You know, their music has been in movie soundtracks and TV commercials. But it was never on the radio.”\u003c/p>\n\u003cp>Holmstrom, who designed album covers for the Ramones, says Tommy Ramone wasn’t just the group’s original drummer. He was their first manager and an important producer in the studio.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“Without Tommy, there’s no Ramones. Because at first, they were not very good musicians, and I think Tommy whipped them into shape,” Holmstrom says.\u003c/p>\n\u003cp>Photographer Frances Pelzman Liscio calls Ramone a “big-picture person.” Liscio first met Ramone in 1975 while working for one of the group’s former managers, Danny Fields.\u003c/p>\n\u003cp>Ramone was “almost like the father of the family,” she says. “He would eat healthy food and show up every place on time.”\u003c/p>\n\u003cp>Liscio says the brash, loud sound of the Ramones was ahead of its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is art,” Tommy Ramone wrote in the liner notes for the Ramones’ compilation album \u003cem>Hey Ho Let’s Go\u003c/em>. “Sometimes it doesn’t sell at first. Sometimes it takes a while for the world to catch on.”\u003cstrong>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Without+Tommy%2C+There%27s+No+Ramones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Drummer Tommy Ramone died at the age of 65 on Friday. He was the last original member of the punk band that gave him his name. Their music was influential, but ahead of its time.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Punk rock music has lost one of its earliest pioneers.\u003c/p>\n\u003cp>Tommy Ramone \u003ca href=\"http://www.npr.org/blogs/thetwo-way/2014/07/12/330893277/tommy-ramone-last-original-member-of-the-ramones-dies-at-62\" target=\"_blank\" rel=\"noopener\">died of cancer on Friday\u003c/a> at his home in Queens, N.Y. He was the last surviving member of the original Ramones.\u003c/p>\n\u003cp>Tommy Ramone was Tamás Erdélyi before he became a “Ramone” and produced punk rock classics like “Rockaway Beach.”\u003c/p>\n\u003cp>He was born in Budapest, where, as kid, he once had a memorable trip to see a movie about America.\u003c/p>\n\u003cp>“What they showed was a bunch of teenagers going absolutely crazy and wild over boogie-woogie music,” Ramone \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4180686\" target=\"_blank\" rel=\"noopener\">recalled in 2004\u003c/a> at the Hungarian Embassy. “And I was watching this thing, going, ‘Boy, that’s good music!’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ramone wanted to recapture that good music from the early days of rock ‘n’ roll and take in a new direction. So in 1974, he joined up with three friends from Queens with bowl haircuts, leather jackets, and a mission.\u003c/p>\n\u003cfigure id=\"attachment_10139005\" class=\"wp-caption alignright\" style=\"max-width: 554px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ramones.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ramones.jpg\" alt='\"Ramones on Subway, \"NYC. 1975. By Bob Gruen (American, born 1945). ' width=\"554\" height=\"441\" class=\"size-full wp-image-10139005\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones.jpg 554w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones-400x318.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ramones-300x238.jpg 300w\" sizes=\"(max-width: 554px) 100vw, 554px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">“Ramones on Subway, “NYC. 1975. By Bob Gruen (American, born 1945). \u003ccite>(The Museum of Modern Art Library.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“The bands I listened to on my radio when I was a kid, when I came to the United States, that … quick energy, the sexuality, the excitement,” he said in 2004. “We wanted to bring that back. And we wanted to bring back short songs, and we wanted to play them fast.”\u003c/p>\n\u003cp>Filmmaker Jim Fields spent eight years following the Ramones for his 2003 documentary \u003cem>End of the Century: The Story of the Ramones\u003c/em>.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“This band was so influential, so innovative, and led to so much change in music, and influenced so many generations,” Fields says. “They thought they were going to be the Rolling Stones. You know, they thought they were going to be huge.”\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>But they never had a bona fide hit.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“That’s the weird thing about the Ramones,” says \u003cem>Punk\u003c/em> magazine co-founder John Holmstrom. “You know, their music has been in movie soundtracks and TV commercials. But it was never on the radio.”\u003c/p>\n\u003cp>Holmstrom, who designed album covers for the Ramones, says Tommy Ramone wasn’t just the group’s original drummer. He was their first manager and an important producer in the studio.\u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>“Without Tommy, there’s no Ramones. Because at first, they were not very good musicians, and I think Tommy whipped them into shape,” Holmstrom says.\u003c/p>\n\u003cp>Photographer Frances Pelzman Liscio calls Ramone a “big-picture person.” Liscio first met Ramone in 1975 while working for one of the group’s former managers, Danny Fields.\u003c/p>\n\u003cp>Ramone was “almost like the father of the family,” she says. “He would eat healthy food and show up every place on time.”\u003c/p>\n\u003cp>Liscio says the brash, loud sound of the Ramones was ahead of its time.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is art,” Tommy Ramone wrote in the liner notes for the Ramones’ compilation album \u003cem>Hey Ho Let’s Go\u003c/em>. “Sometimes it doesn’t sell at first. Sometimes it takes a while for the world to catch on.”\u003cstrong>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Without+Tommy%2C+There%27s+No+Ramones%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Jazz legend Charlie Haden has died. Polio damaged Haden’s voice when he was young, but as a bassist and composer, Haden helped shape the sound of jazz and still spanned country and gospel. For more on Haden’s life and music, you can hear Melissa Block speak with \u003c/em>Slate\u003cem> columnist and jazz critic Fred Kaplan at the audio link on this page.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Bassist and composer Charlie Haden, whose resonant playing and penetrating melodic craft influenced generations of jazz musicians, died this morning in Los Angeles, after a prolonged illness. He was 76.\u003c/p>\n\u003cp>Haden’s death was announced by his record label, ECM Records.\u003c/p>\n\u003cblockquote>\n\u003cp>It is with deep sorrow that we announce that Charlie Haden, born August 6, 1937 in Shenandoah, Iowa, passed away today at 10:11 Pacific time in Los Angeles after a prolonged illness. Ruth Cameron, his wife of 30 years, and his children Josh Haden, Tanya Haden, Rachel Haden and Petra Haden were all by his side.\u003c/p>\n\u003c/blockquote>\n\u003cp>Born and raised in the rural Midwestern United States, Haden grew up in a family which hosted a country and western music radio program. He sang on air in the family band from before the age of 2. At age 15, he contracted polio, damaging his vocal cords, and turned instead to learning bass.\u003c/p>\n\u003cp>In 1957, Haden moved to Los Angeles, where he integrated quickly into the West Coast jazz community — including saxophonist and composer Ornette Coleman. Their collaboration over decades, on stage and on record, not only anchored Coleman’s innovations in harmony and melody, but also generated new possibilities for his own instrument in group improvisation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His work with Ornette Coleman made him an icon of avant-garde jazz, but in a career that spanned over 50 years, Haden worked in many and varied contexts. His Liberation Music Orchestra large ensemble, a collaboration with composer-arranger Carla Bley, performed and recorded political protest songs for over 30 years. His Quartet West ensemble, featuring pianist Alan Broadbent and saxophonist Ernie Watts, provided avenues for more traditional hard bop and backing vocalists. And in 2008, he revisited his country roots with an album called \u003cem>Rambling Boy\u003c/em>, gathering his wife, son and triplet daughters in a new family band.\u003c/p>\n\u003cp>In 2012, he spoke of the connections between the music he grew up with and the music he was known for. “When you think about the art form jazz coming from this country and you think about the Underground Railroad and all the music that came from that struggle, and then you think about all the music coming over from Scotland and Ireland and England into the Appalachian Mountains and the Ozark Mountains where I was born and raised, you know, it’s all one really,” he told NPR’s Rachel Martin. “We can only have been born here in this country.”\u003c/p>\n\u003cp>As a sideman, Haden was the bassist for many of pianist Keith Jarrett’s bands of the 1960s and ’70s. The group Old and New Dreams reunited Ornette Coleman’s sidemen, sometimes to reinterpret Coleman’s compositions. He frequently performed in duet settings, which brought him into close contact with fellow jazz greats like Hank Jones, Alice Coltrane and Pat Metheny. And in 1982, he introduced jazz studies to CalArts, now one of the premier programs of its kind.\u003c/p>\n\u003cp>In interviews and on stage, he spoke often about the artist’s duty to introduce beauty into a conflicted world. “That’s what I tell my students at California Institute of the Arts where I teach for 27 years,” he said to Martin. “I tell them if you strive to be a good person, maybe you might become a great jazz musician.”\u003c/p>\n\u003cp>Earlier this year, Charlie Haden released his latest album, a collection of duets with pianist Keith Jarrett. It ends with the two standards “Every Time We Say Goodbye” and “Goodbye,” and is titled \u003cem>Last Dance.\u003c/em> \u003c/p>\n\u003cp>\u003cem>Below is a clip of Haden playing in the Ginger Baker Trio with guitarist Bill Frisell.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XEpMLiqzZd8\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Remembering+Jazz+Legend+Charlie+Haden%2C+Who+Crafted+His+Voice+In+Bass&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>An eagle soars above a national park in Bali, Indonesia. A waterfall in Mexico is seen from above its shelf of cascading water. Those are the top two finishers in a contest held to find the best images captured by cameras mounted on aerial drones. The winners were recently unveiled by the site \u003ca href=\"http://www.dronestagr.am/\" target=\"_blank\" rel=\"noopener\">Dronestagram\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10138957\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138957\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\" alt=\"The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls more than 340 feet\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls \u003ca href=\"http://travel.nationalgeographic.com/travel/365-photos/tamul-waterfall-mexico/\">more than 340 feet\u003c/a> \u003ccite>(postandfly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The website chose winners by two methods: a juried competition, and the images’ popularity among the site’s visitors (see the \u003ca href=\"http://www.dronestagr.am/contest/rewards/\">top three images\u003c/a> in each category). The contest was sponsored by \u003ca href=\"http://www.nationalgeographic.fr/\" target=\"_blank\" rel=\"noopener\">National Geographic France\u003c/a>.\u003c/p>\n\u003cp>One image, taken at low altitude in Manila, Philippines, captured the smiles of kids and others watching a drone hover above them.\u003c/p>\n\u003cfigure id=\"attachment_10138958\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138958\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\" alt=\"The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd. \u003ccite>(jericsaniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Went back to my hometown in the Philippines,” the photographer, identified as jericsaniel, wrote. “I was flying in the park one Sunday morning when suddenly people had become really interested with my drone.”\u003c/p>\n\u003cp>Another image captures the sunset over the picturesque French town of Annecy, south of Geneva, Switzerland.\u003c/p>\n\u003cfigure id=\"attachment_10138959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138959 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\" alt=\"The sun sets behind the buildings of the old city of Annecy, France.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The sun sets behind the buildings of the old city of Annecy, France. \u003ccite>(drone-cs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fly+Like+An+Eagle%3A+Site+Picks+The+Best+Aerial+Drone+Photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An eagle soars above a national park in Bali, Indonesia. A waterfall in Mexico is seen from above its shelf of cascading water. Those are the top two finishers in a contest held to find the best images captured by cameras mounted on aerial drones. The winners were recently unveiled by the site \u003ca href=\"http://www.dronestagr.am/\" target=\"_blank\" rel=\"noopener\">Dronestagram\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_10138957\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138957\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/tamulconcurso-960x540_wide-2c48bd5ea82311d6466e20d847fadf4e07e1d14b-e1405107209472.jpg\" alt=\"The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls more than 340 feet\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The Tamul waterfall in San Luis Potosí, Mexico, is seen in this image taken with the help of a drone aircraft. The water reportedly falls \u003ca href=\"http://travel.nationalgeographic.com/travel/365-photos/tamul-waterfall-mexico/\">more than 340 feet\u003c/a> \u003ccite>(postandfly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The website chose winners by two methods: a juried competition, and the images’ popularity among the site’s visitors (see the \u003ca href=\"http://www.dronestagr.am/contest/rewards/\">top three images\u003c/a> in each category). The contest was sponsored by \u003ca href=\"http://www.nationalgeographic.fr/\" target=\"_blank\" rel=\"noopener\">National Geographic France\u003c/a>.\u003c/p>\n\u003cp>One image, taken at low altitude in Manila, Philippines, captured the smiles of kids and others watching a drone hover above them.\u003c/p>\n\u003cfigure id=\"attachment_10138958\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-10138958\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/philippines_wide-8af4ffb81dc66d888c1e67820de8deab953a73df-e1405107266179.jpg\" alt=\"The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The drone operator who took this photo normally takes images from far above this height. But a trip to a park in Manila drew a crowd. \u003ccite>(jericsaniel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Went back to my hometown in the Philippines,” the photographer, identified as jericsaniel, wrote. “I was flying in the park one Sunday morning when suddenly people had become really interested with my drone.”\u003c/p>\n\u003cp>Another image captures the sunset over the picturesque French town of Annecy, south of Geneva, Switzerland.\u003c/p>\n\u003cfigure id=\"attachment_10138959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-10138959 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/annecy_wide-326889f79ca8a0ed931b698d5fc0b53c9e04edb5-e1405107151730.jpg\" alt=\"The sun sets behind the buildings of the old city of Annecy, France.\" width=\"800\" height=\"450\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The sun sets behind the buildings of the old city of Annecy, France. \u003ccite>(drone-cs)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Fly+Like+An+Eagle%3A+Site+Picks+The+Best+Aerial+Drone+Photos&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\" alt=\"\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s the end of the world as we know it, and the apes feel fine. As for humanity? Not so much, but \u003cem>Dawn of the Planet of the Apes\u003c/em> doesn’t care so much about their feelings. This dawn is well past mankind’s twilight.\u003c/p>\n\u003cp>The excellent 2011 reboot of the \u003cem>Planet of the Apes\u003c/em> series ended with a map hinting at the worldwide spread of a man-made contagion. The retrovirus used to make lab apes smart in that film was, it turned out, deadly to humans. A more generic Hollywood franchise might have followed that film up with mankind’s collapse, focusing on the chaos of our desperate attempts to keep society intact as the apes grew stronger and smarter and more organized, hidden away in the forests. But this sequel is anything but generic.\u003c/p>\n\u003cp>In fact, the film skips over the specifics of that collapse almost entirely, only referencing it through an opening credits audio montage of news reports describing society’s rapid spiral into radio silence. Then director Matt Reeves, taking over the franchise from \u003cem>Rise of the Planet of the Apes\u003c/em> director Rupert Wyatt, drops us into a now well-established ape society a decade down the line.\u003c/p>\n\u003cp>http://youtu.be/3sHMCRaS3ao\u003c/p>\n\u003cp>What few humans are left are scattered in desperate colonies in the remains of quarantine centers, such as the one run by Dreyfus (Gary Oldman) in San Francisco. Things are about to get a whole lot more desperate if they can’t get a dam back online to provide power once their fuel runs out, so an exploratory team is sent to check on the dam, led by Malcolm and Ellie (Jason Clarke and Keri Russell).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But that human story is only important inasmuch as it impacts the beings living in the redwoods north of the city, between the humans and the dam. There, Caesar (Andy Serkis), the previous installment’s prodigal chimp, leads a massive, thriving ape colony, with classes and leadership structures already intact. Communication is largely via sign language, as only a few of them — Caesar most of all — have yet developed any capacity for speech. \u003cbr> That ends up being the first in a series of gutsy storytelling choices in \u003cem>Dawn of the Planet the Apes\u003c/em>, for it means that the opening of the movie — as well as large portions thereafter — has no human characters onscreen, and a whole lot more subtitles than one might expect from a summer blockbuster.\u003c/p>\n\u003cp>But this is blockbuster counterprogramming to the numbing mindlessness of a movie like \u003cem>Transformers\u003c/em> just as surely as the less extensively released \u003cem>Snowpiercer\u003c/em> was two weeks ago. Not only that, but even amid strong entries in this summer season like \u003cem>Godzilla\u003c/em> and \u003cem>Edge of Tomorrow\u003c/em>, it’s the first big tent-pole film of 2014 that nails everything from start to finish, blending thoughtful allegory, meaningful science fiction and dazzling action spectacle without a hitch.\u003c/p>\n\u003cp>That success is built on CGI wizardry that takes the motion capture performances by Serkis and the other actors playing apes, and transforms them into characters that look and feel just as real as the humans. Rarely does any ape seem like anything other than flesh, blood and fur. But as impressive as the technical aspects of the filmmaking are, and the performances of the digitized actors, they never exist as simply eye candy: They’re always in service of story.\u003c/p>\n\u003cp>That story is able to relegate humans to supporting roles because the apes, as the about-to-be-dominant species on the planet, face the same choices as any human society themselves, with regard to how they treat one another, and how they treat their enemies — and what even constitutes an enemy.\u003c/p>\n\u003cp>If the prior installment dealt allegorically with, among other things, the right to revolution of violently repressed minorities, this one deals just as pointedly with the ethics of war and vengeance, and the rewards of mercy. War isn’t just inevitable in \u003cem>Dawn of the Planet of the Apes\u003c/em> because it makes for a lot of explosions. It’s inevitable because it’s the first reaction to fear for both humans and apes; only those able to find trust beyond their fear of the other are able to develop the tools for peace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s headier stuff than one might expect for a movie that also features chimpanzees firing dual machine guns while on horseback, or breathtakingly acrobatic hand-to-hand combat atop an unfinished skyscraper. But two chapters into its new life, that’s exactly what can be expected from this resurrection of the Planet of the Apes. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Apes%27+For+A+New+Age%2C+With+Little+Use+For+Us&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the end of the world as we know it, and the apes feel fine. As for humanity? Not so much, but \u003cem>Dawn of the Planet of the Apes\u003c/em> doesn’t care so much about their feelings. This dawn is well past mankind’s twilight.\u003c/p>\n\u003cp>The excellent 2011 reboot of the \u003cem>Planet of the Apes\u003c/em> series ended with a map hinting at the worldwide spread of a man-made contagion. The retrovirus used to make lab apes smart in that film was, it turned out, deadly to humans. A more generic Hollywood franchise might have followed that film up with mankind’s collapse, focusing on the chaos of our desperate attempts to keep society intact as the apes grew stronger and smarter and more organized, hidden away in the forests. But this sequel is anything but generic.\u003c/p>\n\u003cp>In fact, the film skips over the specifics of that collapse almost entirely, only referencing it through an opening credits audio montage of news reports describing society’s rapid spiral into radio silence. Then director Matt Reeves, taking over the franchise from \u003cem>Rise of the Planet of the Apes\u003c/em> director Rupert Wyatt, drops us into a now well-established ape society a decade down the line.\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/3sHMCRaS3ao'\n title='//www.youtube.com/embed/3sHMCRaS3ao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What few humans are left are scattered in desperate colonies in the remains of quarantine centers, such as the one run by Dreyfus (Gary Oldman) in San Francisco. Things are about to get a whole lot more desperate if they can’t get a dam back online to provide power once their fuel runs out, so an exploratory team is sent to check on the dam, led by Malcolm and Ellie (Jason Clarke and Keri Russell).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But that human story is only important inasmuch as it impacts the beings living in the redwoods north of the city, between the humans and the dam. There, Caesar (Andy Serkis), the previous installment’s prodigal chimp, leads a massive, thriving ape colony, with classes and leadership structures already intact. Communication is largely via sign language, as only a few of them — Caesar most of all — have yet developed any capacity for speech. \u003cbr> That ends up being the first in a series of gutsy storytelling choices in \u003cem>Dawn of the Planet the Apes\u003c/em>, for it means that the opening of the movie — as well as large portions thereafter — has no human characters onscreen, and a whole lot more subtitles than one might expect from a summer blockbuster.\u003c/p>\n\u003cp>But this is blockbuster counterprogramming to the numbing mindlessness of a movie like \u003cem>Transformers\u003c/em> just as surely as the less extensively released \u003cem>Snowpiercer\u003c/em> was two weeks ago. Not only that, but even amid strong entries in this summer season like \u003cem>Godzilla\u003c/em> and \u003cem>Edge of Tomorrow\u003c/em>, it’s the first big tent-pole film of 2014 that nails everything from start to finish, blending thoughtful allegory, meaningful science fiction and dazzling action spectacle without a hitch.\u003c/p>\n\u003cp>That success is built on CGI wizardry that takes the motion capture performances by Serkis and the other actors playing apes, and transforms them into characters that look and feel just as real as the humans. Rarely does any ape seem like anything other than flesh, blood and fur. But as impressive as the technical aspects of the filmmaking are, and the performances of the digitized actors, they never exist as simply eye candy: They’re always in service of story.\u003c/p>\n\u003cp>That story is able to relegate humans to supporting roles because the apes, as the about-to-be-dominant species on the planet, face the same choices as any human society themselves, with regard to how they treat one another, and how they treat their enemies — and what even constitutes an enemy.\u003c/p>\n\u003cp>If the prior installment dealt allegorically with, among other things, the right to revolution of violently repressed minorities, this one deals just as pointedly with the ethics of war and vengeance, and the rewards of mercy. War isn’t just inevitable in \u003cem>Dawn of the Planet of the Apes\u003c/em> because it makes for a lot of explosions. It’s inevitable because it’s the first reaction to fear for both humans and apes; only those able to find trust beyond their fear of the other are able to develop the tools for peace.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s headier stuff than one might expect for a movie that also features chimpanzees firing dual machine guns while on horseback, or breathtakingly acrobatic hand-to-hand combat atop an unfinished skyscraper. But two chapters into its new life, that’s exactly what can be expected from this resurrection of the Planet of the Apes. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Apes%27+For+A+New+Age%2C+With+Little+Use+For+Us&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This is the season for news stories about shark bites. It’s also the season when some theater somewhere will play \u003cem>Jaws,\u003c/em> the 1975 thriller in which three men go hunting for a man-eating shark. One of them is a marine biologist played by Richard Dreyfuss, whose daughter, journalist \u003ca href=\"https://twitter.com/EmilyDreyfuss\" target=\"_blank\" rel=\"noopener\">Emily Dreyfuss\u003c/a>, rewatched the movie just the other day.\u003c/p>\n\u003cp>Afterward, she talked about her impressions with her brother, \u003ca href=\"https://twitter.com/bendreyfuss\" target=\"_blank\" rel=\"noopener\">Ben Dreyfuss\u003c/a>, also a journalist, and the two published their chat \u003ca href=\"http://www.motherjones.com/mixed-media/2014/07/jaws-ridiculous-say-kids-who-owe-everything-jaws\" target=\"_blank\" rel=\"noopener\">on Mother Jones\u003c/a>. Their conclusion? Between their dad’s character’s laughable attempt to kill the shark and the shark hunters’ insistence on using a rickety old boat instead of one that was sonar-equipped, the film doesn’t make a whole lot of sense.\u003c/p>\n\u003cp>They tell NPR’s Steve Inskeep that, as it turns out, the movie is quite different from what they remembered.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_10138858\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/jaws-dreyfuss_custom-2f1d443a474bb8ca69898052f2d638fd4ee81595-e1404856006312.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/jaws-dreyfuss_custom-2f1d443a474bb8ca69898052f2d638fd4ee81595-1440x953.jpg\" alt=\"Robert Shaw (from left), Roy Scheider and Richard Dreyfuss play a shark hunter, a police chief and a marine biologist in 1975's <em>Jaws</em>.\" width=\"640\" height=\"423\" class=\"size-large wp-image-10138858\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Shaw (from left), Roy Scheider and Richard Dreyfuss play a shark hunter, a police chief and a marine biologist in 1975’s \u003cem>Jaws\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On forgetting who really said, “You’re gonna need a bigger boat.”\u003c/strong>\u003c/p>\n\u003cp>Emily: When [people] hear that my dad is Richard Dreyfuss, they love to say that line to me and tweak it, like: “We’re gonna need a bigger taxi.” And so because I hear it so much, I really did assume it was \u003cem>his\u003c/em> line.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ben: Our entire lives, when people come up to my dad, that’s the line they quote. … They don’t say, “This was no boating accident”; they always say Scheider’s line. And it’s a running joke with my dad that he’s like, “I imagine that Roy Scheider [is] just constantly rolling his eyes and going like, ‘God, Richard!’ ” …\u003c/p>\n\u003cp>He’s always clarified and been like, “Oh, thank you, I appreciate it, that’s lovely. Um, that was Roy Scheider. I was the fellow with the beard.” One time he and I were in Miami and he corrected someone and the person looked at him and said, “No, you said it,” and walked away.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2I91DJZKRxs#t=16\u003c/p>\n\u003cp>\u003cstrong>On how it all ends [Editor’s note: Spoiler alert. Obviously.]\u003c/strong>\u003c/p>\n\u003cp>Emily: I really thought my dad was the hero. Not that he wasn’t heroic, but I thought he killed the shark basically single-handedly and then swam home.\u003c/p>\n\u003cp>Ben: I had just seen \u003cem>Jaws\u003c/em> last year when my mother had said, “Oh, look, \u003cem>Jaws\u003c/em> is on. My favorite part is when dad kills the shark.” And I was like, “Dad didn’t kill the shark.” And, she was like, “Shut up, Ben. I was married to him. He killed Jaws.” And so we watched it and, of course, he doesn’t kill Jaws. And she was like, “Oh, wow, I guess he doesn’t kill Jaws. I’ve been telling people I’ve been married to \u003ca href=\"http://www.imdb.com/name/nm0001702/\" target=\"_blank\" rel=\"noopener\">Roy Scheider\u003c/a>, I guess.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FpxOLhuNXfM#t=120\u003c/p>\n\u003cp>\u003cstrong>On whether — if he didn’t kill the shark or deliver the film’s most famous line — their dad’s character is still a hero\u003c/strong>\u003c/p>\n\u003cp>Emily: I would say he definitely is. Because he’s the only person who takes it seriously, and without him the beaches would have never have been closed and they never would have set out to kill the shark at all. So after rethinking … it, I would say he is definitely a hero.\u003c/p>\n\u003cp>Ben: When he goes down in the cage, that’s the most brave act of the whole film. Like, he’s in the water, they basically all know he’s probably going to get killed in that situation. He made the brave act of going to fight that shark with a pole. And I mean, that takes chutzpah.\u003c/p>\n\u003cp>Emily: He was gonna shoot it with a tiny needle!\u003c/p>\n\u003cp>Ben: Yeah, with a little stick pole!\u003c/p>\n\u003cp>\u003cstrong>On what their dad thought of their review of \u003cem>Jaws\u003c/em> \u003c/strong>\u003c/p>\n\u003cp>Ben: Well he \u003ca href=\"https://twitter.com/RichardDreyfuss/statuses/484905862230601728\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> … ” ‘Jaws’ Is Ridiculous, Say [Kids] Who Are [Now] Out Of The Will.” But I think that was with love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emily: The truth is our dad is so incredibly supportive of anything we do ever. I spoke to him and he was just tickled. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Richard+Dreyfuss%27+Kids+Revisit+%27Jaws%2C%27+Conclude+It+Makes+No+Sense&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This is the season for news stories about shark bites. It’s also the season when some theater somewhere will play \u003cem>Jaws,\u003c/em> the 1975 thriller in which three men go hunting for a man-eating shark. One of them is a marine biologist played by Richard Dreyfuss, whose daughter, journalist \u003ca href=\"https://twitter.com/EmilyDreyfuss\" target=\"_blank\" rel=\"noopener\">Emily Dreyfuss\u003c/a>, rewatched the movie just the other day.\u003c/p>\n\u003cp>Afterward, she talked about her impressions with her brother, \u003ca href=\"https://twitter.com/bendreyfuss\" target=\"_blank\" rel=\"noopener\">Ben Dreyfuss\u003c/a>, also a journalist, and the two published their chat \u003ca href=\"http://www.motherjones.com/mixed-media/2014/07/jaws-ridiculous-say-kids-who-owe-everything-jaws\" target=\"_blank\" rel=\"noopener\">on Mother Jones\u003c/a>. Their conclusion? Between their dad’s character’s laughable attempt to kill the shark and the shark hunters’ insistence on using a rickety old boat instead of one that was sonar-equipped, the film doesn’t make a whole lot of sense.\u003c/p>\n\u003cp>They tell NPR’s Steve Inskeep that, as it turns out, the movie is quite different from what they remembered.\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview Highlights\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_10138858\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/jaws-dreyfuss_custom-2f1d443a474bb8ca69898052f2d638fd4ee81595-e1404856006312.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/jaws-dreyfuss_custom-2f1d443a474bb8ca69898052f2d638fd4ee81595-1440x953.jpg\" alt=\"Robert Shaw (from left), Roy Scheider and Richard Dreyfuss play a shark hunter, a police chief and a marine biologist in 1975's <em>Jaws</em>.\" width=\"640\" height=\"423\" class=\"size-large wp-image-10138858\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Robert Shaw (from left), Roy Scheider and Richard Dreyfuss play a shark hunter, a police chief and a marine biologist in 1975’s \u003cem>Jaws\u003c/em>.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On forgetting who really said, “You’re gonna need a bigger boat.”\u003c/strong>\u003c/p>\n\u003cp>Emily: When [people] hear that my dad is Richard Dreyfuss, they love to say that line to me and tweak it, like: “We’re gonna need a bigger taxi.” And so because I hear it so much, I really did assume it was \u003cem>his\u003c/em> line.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ben: Our entire lives, when people come up to my dad, that’s the line they quote. … They don’t say, “This was no boating accident”; they always say Scheider’s line. And it’s a running joke with my dad that he’s like, “I imagine that Roy Scheider [is] just constantly rolling his eyes and going like, ‘God, Richard!’ ” …\u003c/p>\n\u003cp>He’s always clarified and been like, “Oh, thank you, I appreciate it, that’s lovely. Um, that was Roy Scheider. I was the fellow with the beard.” One time he and I were in Miami and he corrected someone and the person looked at him and said, “No, you said it,” and walked away.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2I91DJZKRxs#t=16\u003c/p>\n\u003cp>\u003cstrong>On how it all ends [Editor’s note: Spoiler alert. Obviously.]\u003c/strong>\u003c/p>\n\u003cp>Emily: I really thought my dad was the hero. Not that he wasn’t heroic, but I thought he killed the shark basically single-handedly and then swam home.\u003c/p>\n\u003cp>Ben: I had just seen \u003cem>Jaws\u003c/em> last year when my mother had said, “Oh, look, \u003cem>Jaws\u003c/em> is on. My favorite part is when dad kills the shark.” And I was like, “Dad didn’t kill the shark.” And, she was like, “Shut up, Ben. I was married to him. He killed Jaws.” And so we watched it and, of course, he doesn’t kill Jaws. And she was like, “Oh, wow, I guess he doesn’t kill Jaws. I’ve been telling people I’ve been married to \u003ca href=\"http://www.imdb.com/name/nm0001702/\" target=\"_blank\" rel=\"noopener\">Roy Scheider\u003c/a>, I guess.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FpxOLhuNXfM#t=120\u003c/p>\n\u003cp>\u003cstrong>On whether — if he didn’t kill the shark or deliver the film’s most famous line — their dad’s character is still a hero\u003c/strong>\u003c/p>\n\u003cp>Emily: I would say he definitely is. Because he’s the only person who takes it seriously, and without him the beaches would have never have been closed and they never would have set out to kill the shark at all. So after rethinking … it, I would say he is definitely a hero.\u003c/p>\n\u003cp>Ben: When he goes down in the cage, that’s the most brave act of the whole film. Like, he’s in the water, they basically all know he’s probably going to get killed in that situation. He made the brave act of going to fight that shark with a pole. And I mean, that takes chutzpah.\u003c/p>\n\u003cp>Emily: He was gonna shoot it with a tiny needle!\u003c/p>\n\u003cp>Ben: Yeah, with a little stick pole!\u003c/p>\n\u003cp>\u003cstrong>On what their dad thought of their review of \u003cem>Jaws\u003c/em> \u003c/strong>\u003c/p>\n\u003cp>Ben: Well he \u003ca href=\"https://twitter.com/RichardDreyfuss/statuses/484905862230601728\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> … ” ‘Jaws’ Is Ridiculous, Say [Kids] Who Are [Now] Out Of The Will.” But I think that was with love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emily: The truth is our dad is so incredibly supportive of anything we do ever. I spoke to him and he was just tickled. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Richard+Dreyfuss%27+Kids+Revisit+%27Jaws%2C%27+Conclude+It+Makes+No+Sense&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>San Francisco’s frenetic rock group Cold Beat pummels the senses in this strobe-lit new video for the song “UV.” Directed by frontwoman Hannah Lew, the candles, chains and band members flicker behind a throbbing, multi-colored strobe light as drummer Bianca Sparta, deadpan behind a pair of sunglasses, slingshots the band through a three-minute burst of post-punk fury.\u003c/p>\n\u003cp>“UV” appears on Cold Beat’s upcoming debut, \u003cem>Over Me\u003c/em>, due out July 8 on Lew’s \u003ca href=\"http://crimeonthemoon.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Crime On The Moon\u003c/a> label.\u003c/p>\n\u003cp>Below is a review of Cold Beat’s new album, \u003cem>Over Me\u003c/em>, from NPR’s Katie Presley:\u003c/p>\n\u003cp>“New wave” is a much more precise descriptor than it gets credit for. Originally a space-filler genre title when “punk” was deemed bad for sales — when bands like \u003ca href=\"http://www.npr.org/artists/15778481/television\">Television\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a> were nodding to but branching away from nose-bloodying Sex Pistols mayhem — “new wave” has left its interstitial 1970s origins and been refined to a point. A wave itself is an apt illustration of the combination of forces at work in much of the genre’s music, particularly in the marriage of two superficially opposed new-wave cornerstones: bubblegum pop and garage punk. Cold Beat, the new project of \u003ca href=\"http://www.npr.org/blogs/allsongs/2010/12/10/131910158/carrie-brownstein-s-top-10-plus-one-for-2010\" target=\"_blank\" rel=\"noopener\">Grass Widow\u003c/a> bassist Hannah Lew, represents the best of new wave — in title, metaphor and roster of influences alike.\u003c/p>\n\u003cfigure id=\"attachment_10138817\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776410545.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776398969-1440x809.jpg\" alt=\"Cold Beat's new album, Over Me, comes out July 8\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138817\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cold Beat’s new album, \u003cem>Over Me\u003c/em>, comes out July 8\u003c/figcaption>\u003c/figure>\n\u003cp>Waves are visible as peaks above sea level, but propelled by forces beneath the water’s surface. The capacity is always in them to spin out of control; to move too much energy at once; to become tsunamis. But when everything works in balance, the ebb and flow is mesmerizing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This sense of controlled chaos is immediately apparent on Cold Beat’s first full-length album, \u003cem>Over Me\u003c/em>. Lew’s ethereal vocals, which are sometimes indistinguishable from synthesizers, are layered over shaggy guitars by Kyle King, frenetic drums by Bianca Sparta (Erase Errata), and Lew’s own relentless bass. Fortified by stacked harmonies, she provides the bubblegum barrier against the tug of punky inertia present in her backing band. Even time is a system of checks and balances: More than half the songs on \u003cem>Over Me\u003c/em> last less than three minutes, lending urgency and a drive toward resolution to every chord and every word. The dance between dissolution and danceability is inherent to Cold Beat, as are its references, both oblique and obvious, to its genre predecessors. Lew’s coo in “Abandon” recalls \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=16737465\">Debbie Harry\u003c/a>‘s in her Blondie days, and the band’s staccato shouting in “UV” has \u003ca href=\"http://www.npr.org/artists/15784835/the-b-52-s\">The B-52’s\u003c/a> written into its DNA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>New wave may have started as a marketing ploy 40 years ago, but it’s undeniably a credible genre today. Cold Beat has set, with its first record, an ambitious and satisfying alignment of itself with one of recent music’s most fascinating ontological origin stories. To listen to the album, visit \u003ca href=\"http://www.npr.org/2014/06/29/324892936/first-listen-cold-beat-over-me#playlist\" target=\"_blank\" rel=\"noopener\">NPR’s First Listen.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cold+Beat%2C+%27Over+Me%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco’s frenetic rock group Cold Beat pummels the senses in this strobe-lit new video for the song “UV.” Directed by frontwoman Hannah Lew, the candles, chains and band members flicker behind a throbbing, multi-colored strobe light as drummer Bianca Sparta, deadpan behind a pair of sunglasses, slingshots the band through a three-minute burst of post-punk fury.\u003c/p>\n\u003cp>“UV” appears on Cold Beat’s upcoming debut, \u003cem>Over Me\u003c/em>, due out July 8 on Lew’s \u003ca href=\"http://crimeonthemoon.tumblr.com/\" target=\"_blank\" rel=\"noopener\">Crime On The Moon\u003c/a> label.\u003c/p>\n\u003cp>Below is a review of Cold Beat’s new album, \u003cem>Over Me\u003c/em>, from NPR’s Katie Presley:\u003c/p>\n\u003cp>“New wave” is a much more precise descriptor than it gets credit for. Originally a space-filler genre title when “punk” was deemed bad for sales — when bands like \u003ca href=\"http://www.npr.org/artists/15778481/television\">Television\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15321830/talking-heads\" target=\"_blank\" rel=\"noopener\">Talking Heads\u003c/a> were nodding to but branching away from nose-bloodying Sex Pistols mayhem — “new wave” has left its interstitial 1970s origins and been refined to a point. A wave itself is an apt illustration of the combination of forces at work in much of the genre’s music, particularly in the marriage of two superficially opposed new-wave cornerstones: bubblegum pop and garage punk. Cold Beat, the new project of \u003ca href=\"http://www.npr.org/blogs/allsongs/2010/12/10/131910158/carrie-brownstein-s-top-10-plus-one-for-2010\" target=\"_blank\" rel=\"noopener\">Grass Widow\u003c/a> bassist Hannah Lew, represents the best of new wave — in title, metaphor and roster of influences alike.\u003c/p>\n\u003cfigure id=\"attachment_10138817\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776410545.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/coldbeat-57c765e6318168c5d0f663bbb9787aa83e30008f-e1404776398969-1440x809.jpg\" alt=\"Cold Beat's new album, Over Me, comes out July 8\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138817\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cold Beat’s new album, \u003cem>Over Me\u003c/em>, comes out July 8\u003c/figcaption>\u003c/figure>\n\u003cp>Waves are visible as peaks above sea level, but propelled by forces beneath the water’s surface. The capacity is always in them to spin out of control; to move too much energy at once; to become tsunamis. But when everything works in balance, the ebb and flow is mesmerizing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This sense of controlled chaos is immediately apparent on Cold Beat’s first full-length album, \u003cem>Over Me\u003c/em>. Lew’s ethereal vocals, which are sometimes indistinguishable from synthesizers, are layered over shaggy guitars by Kyle King, frenetic drums by Bianca Sparta (Erase Errata), and Lew’s own relentless bass. Fortified by stacked harmonies, she provides the bubblegum barrier against the tug of punky inertia present in her backing band. Even time is a system of checks and balances: More than half the songs on \u003cem>Over Me\u003c/em> last less than three minutes, lending urgency and a drive toward resolution to every chord and every word. The dance between dissolution and danceability is inherent to Cold Beat, as are its references, both oblique and obvious, to its genre predecessors. Lew’s coo in “Abandon” recalls \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=16737465\">Debbie Harry\u003c/a>‘s in her Blondie days, and the band’s staccato shouting in “UV” has \u003ca href=\"http://www.npr.org/artists/15784835/the-b-52-s\">The B-52’s\u003c/a> written into its DNA.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>New wave may have started as a marketing ploy 40 years ago, but it’s undeniably a credible genre today. Cold Beat has set, with its first record, an ambitious and satisfying alignment of itself with one of recent music’s most fascinating ontological origin stories. To listen to the album, visit \u003ca href=\"http://www.npr.org/2014/06/29/324892936/first-listen-cold-beat-over-me#playlist\" target=\"_blank\" rel=\"noopener\">NPR’s First Listen.\u003c/a>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Cold+Beat%2C+%27Over+Me%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Columbusing': The Art of Discovering Something that is Not New",
"headTitle": "‘Columbusing’: The Art of Discovering Something that is Not New | KQED",
"content": "\u003cp>If you’ve danced to an Afrobeat-heavy pop song, dipped hummus, sipped coconut water, participated in a Desi-inspired \u003ca href=\"http://www.browngirlmagazine.com/2013/04/color-run-controversy\" target=\"_blank\" rel=\"noopener\">color run\u003c/a> or sported a henna tattoo, then you’ve Columbused something.\u003c/p>\n\u003cp>\u003ca href=\"http://www.collegehumor.com/video/6976820/columbusing-discovering-things-for-white-pe\" target=\"_blank\" rel=\"noopener\">Columbusing\u003c/a> is when you “discover” something that’s existed forever. Just that it’s existed outside your own culture, nationality, race or even, say, your neighborhood. Bonus points if you tell all your friends about it.\u003c/p>\n\u003cp>Why not? In our immigrant-rich cities, the whole world is at our doorsteps.\u003c/p>\n\u003cp>Sometimes, though, Columbusing can feel icky. When is cultural appropriation a healthy byproduct of globalization and when is it a problem?\u003c/p>\n\u003cp>\u003cstrong>All The Rage\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Buzzfeed Food published an article asking, “Have you heard about \u003ca href=\"http://www.buzzfeed.com/rachelysanders/hand-pies-are-the-best-and-cutest-pies\" target=\"_blank\" rel=\"noopener\">the new kind of pie\u003c/a> that’s \u003cem>all the rage\u003c/em> lately?” It’s a hand pie, a little foldover pie that you can fit in your hand. They have flaky crusts and can be sweet or savory. You know, exactly like an empanada, a Latin American culinary staple.\u003c/p>\n\u003cp>On face value, it seems stupid to get worked up over an empanada. I mean, it’s just a pastry, right? But “discovering” empanadas on Pinterest and calling them “hand pies” strips empanadas of their cultural context. To all the people who grew up eating empanadas, it can feel like theft.\u003c/p>\n\u003cp>\u003cstrong>Feeling Overlooked\u003c/strong>\u003c/p>\n\u003cp>When it comes to our culinary traditions, Latinos are used to feeling robbed.\u003c/p>\n\u003cp>Latino activists spoke out in May when Chipotle announced plans to print original stories by famous writers on its paper goods and \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/05/24/314865085/why-chipotle-is-accused-of-contributing-to-a-culture-of-invisibility\" target=\"_blank\" rel=\"noopener\">failed to include\u003c/a> any Mexican-Americans or Latinos on the roster. The American-owned chain can profit from Mexican culture while overlooking the harsh reality of how Latinos have been treated in this country.\u003c/p>\n\u003cp>On Cinco de Mayo, chef Anthony Bourdain \u003ca href=\"http://anthonybourdain.tumblr.com/post/84641290831/under-the-volcano\" target=\"_blank\" rel=\"noopener\">asked why Americans love Mexican food\u003c/a>, drugs, alcohol and cheap labor but ignore the violence that happens across the border. “Despite our ridiculously hypocritical attitudes towards immigration,” writes Bourdain, “we demand that Mexicans cook a large percentage of the food we eat, grow the ingredients we need to make that food, clean our houses, mow our lawns, wash our dishes, look after our children.”\u003c/p>\n\u003cp>It’s frustrating when even the staunchest anti-immigration activists \u003ca href=\"http://blogs.ocweekly.com/stickaforkinit/2013/10/tortilla_coast_dc.php\">regularly eat Mexican food\u003c/a>. It seems like a paradox to relish your fajitas while believing the line cook should get deported.\u003c/p>\n\u003cfigure id=\"attachment_10138799\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg\" alt=\"A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring -- a detail that partiers at the Shout Color Throw might miss.\" width=\"640\" height=\"479\" class=\"size-large wp-image-10138799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-300x224.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring — a detail that partiers at the Shout Color Throw might miss.\u003c/figcaption>\u003c/figure>\n\u003cp>Admittedly, cultural appropriation is an integral and vital part of American history. And one day, empanadas might become as American as pizza (yes, I appreciate the irony of that statement). But the day when Latinos are considered as American as Italian-Americans, well, that feels further away.\u003c/p>\n\u003cp>\u003cstrong>Why It Hurts\u003c/strong>\u003c/p>\n\u003cp>The condolence prize for being an outsider is that you can take solace in the cultural traditions that make you unique. When outsiders use tweezers to pick out the discrete parts of your culture that are worthy of their attention, it feels like a violation. Empanadas are trendy, \u003cem>cumbia\u003c/em> is trendy, but Latinas are still not trendy.\u003c/p>\n\u003cp>Code Switch blogger Gene Demby \u003ca href=\"http://apps.npr.org/codeswitch-changing-races/\">writes\u003c/a>, “It’s much harder now to patrol the ramparts of our cultures, to distinguish between the appreciators and appropriators. Just who gets to play in which cultural sandboxes? Who gets to be the bouncer at the velvet rope?”\u003c/p>\n\u003cp>\u003cstrong>Playing Explorer\u003c/strong>\u003c/p>\n\u003cp>Of course, there is no bouncer, but we can be careful not to Columbus other culture’s traditions. Before you make reservations at the hottest fusion restaurant or book an alternative healing therapy, ask yourself a few questions:\u003c/p>\n\u003cp>Who is providing this good or service for me?\u003c/p>\n\u003cp>Am I engaging with them in a thoughtful manner?\u003c/p>\n\u003cp>Am I learning about this culture?\u003c/p>\n\u003cp>Are people from this culture benefiting from my spending money here?\u003c/p>\n\u003cp>Are they being hurt by my spending money here?\u003c/p>\n\u003cp>It is best to enter a new, ethnic experience with consideration, curiosity and respect. That doesn’t mean you have to act or look the part of a dour-faced anthropologist or an ultra-earnest tourist. You can go outside your comfort zone and learn about the completely different worlds that coexist within your city. If you’re adventurous, you can explore the entire world without leaving the country and without needing a passport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just remember, it’s great to love a different culture and its artifacts, as long as you love the people too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Columbusing%27%3A+The+Art+Of+Discovering+Something+That+Is+Not+New+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve danced to an Afrobeat-heavy pop song, dipped hummus, sipped coconut water, participated in a Desi-inspired \u003ca href=\"http://www.browngirlmagazine.com/2013/04/color-run-controversy\" target=\"_blank\" rel=\"noopener\">color run\u003c/a> or sported a henna tattoo, then you’ve Columbused something.\u003c/p>\n\u003cp>\u003ca href=\"http://www.collegehumor.com/video/6976820/columbusing-discovering-things-for-white-pe\" target=\"_blank\" rel=\"noopener\">Columbusing\u003c/a> is when you “discover” something that’s existed forever. Just that it’s existed outside your own culture, nationality, race or even, say, your neighborhood. Bonus points if you tell all your friends about it.\u003c/p>\n\u003cp>Why not? In our immigrant-rich cities, the whole world is at our doorsteps.\u003c/p>\n\u003cp>Sometimes, though, Columbusing can feel icky. When is cultural appropriation a healthy byproduct of globalization and when is it a problem?\u003c/p>\n\u003cp>\u003cstrong>All The Rage\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Buzzfeed Food published an article asking, “Have you heard about \u003ca href=\"http://www.buzzfeed.com/rachelysanders/hand-pies-are-the-best-and-cutest-pies\" target=\"_blank\" rel=\"noopener\">the new kind of pie\u003c/a> that’s \u003cem>all the rage\u003c/em> lately?” It’s a hand pie, a little foldover pie that you can fit in your hand. They have flaky crusts and can be sweet or savory. You know, exactly like an empanada, a Latin American culinary staple.\u003c/p>\n\u003cp>On face value, it seems stupid to get worked up over an empanada. I mean, it’s just a pastry, right? But “discovering” empanadas on Pinterest and calling them “hand pies” strips empanadas of their cultural context. To all the people who grew up eating empanadas, it can feel like theft.\u003c/p>\n\u003cp>\u003cstrong>Feeling Overlooked\u003c/strong>\u003c/p>\n\u003cp>When it comes to our culinary traditions, Latinos are used to feeling robbed.\u003c/p>\n\u003cp>Latino activists spoke out in May when Chipotle announced plans to print original stories by famous writers on its paper goods and \u003ca href=\"http://www.npr.org/blogs/codeswitch/2014/05/24/314865085/why-chipotle-is-accused-of-contributing-to-a-culture-of-invisibility\" target=\"_blank\" rel=\"noopener\">failed to include\u003c/a> any Mexican-Americans or Latinos on the roster. The American-owned chain can profit from Mexican culture while overlooking the harsh reality of how Latinos have been treated in this country.\u003c/p>\n\u003cp>On Cinco de Mayo, chef Anthony Bourdain \u003ca href=\"http://anthonybourdain.tumblr.com/post/84641290831/under-the-volcano\" target=\"_blank\" rel=\"noopener\">asked why Americans love Mexican food\u003c/a>, drugs, alcohol and cheap labor but ignore the violence that happens across the border. “Despite our ridiculously hypocritical attitudes towards immigration,” writes Bourdain, “we demand that Mexicans cook a large percentage of the food we eat, grow the ingredients we need to make that food, clean our houses, mow our lawns, wash our dishes, look after our children.”\u003c/p>\n\u003cp>It’s frustrating when even the staunchest anti-immigration activists \u003ca href=\"http://blogs.ocweekly.com/stickaforkinit/2013/10/tortilla_coast_dc.php\">regularly eat Mexican food\u003c/a>. It seems like a paradox to relish your fajitas while believing the line cook should get deported.\u003c/p>\n\u003cfigure id=\"attachment_10138799\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg\" alt=\"A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring -- a detail that partiers at the Shout Color Throw might miss.\" width=\"640\" height=\"479\" class=\"size-large wp-image-10138799\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-1440x1079.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-400x299.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/ap120309119283-b222bbb7e2bc668cfa185be8bc46c881fd1335d5-300x224.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A man sprays colored dye on people dancing during Holi celebrations in India in 2012. Holi, the Hindu festival of colors, also heralds the coming of spring — a detail that partiers at the Shout Color Throw might miss.\u003c/figcaption>\u003c/figure>\n\u003cp>Admittedly, cultural appropriation is an integral and vital part of American history. And one day, empanadas might become as American as pizza (yes, I appreciate the irony of that statement). But the day when Latinos are considered as American as Italian-Americans, well, that feels further away.\u003c/p>\n\u003cp>\u003cstrong>Why It Hurts\u003c/strong>\u003c/p>\n\u003cp>The condolence prize for being an outsider is that you can take solace in the cultural traditions that make you unique. When outsiders use tweezers to pick out the discrete parts of your culture that are worthy of their attention, it feels like a violation. Empanadas are trendy, \u003cem>cumbia\u003c/em> is trendy, but Latinas are still not trendy.\u003c/p>\n\u003cp>Code Switch blogger Gene Demby \u003ca href=\"http://apps.npr.org/codeswitch-changing-races/\">writes\u003c/a>, “It’s much harder now to patrol the ramparts of our cultures, to distinguish between the appreciators and appropriators. Just who gets to play in which cultural sandboxes? Who gets to be the bouncer at the velvet rope?”\u003c/p>\n\u003cp>\u003cstrong>Playing Explorer\u003c/strong>\u003c/p>\n\u003cp>Of course, there is no bouncer, but we can be careful not to Columbus other culture’s traditions. Before you make reservations at the hottest fusion restaurant or book an alternative healing therapy, ask yourself a few questions:\u003c/p>\n\u003cp>Who is providing this good or service for me?\u003c/p>\n\u003cp>Am I engaging with them in a thoughtful manner?\u003c/p>\n\u003cp>Am I learning about this culture?\u003c/p>\n\u003cp>Are people from this culture benefiting from my spending money here?\u003c/p>\n\u003cp>Are they being hurt by my spending money here?\u003c/p>\n\u003cp>It is best to enter a new, ethnic experience with consideration, curiosity and respect. That doesn’t mean you have to act or look the part of a dour-faced anthropologist or an ultra-earnest tourist. You can go outside your comfort zone and learn about the completely different worlds that coexist within your city. If you’re adventurous, you can explore the entire world without leaving the country and without needing a passport.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just remember, it’s great to love a different culture and its artifacts, as long as you love the people too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Columbusing%27%3A+The+Art+Of+Discovering+Something+That+Is+Not+New+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Think of Melissa McCarthy playing Megan in \u003cem>Bridesmaids,\u003c/em> and you may first remember her defecating in a sink, or driving a minivan full of stolen puppies, or brazenly propositioning an air marshal. McCarthy stole the show with a talent for profanity and pratfalls, but it’s a reflective one-on-one scene playing impromptu life coach to Kristen Wiig’s character that solidified her star-making performance. For that scene, she dropped the clownish shtick for a real human moment that made Megan into a character, not just a caricature.\u003c/p>\n\u003cp>\u003cem>Tammy\u003c/em>, McCarthy’s co-screenwriting debut with her husband, Ben Falcone (who directs for the first time), looks to mine that same dichotomy. McCarthy plays the title role, a slovenly small-town fast-food worker who loses her job, her car, and her husband in the first 10 minutes and spends the rest of the film trying to find some meaning in her broken life with the help of her alcoholic, pill-popping grandma Pearl (Susan Sarandon).\u003c/p>\n\u003cp>But for the first 20 minutes or so, McCarthy and Falcone seem to have misjudged the best uses of McCarthy’s talents to epic proportions. When she turns her performance up to 11, she doesn’t just demand the spotlight; she creates her own. That allowed her to steal scenes in \u003cem>Bridesmaids,\u003c/em> or work effectively as a duo with Sandra Bullock in last year’s \u003cem>The Heat,\u003c/em> because there was the constant push and pull of her performance against other strong and contrasting ones.\u003c/p>\n\u003cp>But the opening scenes of \u003cem>Tammy\u003c/em> never challenge her for ownership of center stage. As a result, it’s largely just McCarthy swearing and stumbling in a near vacuum, a one-woman standup act about falling down. The supporting characters — Falcone as her weaselly manager, Nat Faxon as her blandly philandering husband, Allison Janney as her anxious, disappointed mother — exist largely to bounce the focus back to her. Delivering a performance that screams for attention when you already have it ends up coming off as a desperate plea for laughs. That’s even more true when they go out of their way to make Tammy seem spectacularly dumb just to set up opportunities to cruelly mock her.\u003c/p>\n\u003cp>The story requires Tammy’s life to fall apart so that we can watch her struggle to make a new one, but McCarthy and Falcone wind up also having to put their movie back together after its ill-judged start. To some extent, they do, once Tammy settles into more of an ensemble piece than star showcase. Mark Duplass is the first grounding influence on the film, just as his character, Bobby, helps to pull Tammy back from the brink. Kathy Bates, playing Pearl’s rich cousin Lenore, provides much the same kind of support.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are some surprisingly true notes in unexpected places. Pearl’s alcoholism, for instance, drives much of Tammy’s need to finally grow up. While it’s the catalyst for some funny set pieces — one of the movie’s best scenes finds Tammy awkwardly holding up a fast-food joint to bail Grandma out of jail — it’s also handled with enough poignancy to avoid reducing Pearl to an old-people-behaving-badly comedy stereotype.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tammy\u003c/em> never quite manages to find that balance between the sweet and the smartass the way \u003cem>Bridesmaids\u003c/em> did, nor does the mismatched buddy dynamic between McCarthy and Sarandon ever approach the success of \u003cem>The Heat\u003c/em>. But eventually the film does manage to find its own awkward way, with enough effective and less desperate jokes to smooth things over after the rocky start. It’s a shakier debut of McCarthy and Falcone’s efforts behind the camera than one might have hoped for, but if Tammy can turn things around, surely they can too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Melissa+McCarthy%2C+An+Unstoppable+Force+Imperfectly+Deployed+In+%27Tammy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Think of Melissa McCarthy playing Megan in \u003cem>Bridesmaids,\u003c/em> and you may first remember her defecating in a sink, or driving a minivan full of stolen puppies, or brazenly propositioning an air marshal. McCarthy stole the show with a talent for profanity and pratfalls, but it’s a reflective one-on-one scene playing impromptu life coach to Kristen Wiig’s character that solidified her star-making performance. For that scene, she dropped the clownish shtick for a real human moment that made Megan into a character, not just a caricature.\u003c/p>\n\u003cp>\u003cem>Tammy\u003c/em>, McCarthy’s co-screenwriting debut with her husband, Ben Falcone (who directs for the first time), looks to mine that same dichotomy. McCarthy plays the title role, a slovenly small-town fast-food worker who loses her job, her car, and her husband in the first 10 minutes and spends the rest of the film trying to find some meaning in her broken life with the help of her alcoholic, pill-popping grandma Pearl (Susan Sarandon).\u003c/p>\n\u003cp>But for the first 20 minutes or so, McCarthy and Falcone seem to have misjudged the best uses of McCarthy’s talents to epic proportions. When she turns her performance up to 11, she doesn’t just demand the spotlight; she creates her own. That allowed her to steal scenes in \u003cem>Bridesmaids,\u003c/em> or work effectively as a duo with Sandra Bullock in last year’s \u003cem>The Heat,\u003c/em> because there was the constant push and pull of her performance against other strong and contrasting ones.\u003c/p>\n\u003cp>But the opening scenes of \u003cem>Tammy\u003c/em> never challenge her for ownership of center stage. As a result, it’s largely just McCarthy swearing and stumbling in a near vacuum, a one-woman standup act about falling down. The supporting characters — Falcone as her weaselly manager, Nat Faxon as her blandly philandering husband, Allison Janney as her anxious, disappointed mother — exist largely to bounce the focus back to her. Delivering a performance that screams for attention when you already have it ends up coming off as a desperate plea for laughs. That’s even more true when they go out of their way to make Tammy seem spectacularly dumb just to set up opportunities to cruelly mock her.\u003c/p>\n\u003cp>The story requires Tammy’s life to fall apart so that we can watch her struggle to make a new one, but McCarthy and Falcone wind up also having to put their movie back together after its ill-judged start. To some extent, they do, once Tammy settles into more of an ensemble piece than star showcase. Mark Duplass is the first grounding influence on the film, just as his character, Bobby, helps to pull Tammy back from the brink. Kathy Bates, playing Pearl’s rich cousin Lenore, provides much the same kind of support.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are some surprisingly true notes in unexpected places. Pearl’s alcoholism, for instance, drives much of Tammy’s need to finally grow up. While it’s the catalyst for some funny set pieces — one of the movie’s best scenes finds Tammy awkwardly holding up a fast-food joint to bail Grandma out of jail — it’s also handled with enough poignancy to avoid reducing Pearl to an old-people-behaving-badly comedy stereotype.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tammy\u003c/em> never quite manages to find that balance between the sweet and the smartass the way \u003cem>Bridesmaids\u003c/em> did, nor does the mismatched buddy dynamic between McCarthy and Sarandon ever approach the success of \u003cem>The Heat\u003c/em>. But eventually the film does manage to find its own awkward way, with enough effective and less desperate jokes to smooth things over after the rocky start. It’s a shakier debut of McCarthy and Falcone’s efforts behind the camera than one might have hoped for, but if Tammy can turn things around, surely they can too. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Melissa+McCarthy%2C+An+Unstoppable+Force+Imperfectly+Deployed+In+%27Tammy%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For decades, cop dramas have depicted the South Bronx as the devil’s playground. \u003cem>Deliver Us From Evil\u003c/em> takes that idea all too literally. But then this slow-witted occult thriller takes everything literally, from the Catholic rite of exorcism to Jim Morrison’s shamanic posturing.\u003c/p>\n\u003cp>The movie is derived from a book of the same name by former NYPD Sgt. Ralph Sarchie, who reportedly came to believe that some of the criminals he faced were literally possessed. Wisely, director and co-scripter Scott Derrickson made the on-screen Sarchie (stolidly intense Eric Bana) a skeptic.\u003c/p>\n\u003cp>The cop is a lapsed Catholic who gave up on God when he was 12, although he does believe in the power of his internal “radar” to locate the most interesting cases. He’s also, unsurprisingly, wracked with Catholic guilt. And not just about how he neglects his wife, Jen (Olivia Munn), and 6-year-old daughter, Christina (Lulu Wilson).\u003c/p>\n\u003cp>Of course, the role of skeptics in movies like this is to be brutally converted to a magical worldview. Just as the job of 6-year-old daughters is to be threatened by the story’s archvillain.\u003c/p>\n\u003cp>That fiend is introduced in a prologue set in Iraq, four years ago. During a battle, three American soldiers stumble upon the entrance to a spooky, ill-lighted subterranean chamber. Naturally, they enter, thus setting the precedent for a movie where Sarchie is forever exploring gloomy basements and other dark, ominous crypts. At one point, he even walks into an actual lion’s den.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A series of horrific, seemingly senseless crimes connect to the three Iraq War veterans, led by gaunt and grisly Santino (Sean Harris in hoodie and goth face paint). Some of Santino’s victims babble song lyrics that Sarchie recognizes. In fact, he’s started to hear the same tunes in his head. They’re by the Doors, which at least makes them more listenable than the music of, say, Cannibal Corpse.\u003c/p>\n\u003cp>Then Sarchie meets Mendoza (Edgar Ramirez), a bad-boy priest and free-range exorcist who’s too sexy for his cassock. Curiously, both he and several of Santino’s victims speak Spanish or Italian as their first language. Satanic vexation is apparently a Latin tendency, although the ultimate source of the evil, we’re told, is Babylonian. (Until now, it was not widely known that ancient Mesopotamian djinns really dug the Doors.)\u003c/p>\n\u003cp>Ultimately, viewers are treated to what seems to be the most protracted exorcism scene ever filmed. But maybe it’s merely, for all its gore and noise, the most boring. Either way, it’s time for Derrickson, who also directed \u003cem>The Exorcism of Emily Rose\u003c/em>, to master a new ritual.\u003c/p>\n\u003cp>Christina has a scary jack-in-the-box, but by the time it starts acting up viewers have already experienced at least an hour of things jumping out at them. Stuffed with shock cuts and bloody brawls, \u003cem>Deliver Us From Evil\u003c/em> is often well edited, although its music is spliced less artfully.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>TV jester Joel McHale plays Sarchie’s partner, yet the two men’s banter is some of the grimmest in exorcist/cop-drama history. (Switching Indy Jones’ “I hate snakes” to “I hate cats” does not qualify as wit.) At least the characters might have made a few cracks about the frequent downpours. The devil may have all the best tunes, but in \u003cem>Deliver Us From Evil\u003c/em>, he just can’t catch a break from the rain. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Devil%27s+In+The+Derails%3A+%27Deliver+Us%2C%27+Indeed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For decades, cop dramas have depicted the South Bronx as the devil’s playground. \u003cem>Deliver Us From Evil\u003c/em> takes that idea all too literally. But then this slow-witted occult thriller takes everything literally, from the Catholic rite of exorcism to Jim Morrison’s shamanic posturing.\u003c/p>\n\u003cp>The movie is derived from a book of the same name by former NYPD Sgt. Ralph Sarchie, who reportedly came to believe that some of the criminals he faced were literally possessed. Wisely, director and co-scripter Scott Derrickson made the on-screen Sarchie (stolidly intense Eric Bana) a skeptic.\u003c/p>\n\u003cp>The cop is a lapsed Catholic who gave up on God when he was 12, although he does believe in the power of his internal “radar” to locate the most interesting cases. He’s also, unsurprisingly, wracked with Catholic guilt. And not just about how he neglects his wife, Jen (Olivia Munn), and 6-year-old daughter, Christina (Lulu Wilson).\u003c/p>\n\u003cp>Of course, the role of skeptics in movies like this is to be brutally converted to a magical worldview. Just as the job of 6-year-old daughters is to be threatened by the story’s archvillain.\u003c/p>\n\u003cp>That fiend is introduced in a prologue set in Iraq, four years ago. During a battle, three American soldiers stumble upon the entrance to a spooky, ill-lighted subterranean chamber. Naturally, they enter, thus setting the precedent for a movie where Sarchie is forever exploring gloomy basements and other dark, ominous crypts. At one point, he even walks into an actual lion’s den.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A series of horrific, seemingly senseless crimes connect to the three Iraq War veterans, led by gaunt and grisly Santino (Sean Harris in hoodie and goth face paint). Some of Santino’s victims babble song lyrics that Sarchie recognizes. In fact, he’s started to hear the same tunes in his head. They’re by the Doors, which at least makes them more listenable than the music of, say, Cannibal Corpse.\u003c/p>\n\u003cp>Then Sarchie meets Mendoza (Edgar Ramirez), a bad-boy priest and free-range exorcist who’s too sexy for his cassock. Curiously, both he and several of Santino’s victims speak Spanish or Italian as their first language. Satanic vexation is apparently a Latin tendency, although the ultimate source of the evil, we’re told, is Babylonian. (Until now, it was not widely known that ancient Mesopotamian djinns really dug the Doors.)\u003c/p>\n\u003cp>Ultimately, viewers are treated to what seems to be the most protracted exorcism scene ever filmed. But maybe it’s merely, for all its gore and noise, the most boring. Either way, it’s time for Derrickson, who also directed \u003cem>The Exorcism of Emily Rose\u003c/em>, to master a new ritual.\u003c/p>\n\u003cp>Christina has a scary jack-in-the-box, but by the time it starts acting up viewers have already experienced at least an hour of things jumping out at them. Stuffed with shock cuts and bloody brawls, \u003cem>Deliver Us From Evil\u003c/em> is often well edited, although its music is spliced less artfully.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>TV jester Joel McHale plays Sarchie’s partner, yet the two men’s banter is some of the grimmest in exorcist/cop-drama history. (Switching Indy Jones’ “I hate snakes” to “I hate cats” does not qualify as wit.) At least the characters might have made a few cracks about the frequent downpours. The devil may have all the best tunes, but in \u003cem>Deliver Us From Evil\u003c/em>, he just can’t catch a break from the rain. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Devil%27s+In+The+Derails%3A+%27Deliver+Us%2C%27+Indeed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Questlove and The Roots: How a Hip-Hop Band Conquered Late Night",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/157871570″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>The not-so-secret weapon on \u003c/em>The Tonight Show\u003cem> is \u003c/em>\u003ca href=\"http://www.npr.org/artists/15121130/the-roots\" target=\"_blank\" rel=\"noopener\">The Roots\u003c/a>,\u003cem> a band whose success on the NBC program was so swift it even surprised a few people at NBC. The group’s drummer and leader, Ahmir “Questlove” Thompson, says music is a crucial part of \u003c/em>The Tonight Show,\u003cem> and he spent some time showing NPR TV critic Eric Deggans exactly why.\u003c/em>\u003c/p>\n\u003cp>For the first time, a hip-hop group is the house band for the most influential TV show in late night.\u003c/p>\n\u003cp>And you can chalk up much of The Roots’ success to the relaxed perfectionism of the band’s leader, Questlove.\u003c/p>\n\u003cp>When I first meet him, he is lounging on a couch in a mixing room, deep inside \u003cem>The Tonight Show\u003c/em>‘s Rockefeller Center studios. Casually dressed in black jeans and black hoodie emblazoned with the words “legendary Roots crew,” Questlove is listening to a recording of the band rehearsing its new single, “Never.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Roots will play the song before the show’s cameras later that day; he’s huddling with the program’s engineer to show him how the band should sound. His ears seem to catch everything, including the thin tone of a wood block.\u003c/p>\n\u003cp>It’s like watching Rembrandt splash paint on a canvas.\u003c/p>\n\u003cp>“If you do this now, it’s not a big deal tonight, after we perform it,” he explains. Later he dishes on how one unnamed celebrity musical guest tweaked the mix of a performance right up until the show had to broadcast the footage.\u003c/p>\n\u003cp>Not so for Questlove, who looks comfortable and in command hours before taping. It’s obvious such detail-oriented artistry has paid off well for Questlove and The Roots.\u003c/p>\n\u003cp>The Roots are the last band you might expect to take over a late night TV institution. They came together in the late 1980s and quickly emerged as critic’s favorites. But some in hip-hop saw them as quirky outsiders, at least at first, for their musicianship and brainy creativity.\u003c/p>\n\u003cp>Five years ago, when Fallon started hosting NBC’s \u003cem>Late Night,\u003c/em> he picked The Roots as his house band.\u003c/p>\n\u003cfigure id=\"attachment_10138748\" class=\"wp-caption alignright\" style=\"max-width: 333px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/benwatts_ahmir_01_024_15937613-f05fd87023b0e83643cc4a9c4b7b30b310a63dca.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/benwatts_ahmir_01_024_15937613-f05fd87023b0e83643cc4a9c4b7b30b310a63dca.jpg\" alt='Ahmir \"Questlove\" Thompson serves as drummer, bandleader and producer for The Roots.' width=\"333\" height=\"250\" class=\"size-full wp-image-10138748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/benwatts_ahmir_01_024_15937613-f05fd87023b0e83643cc4a9c4b7b30b310a63dca.jpg 333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/benwatts_ahmir_01_024_15937613-f05fd87023b0e83643cc4a9c4b7b30b310a63dca-300x225.jpg 300w\" sizes=\"(max-width: 333px) 100vw, 333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ahmir “Questlove” Thompson serves as drummer, bandleader and producer for The Roots. \u003ccite>(Ben Watts/Press Here Publicity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the network suits weren’t so sure.\u003c/p>\n\u003cp>“The feelings at NBC were sorta like, ‘Well, we know they’re a good rap group but, what if we have [country artist] Tom T. Hall on the show? Do they have range?’ ” Questlove says.\u003c/p>\n\u003cp>At first, he says, NBC suggested a 13-week probation cycle, where they would meet to discuss the band’s performance. It was a way to quietly let the group go if things didn’t go well.\u003c/p>\n\u003cp>“And they were, like, throwing crazy stuff at us … they’d come and be like, ‘You guys got three minutes to come up with an Andrew Lloyd Webber reference.’ … That’s how the game ‘Freestylin’ with the Roots’ was invented,” Questlove says, referencing their version of a bit Johnny Carson once did with his \u003cem>Tonight Show\u003c/em> musicians called “Stump the Band.” “Once we did it, then they threw that [out, saying], ‘You guys are ours forever. Forget that 13-week meeting thing.’ ”\u003c/p>\n\u003cp>Smart move. Because it turns out The Roots have an unexpected talent for creating great moments on camera that become viral videos.\u003c/p>\n\u003cp>They reinvented \u003ca href=\"http://www.npr.org/artists/214471182/robin-thicke\" target=\"_blank\" rel=\"noopener\">Robin Thicke\u003c/a>‘s sexy, controversial hit \u003ca href=\"https://www.youtube.com/watch?v=YOZjaqHioro&feature=kp\" target=\"_blank\" rel=\"noopener\">“Blurred Lines” with kiddie instruments\u003c/a>. And \u003ca href=\"https://www.youtube.com/watch?v=vAFQIciWsF4\" target=\"_blank\" rel=\"noopener\">slow-jammed the news\u003c/a> with the leader of the free world.\u003c/p>\n\u003cp>And when Fallon moved up from \u003cem>Late Night\u003c/em> to take over \u003cem>The Tonight Show\u003c/em> in February, music remained at the center of the action.\u003c/p>\n\u003cp>“For starters, Jimmy is a musician … he’s a legitimate singer and guitarist,” Questlove says. “This show is really a variety show disguised as a talk show.”\u003c/p>\n\u003cp>As we’re hanging out in the band’s tiny rehearsal studio, one of the show’s writers stops by to ask for some on-the-spot creativity. In a couple of days, \u003ca href=\"http://www.npr.org/2011/10/14/141321799/twain-humor-award-honors-comedian-will-ferrell\" target=\"_blank\" rel=\"noopener\">Will Ferrell\u003c/a> will be a guest of the show. So will his look-alike: Chad Smith, drummer for the \u003ca href=\"http://www.npr.org/artists/16264182/red-hot-chili-peppers\" target=\"_blank\" rel=\"noopener\">Red Hot Chili Peppers\u003c/a>.\u003c/p>\n\u003cp>They want to have a drum battle. But Ferrell doesn’t really play drums.\u003c/p>\n\u003cp>So the writer has a simple request: Could Questlove work up a simple drum solo Ferrell can pretend to play on camera?\u003c/p>\n\u003cp>First, Questlove looks up a few drum solos on YouTube for inspiration. He sifts through clips of virtuoso solos — way too complicated for Ferrell to attempt — and even looks at a bit of his duet with \u003cem>Portlandia\u003c/em> star and \u003cem>Saturday Night Live\u003c/em> alum Fred Armisen, who actually plays drums.\u003c/p>\n\u003cp>Then Questlove sits behind a small kit in a cramped room packed with posters, DVDs, memorabilia and even a stray Grammy award. He reaches behind his back, pulls out a snare drum from among a half-dozen sitting on the floor behind him, and tries out ideas.\u003c/p>\n\u003cp>The result, which finally airs on \u003cem>The Tonight Show\u003c/em> two days later, makes Will Ferrell sound like Buddy Rich.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0uBOtQOO70Y\u003c/p>\n\u003cp>“It’s strange to admit it, but this is kinda the job we were born for,” Questlove says, noting that some tastemakers didn’t really get it when the band announced the TV gig.\u003c/p>\n\u003cp>“Once [the website] Gawker said ‘The Roots in this position is like watching Miles Davis busk for change in the New York subway system,’ ” he adds, smiling a little. “We wanted to be underestimated so that [we] could overexceed expectations.”\u003c/p>\n\u003cp>Mission accomplished. In fact, the success of Questlove and The Roots on \u003cem>The Tonight Show\u003c/em> seems a particular tale of triumph.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The quirkiest band in hip-hop kept its cool and conquered the biggest institution in late-night TV. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Questlove+And+The+Roots%3A+How+A+Hip-Hop+Band+Conquered+Late+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/157871570″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/157871570″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>The not-so-secret weapon on \u003c/em>The Tonight Show\u003cem> is \u003c/em>\u003ca href=\"http://www.npr.org/artists/15121130/the-roots\" target=\"_blank\" rel=\"noopener\">The Roots\u003c/a>,\u003cem> a band whose success on the NBC program was so swift it even surprised a few people at NBC. The group’s drummer and leader, Ahmir “Questlove” Thompson, says music is a crucial part of \u003c/em>The Tonight Show,\u003cem> and he spent some time showing NPR TV critic Eric Deggans exactly why.\u003c/em>\u003c/p>\n\u003cp>For the first time, a hip-hop group is the house band for the most influential TV show in late night.\u003c/p>\n\u003cp>And you can chalk up much of The Roots’ success to the relaxed perfectionism of the band’s leader, Questlove.\u003c/p>\n\u003cp>When I first meet him, he is lounging on a couch in a mixing room, deep inside \u003cem>The Tonight Show\u003c/em>‘s Rockefeller Center studios. Casually dressed in black jeans and black hoodie emblazoned with the words “legendary Roots crew,” Questlove is listening to a recording of the band rehearsing its new single, “Never.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Roots will play the song before the show’s cameras later that day; he’s huddling with the program’s engineer to show him how the band should sound. His ears seem to catch everything, including the thin tone of a wood block.\u003c/p>\n\u003cp>It’s like watching Rembrandt splash paint on a canvas.\u003c/p>\n\u003cp>“If you do this now, it’s not a big deal tonight, after we perform it,” he explains. Later he dishes on how one unnamed celebrity musical guest tweaked the mix of a performance right up until the show had to broadcast the footage.\u003c/p>\n\u003cp>Not so for Questlove, who looks comfortable and in command hours before taping. It’s obvious such detail-oriented artistry has paid off well for Questlove and The Roots.\u003c/p>\n\u003cp>The Roots are the last band you might expect to take over a late night TV institution. They came together in the late 1980s and quickly emerged as critic’s favorites. But some in hip-hop saw them as quirky outsiders, at least at first, for their musicianship and brainy creativity.\u003c/p>\n\u003cp>Five years ago, when Fallon started hosting NBC’s \u003cem>Late Night,\u003c/em> he picked The Roots as his house band.\u003c/p>\n\u003cfigure id=\"attachment_10138748\" class=\"wp-caption alignright\" style=\"max-width: 333px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/benwatts_ahmir_01_024_15937613-f05fd87023b0e83643cc4a9c4b7b30b310a63dca.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/07/benwatts_ahmir_01_024_15937613-f05fd87023b0e83643cc4a9c4b7b30b310a63dca.jpg\" alt='Ahmir \"Questlove\" Thompson serves as drummer, bandleader and producer for The Roots.' width=\"333\" height=\"250\" class=\"size-full wp-image-10138748\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/benwatts_ahmir_01_024_15937613-f05fd87023b0e83643cc4a9c4b7b30b310a63dca.jpg 333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/07/benwatts_ahmir_01_024_15937613-f05fd87023b0e83643cc4a9c4b7b30b310a63dca-300x225.jpg 300w\" sizes=\"(max-width: 333px) 100vw, 333px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ahmir “Questlove” Thompson serves as drummer, bandleader and producer for The Roots. \u003ccite>(Ben Watts/Press Here Publicity)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the network suits weren’t so sure.\u003c/p>\n\u003cp>“The feelings at NBC were sorta like, ‘Well, we know they’re a good rap group but, what if we have [country artist] Tom T. Hall on the show? Do they have range?’ ” Questlove says.\u003c/p>\n\u003cp>At first, he says, NBC suggested a 13-week probation cycle, where they would meet to discuss the band’s performance. It was a way to quietly let the group go if things didn’t go well.\u003c/p>\n\u003cp>“And they were, like, throwing crazy stuff at us … they’d come and be like, ‘You guys got three minutes to come up with an Andrew Lloyd Webber reference.’ … That’s how the game ‘Freestylin’ with the Roots’ was invented,” Questlove says, referencing their version of a bit Johnny Carson once did with his \u003cem>Tonight Show\u003c/em> musicians called “Stump the Band.” “Once we did it, then they threw that [out, saying], ‘You guys are ours forever. Forget that 13-week meeting thing.’ ”\u003c/p>\n\u003cp>Smart move. Because it turns out The Roots have an unexpected talent for creating great moments on camera that become viral videos.\u003c/p>\n\u003cp>They reinvented \u003ca href=\"http://www.npr.org/artists/214471182/robin-thicke\" target=\"_blank\" rel=\"noopener\">Robin Thicke\u003c/a>‘s sexy, controversial hit \u003ca href=\"https://www.youtube.com/watch?v=YOZjaqHioro&feature=kp\" target=\"_blank\" rel=\"noopener\">“Blurred Lines” with kiddie instruments\u003c/a>. And \u003ca href=\"https://www.youtube.com/watch?v=vAFQIciWsF4\" target=\"_blank\" rel=\"noopener\">slow-jammed the news\u003c/a> with the leader of the free world.\u003c/p>\n\u003cp>And when Fallon moved up from \u003cem>Late Night\u003c/em> to take over \u003cem>The Tonight Show\u003c/em> in February, music remained at the center of the action.\u003c/p>\n\u003cp>“For starters, Jimmy is a musician … he’s a legitimate singer and guitarist,” Questlove says. “This show is really a variety show disguised as a talk show.”\u003c/p>\n\u003cp>As we’re hanging out in the band’s tiny rehearsal studio, one of the show’s writers stops by to ask for some on-the-spot creativity. In a couple of days, \u003ca href=\"http://www.npr.org/2011/10/14/141321799/twain-humor-award-honors-comedian-will-ferrell\" target=\"_blank\" rel=\"noopener\">Will Ferrell\u003c/a> will be a guest of the show. So will his look-alike: Chad Smith, drummer for the \u003ca href=\"http://www.npr.org/artists/16264182/red-hot-chili-peppers\" target=\"_blank\" rel=\"noopener\">Red Hot Chili Peppers\u003c/a>.\u003c/p>\n\u003cp>They want to have a drum battle. But Ferrell doesn’t really play drums.\u003c/p>\n\u003cp>So the writer has a simple request: Could Questlove work up a simple drum solo Ferrell can pretend to play on camera?\u003c/p>\n\u003cp>First, Questlove looks up a few drum solos on YouTube for inspiration. He sifts through clips of virtuoso solos — way too complicated for Ferrell to attempt — and even looks at a bit of his duet with \u003cem>Portlandia\u003c/em> star and \u003cem>Saturday Night Live\u003c/em> alum Fred Armisen, who actually plays drums.\u003c/p>\n\u003cp>Then Questlove sits behind a small kit in a cramped room packed with posters, DVDs, memorabilia and even a stray Grammy award. He reaches behind his back, pulls out a snare drum from among a half-dozen sitting on the floor behind him, and tries out ideas.\u003c/p>\n\u003cp>The result, which finally airs on \u003cem>The Tonight Show\u003c/em> two days later, makes Will Ferrell sound like Buddy Rich.\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/0uBOtQOO70Y'\n title='//www.youtube.com/embed/0uBOtQOO70Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s strange to admit it, but this is kinda the job we were born for,” Questlove says, noting that some tastemakers didn’t really get it when the band announced the TV gig.\u003c/p>\n\u003cp>“Once [the website] Gawker said ‘The Roots in this position is like watching Miles Davis busk for change in the New York subway system,’ ” he adds, smiling a little. “We wanted to be underestimated so that [we] could overexceed expectations.”\u003c/p>\n\u003cp>Mission accomplished. In fact, the success of Questlove and The Roots on \u003cem>The Tonight Show\u003c/em> seems a particular tale of triumph.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The quirkiest band in hip-hop kept its cool and conquered the biggest institution in late-night TV. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Questlove+And+The+Roots%3A+How+A+Hip-Hop+Band+Conquered+Late+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NPR Music's 25 Favorite Albums of 2014 (so Far)",
"headTitle": "NPR Music’s 25 Favorite Albums of 2014 (so Far) | KQED",
"content": "\u003cp>At the year’s halfway point, with summer just about to flip the calendar over to side B, it’s a challenge to get a satisfying picture of the year in music, even if you’re just looking at a single genre. Consider the voices of the couple dozen obsessive listeners from NPR Music and our public radio partners who made this list, and the only thing that remains undeniably true is that great albums come out of every genre, from every corner of the world.\u003c/p>\n\u003cp>What links them together? 2014 has, in its first six months, been a wonderful year for musicians who go deep. The 25 albums on this list (presented alphabetically) all start with a sound, a vibe, a concept or crucial idea. After that, they flower in different ways. One might display the range of sounds a band leader can pull out of a few fellow musicians or the depth of emotion a singer can plumb while mapping the course of desire and heartbreak. Others offer history lessons, looking back over 20 years in the life of an American city or 200 years in the life of an instrument.\u003c/p>\n\u003cp>All pull you in with both hands. All of them connect us as listeners to the work done by musicians who ask for more than three minutes of our time. These ones deserve it. These are our favorite albums of the year so far.\u003c/p>\n\u003chr>\n\u003ch3>NPR Music’s 25 Favorite Albums Of 2014 (So Far)\u003c/h3>\n\u003chr>\n\u003cfigure id=\"attachment_10138554\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-400x224.jpg\" alt=\"Ana Tijoux, <em>Vengo</em>\" width=\"640\" height=\"359\" class=\"size-thumbnail wp-image-10138554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux, \u003cem>Vengo\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ANA TIJOUX\u003cbr>\u003c/strong>\u003cstrong>\u003cem>VENGO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Over the last few years, Chilean rapper \u003ca href=\"http://www.npr.org/artists/128773620/ana-tijoux\" target=\"_blank\" rel=\"noopener\">Ana Tijoux\u003c/a> has released one flawless record after another, making her one of Latin America’s most beloved rappers. Her most recent album, \u003cem>Vengo, \u003c/em>is no exception. It’s musically exhilarating while lyrically poignant, a difficult equilibrium that Latin hip-hop — a genre that tends to be very political — sometimes has trouble achieving. Tijoux walks the thin line that separates thoughtful from preachy with confidence: She’s at that sweet spot of being joyously combative, relaxed but resistant. Musically \u003cem>Vengo \u003c/em>is also quite breathtaking. While some of her colleagues wallow in derivative beats, she proves why she’s at the top of her class with a unique blend of jazz, funk and Andean rhythms. For those who don’t know her work, this is a good time to catch up. —\u003cem>Jasmine Garsd\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138555\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-1440x809.jpg\" alt=\"Angel Olsen, <em>Burn Your Fire for No Witness</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Angel Olsen, \u003cem>Burn Your Fire for No Witness\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ANGEL OLSEN\u003cbr>\u003c/strong>\u003cstrong>\u003cem>BURN YOUR FIRE FOR NO WITNESS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The word “confessional” tends to get tossed around to describe singer-songwriters who reveal — and even revel in — raw, sticky emotions. But there’s a kind of submissiveness, even apology, implied by that word that doesn’t suit \u003ca href=\"http://www.npr.org/artists/245998397/angel-olsen\" target=\"_blank\" rel=\"noopener\">Angel Olsen\u003c/a>. Whether she’s huddled over a single acoustic guitar or backed by a muscular rock band, Olsen’s voice grabs you by the collar and looks straight through you. As commanding and assertive as its title suggests, especially in naked and foreboding songs like the seven-minute “White Fire,” \u003cem>Burn Your Fire for No Witness\u003c/em> doesn’t waste a motion or a breath. Olsen’s subtle, commanding voice is the embodiment of coiled intensity: The more she seems to hold still, the harder her punches land. \u003cem>–Stephen Thompson\u003cbr>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138556\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-1440x809.jpg\" alt=\"Arturo O'Farrill & The Afro Latin Orchestra, Offense of the The Drum\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arturo O’Farrill & The Afro Latin Orchestra, Offense of the The Drum\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ARTURO O’FARRILL & THE AFRO LATIN ORCHESTRA\u003cbr>\u003c/strong>\u003cstrong>\u003cem>THE OFFENSE OF THE DRUM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>There’s no doubt that the Afro Latin Jazz Orchestra, led by pianist \u003ca href=\"http://www.npr.org/artists/90792805/arturo-o-farrill\" target=\"_blank\" rel=\"noopener\">Arturo O’Farrill\u003c/a>, is well versed in clave and swing. But here’s a list of other things that appear on its new album: Colombian country harp; “Iko Iko” featuring a Mardi Gras Indian chief; an mesmerizing beat pattern from Vijay Iyer; an arrangement of a work by French Romantic composer \u003ca href=\"http://www.npr.org/artists/91146991/erik-satie\" target=\"_blank\" rel=\"noopener\">Erik Satie\u003c/a>; Nuyorican slam poetry with scratching turntables; djembe, taiko drum and at least 26 other percussion instruments. Musical hybridity is at the heart of this band; here, it assimilates any remezcla thrown at it with furious conviction. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138557\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/beck_25albums2014-3c20c823707d96ff4b69ba9f4e64dbb11ea2fedc-e1404172420161.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/beck_25albums2014-3c20c823707d96ff4b69ba9f4e64dbb11ea2fedc-e1404172420161.jpg\" alt=\"Beck, Morning Phase\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138557\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Beck, \u003cem>Morning Phase\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>BECK\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MORNING PHASE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>If we needed any proof that albums still matter in this short-attention-span world, \u003ca href=\"http://www.npr.org/artists/15333650/beck\" target=\"_blank\" rel=\"noopener\">Beck\u003c/a>‘s flawless twelfth album, \u003cem>Morning Phase\u003c/em>, is a triumphant testimony. From the soft swells of the orchestral opener, “Cycle,” and the first strum of his guitar, the transportive effect of this slow and beautiful sonic journey begins. Made with Beck’s composer father, David Richard Campbell, and many of the same musicians behind 2002’s \u003cem>Sea Change\u003c/em> (Beck’s beloved ode to heartbreak), \u003cem>Morning Phase \u003c/em>could be called a companion piece, but is better described as a grown-up sequel. The songs pull at the heartstrings, and instead of pulling us downward, they are ultimately about finding the light when one lets go. Whether it is in the glow of early morning or under a blue moon, \u003cem>Morning Phase\u003c/em> provides a bittersweet reminder of the temporary nature of all things, and a wiser Beck right there with us. —\u003cem>Carmel Holt, \u003ca href=\"http://www.wfuv.org/\" target=\"_blank\" rel=\"noopener\">WFUV\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138558\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-1440x809.jpg\" alt=\"Brian Blade & The Fellowship Band, Landmarks\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brian Blade & The Fellowship Band, Landmarks\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>BRIAN BLADE & THE FELLOWSHIP BAND\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LANDMARKS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>This album is led by an all-world jazz drummer but there aren’t really drum solos. It’s pastoral and tranquil when its peers are often urbane and frenetic. It feels simple — rhythmically, harmonically, structurally — in an age of complexity. So when a melody emerges, it cuts like a knife. When a saxophone reaches for that high note, the sincerity is palpable. And when the constantly simmering tension erupts, or even just hits a rolling boil, there’s a joyousness, an instant renewal of 20-year friendships, a velocity of celebration. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138559\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-1440x809.jpg\" alt=\"David Greilsammer, <em>Scarlatti/Cage: Sonatas</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Greilsammer, \u003cem>Scarlatti/Cage: Sonatas\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>DAVID GREILSAMMER\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SCARLATTI & CAGE SONATAS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Like a crafty DJ, David Greilsammer has a knack for surprising musical juxtapositions. On the pianist’s album \u003cem>Baroque Conversations\u003c/em>, from 2012, 18th-century masters like Jean-Philippe Rameau sit cheek-by-jowl with modernists like Morton Feldman. Now Greilsammer’s back at it, swapping sonatas written 200 years apart by \u003ca href=\"http://www.npr.org/artists/91447657/domenico-scarlatti\" target=\"_blank\" rel=\"noopener\">Domenico Scarlatti\u003c/a> and \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a>. For Greilsammer the two composers are kindred spirits, both “inventors of sound” — Scarlatti with his radical harmonies and rhythms inspired by flamenco and Cage with his prepared piano (into which he inserted nuts, bolts and rubber thingamabobs to create a percussion orchestra). His performance of Scarlatti’s Sonata in D minor, K.213 exquisitely dovetails into Cage’s Sonatas XIV & XV, creating a third entity — the fascinating bridge connecting the daring and the delicate in each piece (you can listen to an excerpt here). To the “inventors” Scarlatti and Cage we can add and third name — Greilsammer, whose spunk and imagination are most welcome. \u003cem>–Tom Huizenga\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138560\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/freddiegibs_wide-6831c1711a09b57dec428dce56ac65fe196642fd-e1404172525229.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/freddiegibs_wide-6831c1711a09b57dec428dce56ac65fe196642fd-e1404172525229.jpg\" alt=\"Freddie Gibs & Madlib, Pinata\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Freddie Gibs & Madlib, Pinata\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>FREDDIE GIBBS & MADLIB\u003cbr>\u003c/strong>\u003cstrong>\u003cem>PIÑATA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Rapper Freddie Gibbs, born and raised in Gary, Ind., met venerable producer \u003ca href=\"http://www.npr.org/artists/15697271/madlib\" target=\"_blank\" rel=\"noopener\">Madlib \u003c/a>in Los Angeles, and the album they made together is a complete work that straddles generations and sensibilities. The pair’s conception of gangster music sounds more like crushed velvet than velour, dramatizing the turmoil of a narrator who could be Sincere’s older son, or the grandchild of Youngblood Priest. On one song, “Robes,” Gibbs quotes 1987 \u003ca href=\"http://www.npr.org/artists/15194292/babyface\" target=\"_blank\" rel=\"noopener\">Babyface\u003c/a> and invites two ’90s babies to jump on. Throughout, his eye is unsparing, never more so than when it’s turned on himself. On “Broken” he begins with the Basmala and later, talking about his inherited infidelity, says “Honestly, I know I’m out here f—ing up.” Gibbs’ phrasing is virtuosic; his words sound like they’ve levitated. No guest — not \u003ca href=\"http://www.npr.org/artists/18171955/scarface\" target=\"_blank\" rel=\"noopener\">Scarface\u003c/a>, not Raekwon, not \u003ca href=\"http://www.npr.org/artists/230494985/earl-sweatshirt\" target=\"_blank\" rel=\"noopener\">Earl\u003c/a>, not \u003ca href=\"http://www.npr.org/artists/228095350/danny-brown\" target=\"_blank\" rel=\"noopener\">Danny Brown\u003c/a> — outshines Gibbs over beats that are glassine and big-bodied and as real as can be. —\u003cem>Frannie Kelley\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138561\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/gordonvoidwell_25albums2014_wide-7e8cd1a53eb82771aaf005332b53b8e3ffa24032-e1404172572446.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/gordonvoidwell_25albums2014_wide-7e8cd1a53eb82771aaf005332b53b8e3ffa24032-e1404172572446.jpg\" alt=\"Gordon Voidwell, BAD ETUDES\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138561\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gordon Voidwell, \u003cem>BAD ETUDES\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>GORDON VOIDWELL\u003cbr>\u003c/strong>\u003cstrong>\u003cem>BAD ÉTUDES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Like Frankenstein’s monster, \u003cem>BAD ÉTUDES\u003c/em> is stitched together, alive and breathing by the hand of its master, Bronx musician Gordon Voidwell. Oozing funk, pop, R&B and otherworldly inspiration, the record is filled to the brim with thoughtfully constructed modulations and manipulations — imagine a \u003ca href=\"http://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> from the future who says, “To hell with all these instruments. Let me see how far I can freak a keyboard.” With his production serving as a constantly tilting landscape of audacity, Voidwell takes it a step further by altering his vocals, veering them toward femininity then back again. He throws us off and turns us on; winds us up and breaks it all down. As a whole or piece-by-piece, this album is a funky sci-fi experiment gone right. —\u003cem>Kiana Fitzgerald\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bad Études\u003c/em> is available for purchase on \u003ca href=\"http://gordonvoidwell.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>.\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138562\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-1440x809.jpg\" alt=\"Hurray for the Riff Raff, <em>Small Town Heroes</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hurray for the Riff Raff, \u003cem>Small Town Heroes\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>HURRAY FOR THE RIFF RAFF\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SMALL TOWN HEROES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Considering the songs that populate \u003ca href=\"http://www.npr.org/artists/270950584/hurray-for-the-riff-raff\" target=\"_blank\" rel=\"noopener\">Hurray for the Riff Raff\u003c/a>‘s latest release, it makes sense that they titled the disc \u003cem>Small Town Heroes\u003c/em>. Here are the voices of battered women taking their power back; defiantly hopeful lovers; neighborhoods keeping their pride amid surging crime waves; the outlaw with the yearning heart; and of course the band on the road, longing for home. They’re songs about a city revitalizing itself, people coming into their own. Its rhythms and melodies call to mind everything from Appalachian tradition to the Mississippi Delta and the old folk-blues. Front-woman and songwriter Alynda Lee Segarra sings every lyric with a haunting, raw honesty. Where her voice doesn’t tremble like it’s shaking the rain out, it soars and bops like a determined bird flying against a breeze. \u003cem>Small Town Heroes \u003c/em>is an arresting, memorable disc from a band that’s only just getting started. \u003cem>–Kim Ruehl, \u003ca href=\"http://www.folkalley.com/\" target=\"_blank\" rel=\"noopener\">Folk Alley\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138563\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/jeffballardtrio_wide-445847285a240861b8014cb10f128810162dc677-e1404172957482.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/jeffballardtrio_wide-445847285a240861b8014cb10f128810162dc677-e1404172957482.jpg\" alt=\"Jeff Ballard Trio, Time's Tales\" width=\"639\" height=\"359\" class=\"size-full wp-image-10138563\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeff Ballard Trio, \u003cem>Time’s Tales\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>JEFF BALLARD TRIO\u003cbr>\u003c/strong>\u003cstrong>\u003cem>TIME’S TALES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Drummer Jeff Ballard had never led a recording before this one, which is amazing considering how many recordings he’s been a part of. His debut album reflects most of his divergent impulses toward the worldly and the familiar, the knotted bundles of odd-meter asymmetry and the silky-smooth groove — and does so with only three guys. It works because while his two collaborators play guitar (\u003ca href=\"http://www.npr.org/artists/88982391/lionel-loueke\" target=\"_blank\" rel=\"noopener\">Lionel Loueke\u003c/a>, from Benin) and sax (\u003ca href=\"http://www.npr.org/artists/95471452/miguel-zen-n\" target=\"_blank\" rel=\"noopener\">Miguel Zenón\u003c/a>, from Puerto Rico), everyone’s a percussionist at heart. That rapid fire rhythmic dialogue, and some nifty guitar noises, enables a skeleton crew to throw a street parade. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138564\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-1440x809.jpg\" alt=\"Kassem Mosse, <em>Workshop 19</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kassem Mosse, \u003cem>Workshop 19\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KASSEM MOSSE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>WORKSHOP 19\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>On a string of singles released over the better part of a decade, Leipzig’s Kassem Mosse has found the sweet spot between stripped-down production and melody-driven songwriting. Making music that’s warmer than much of the techno coming out of Germany and sparser than much of the house music coming from the States, Mosse is hailed again and again for blazing his own trail, and sucking in others under his wake. An auteur to the bone, Mosse’s debut LP showcases the flexibility of his sound. It’s murky and melancholic, ambient at times, but also made to get people up out of their seats. Once again, Kassem Mosse finds the space between expected and inaccessible. \u003cem>–Sami Yenigun\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138565\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-1440x809.jpg\" alt=\"Leon Vynehall, <em>Music for the Uninvited</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Leon Vynehall, \u003cem>Music for the Uninvited\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>LEON VYNEHALL\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MUSIC FOR THE UNINVITED\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Remember what it felt like to listen to your parents’ cassettes when you were a young child? Kind of, but not really, right? We recall snippets of songs, the stack of plastic cases below the car stereo, maybe the auto-reverse click between “Darling Nikki” and “When Doves Cry.” For many of us, it’s an impressionist painting in our mind of the moment we first fell in love with music. British dance producer Leon Vynehall called on his fuzzy memories of low fidelity while writing his debut album, \u003cem>Music For The Uninvited\u003c/em>, a sample-fueled fusion of house, disco, funk and soul. He even ends each “side” of the record with that unmistakable *snap* of a play button popping back into place. It’s an old-skool labor of love by one of the most promising young minds in dance music, nostalgic and next-level at the same time. \u003cem>–Otis Hart\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-1440x809.jpg\" alt=\"Los Lobos, <em>Si Se Puede</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Lobos, \u003cem>Si Se Puede\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>LOS LOBOS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SI SE PUEDE!: LOS LOBOS AND FRIENDS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Over 40 years ago music played a crucial role in one of this country’s most important civil rights struggles: not in the Jim Crow South but in the agricultural fields of California, where the United Farm Workers (UFW) was organizing laborers into a union for the first time ever. Traditional Mexican \u003cem>corridos\u003c/em> were reworked to call people to march, picket and strike. The music was made by some of the workers themselves, as well as members of the UFW, and you pretty much had to be out in the fields to hear it — until 1976 when the album \u003cem>Si Se Puede\u003c/em> was released as a fundraiser for the UFW. Herb Albert donated his A&M Records studios to a group of young Chicano musicians who called themselves Los Lobos del Este de los Angeles and who gathered some of their friends to record some of the music that had become part of the farm worker movement.\u003c/p>\n\u003cp>The band \u003ca href=\"http://www.npr.org/artists/15221330/los-lobos\" target=\"_blank\" rel=\"noopener\">shortened its name\u003c/a> and eventually made a big noise of their own, and 38 years later, long after it had gone out print, the music was finally digitally re-released this spring to coincide with the release of a biopic about César Chávez. The themes of social justice are timeless but more so is the notion that music can indeed help change the world. We seem to have forgotten that. That’s why this music, now nearly four decades old, still matters. \u003cem>–Felix Contreras\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138567\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-1440x809.jpg\" alt=\"Majid Bekkas, <em>Al Qantara</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Majid Bekkas, \u003cem>Al Qantara\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MAJID BEKKAS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>AL QANTARA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Al Qantara\u003c/em> (“The Bridge”) is a fitting title for the new album by Majid Bekkas. The native Moroccan’s home country has long been a nexus of African, Eastern and Western cultures. Bekkas is steeped in Gwana, an ancient Moroccan spiritual trance music, but on \u003cem>Al Qantara\u003c/em> he adroitly fuses the tradition with jazz and African styles. His principal tools are the oud and the guembri, a three-stringed guitar-sized instrument covered in camel skin that produces the low notes of a double bass. With his Afro-Oriental Jazz Trio, Bekkas guides a journey through traditional Moroccan tunes (“Bania”), jazz staples (Don Cherry’s “Guinea”) and his own mesmerizing creations. “Choroq,” after an extended oud introduction, gives way to Manuel Hermia’s evocative basuri (bamboo flute). When Khalid Kouhen’s Indian tabla drums kick in, the piece takes flight with a melody of sublime beauty. Hopefully \u003cem>Al Qantara\u003c/em> will bridge yet one more gap — the one between the notoriety Bekkas enjoys in Morocco and that which we hope he finds far beyond. \u003cem>–Tom Huizenga\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/mirandalambert_25albums2014_wide-1afdced0fd9712e5af2e30482dad5052d872a3a4-e1404173205726.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/mirandalambert_25albums2014_wide-1afdced0fd9712e5af2e30482dad5052d872a3a4-e1404173205726.jpg\" alt=\"Miranda Lambert, Platinum\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138568\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miranda Lambert, \u003cem>Platinum\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MIRANDA LAMBERT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>PLATINUM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a> likes to say in interviews that she’s no role model. And thank goodness. On her fifth studio album, country’s longtime self-aware bad girl\u003cem> \u003c/em>offers something more powerful than craziness and kerosene: a deliberately holistic portrait of 21\u003csup>st\u003c/sup>-century femininity, with room for vulnerability, regret, gentle nostalgia, hope and plenty of humor. Lambert speaks through characters who are married and independent, sexually confident and anxious about their looks, longing for home comforts and eager for the wide open road. The music ranges just as widely as Lambert’s world view, from traditional bluegrass to honky-tonk rock to the well-burnished country radio requires. Lambert herself always retains her individualistic edge. “You don’t know nothin’ about girls,” she sings, confronting stereotypes in the album’s lead track. Don’t worry, Miranda will school you. \u003cem>–Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138569\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-1440x809.jpg\" alt=\"Owen Pallett,<em> In Conflict</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Owen Pallett,\u003cem> In Conflict\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>OWEN PALLETT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>IN CONFLICT\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Once the golden boy of Canada’s now decade-long indie invasion, \u003ca href=\"http://www.npr.org/artists/124207024/owen-pallett\" target=\"_blank\" rel=\"noopener\">Owen Pallett\u003c/a> made his best album by tracking the growing pains of becoming an adult: solitude, self-destruction, depression and regret cut with a confidence borne of the realization that you, you grown human person, have survived long enough to build a life made out of your own accumulated choices. Everything that made Pallett’s name is here on \u003cem>In Conflict\u003c/em>: the lonely, looped violin; lyrical details that weave soul-baring into mundane; the tense/triumphant orchestration that won him a spot as Arcade Fire’s resident classical guy (not to mention an Oscar nomination for scoring \u003cem>Her\u003c/em> last year). Any one of these would make him a tremendous talent. All of them, knit together with new authority and purpose, make him singular. \u003cem>–Jacob Ganz\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138570\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/johnadams_wide-da8e9b1a51f822449dab49d79b330922ed82f8e6-e1404173361922.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/johnadams_wide-da8e9b1a51f822449dab49d79b330922ed82f8e6-e1404173361922.jpg\" alt=\"St. Louis Symphony/Robertson, Adams: City Noir/Saxophone Concerto\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138570\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Louis Symphony/Robertson, \u003cem>Adams: City Noir/Saxophone Concerto\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ST. LOUIS SYMPHONY/DAVID ROBERTSON, CONDUCTOR\u003cbr>\u003c/strong>\u003cstrong>\u003cem>ADAMS: CITY NOIR/SAXOPHONE CONCERTO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Composer \u003ca href=\"http://www.npr.org/artists/14996733/john-adams\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> wrote \u003cem>City Noir \u003c/em>as an homage to the City of Angels — and it is at once a cinematically scaled nod to 1940s and ’50s film scores and, especially in the first movement, an intricate bundle full of knotted melodies climbing inside each other. The saxophone concerto that accompanies \u003cem>City Noir \u003c/em>carries bebop in its DNA, and soloist Timothy McAllister is simply outstanding. Meanwhile, the St. Louis Symphony Orchestra and conductor David Robertson are born naturals for this music, turning in fresh, dynamic and invigorating performances. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138571\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-1440x808.jpg\" alt=\"St. Vincent, <em>St. Vincent</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-1440x808.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Vincent, \u003cem>St. Vincent\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ST. VINCENT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>ST. VINCENT\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I’ve always thought Annie Clark’s music and guitar playing was pretty damn good — then she released her fourth \u003ca href=\"http://www.npr.org/artists/15159199/st-vincent\" target=\"_blank\" rel=\"noopener\">St. Vincent\u003c/a> record and I was floored. All of the qualities I’ve come to love in her music — the quirky lyrics, songs with hairpin turns and her idiosyncratic guitar playing — are here, sharper than ever. There are songs about her Jesus and her mother, about political activist Huey Newton, about running naked in the desert and the meaning of it all in this digital age. The songs are fun, sometimes funny and sonically a treat for the ears. \u003cem>–Bob Boilen\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138572\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-1440x809.jpg\" alt=\"Stromae,<em> Racine Caree</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stromae,\u003cem> Racine Caree\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>STROMAE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>RACINE CARRÉE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It’s hard to pin the Belgian artist \u003ca href=\"http://www.npr.org/2014/06/19/322933388/stromae-global-star-in-the-making-set-to-touch-down-in-the-u-s\" target=\"_blank\" rel=\"noopener\">Stromae\u003c/a> down, and that’s just how he likes it: a little EDM, a little hip-hop, a little R&B, a little Eurodance, a little Congolese rumba, a little tango … and yet it all works, beautifully. One of the smartest songwriters around, Stromae navigates the shoals of modern life — from relationships and race to the financial crisis and existential concerns — with grace, humor, a wink and a teeny bit of swagger. There are so many tracks to fall in love with here — “Formidable,” “Tous Les Mêmes,” “Ave Cesaria,” “Ta Fête,” “Humain A L’Eau,” the global smash “Papaoutai” — that the whole album is an unmitigated, heavy-repeat pleasure. And his live show is, improbably, even better. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138573\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-1440x809.jpg\" alt=\"Sturgill Simpson, <em>Metamodern Sounds in Country Music</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sturgill Simpson, \u003cem>Metamodern Sounds in Country Music\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>STURGILL SIMPSON\u003cbr>\u003c/strong>\u003cstrong>\u003cem>METAMODERN SOUNDS IN COUNTRY MUSIC\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>There are people who fret about the health and purity of country music and there are those who just keep the damn stuff alive. On his second solo album, \u003ca href=\"http://www.npr.org/artists/323191173/sturgill-simpson\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> pumps oxygen into familiar forms — the honky-tonk all-night drunk, the philosophical road song, the countrypolitan ballad, the gospel singalong, the trucker anthem — with the no-fuss creativity of a rebel with a cause, and a plan. The Kentucky native, now living in Nashville, set out to make songs that honored tradition but rejected easy associations: Instead of odes to girls with painted-on jeans, Simpson applies his majestic baritone to sometimes psychedelic ruminations about fate, personal agency and the Zen interconnectedness of all things. His muscular touring band keeps Simpson grounded while letting him range wide. The result is hard country with no edges made for people with big sky minds. \u003cem>–Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138574\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-1440x809.jpg\" alt=\"Sylvan Esso<em>, Sylvan Esso</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvan Esso\u003cem>, Sylvan Esso\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SYLVAN ESSO\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SYLVAN ESSO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>An unexpected, intoxicating left-field debut, \u003cem>Sylvan Esso\u003c/em> captures the sound of two equally unlikely musicians: singer Amelia Meath, known for singing a cappella folk in Mountain Man, and producer Nick Sanborn, known for playing bass in the psychedelic roots-rock band Megafaun. Neither had hinted at anything that sounds quite like this batch of intricately crafted, emotionally resonant, strikingly catchy electro-pop songs. Music this sturdy and remix-ready doesn’t generally come from such a distinct and powerful lyrical point of view: Meath’s often hauntingly ambivalent words seize just as much attention as the multidimensional sound beds on which they’re placed. “Coffee” is the most unstoppably great song here — maybe the most unstoppably great song of the year, period — but everything else on \u003cem>Sylvan Esso\u003c/em> grabs hard, too, from the playful provocation of “Hey Mami” to the wobbly anthemic rush of “Play It Right.” \u003cem>–Stephen Thompson\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138575\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-1440x809.jpg\" alt=\"Toni Braxton & Babyface, <i>Love Marriage & Divorce</i>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Toni Braxton & Babyface, \u003ci>Love Marriage & Divorce\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>TONI BRAXTON & BABYFACE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LOVE, MARRIAGE & DIVORCE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Rich doesn’t come close to describing \u003ca href=\"http://www.npr.org/artists/15292781/toni-braxton\" target=\"_blank\" rel=\"noopener\">Toni Braxton\u003c/a>‘s voice. More than 20 years after \u003ca href=\"https://www.youtube.com/watch?v=tLJPsHhcEOo\" target=\"_blank\" rel=\"noopener\">her first duet with Babyface\u003c/a>, with the mic capturing every little thing that comes out of her mouth — every catch, every low key run, even the bitten off end of a word — she sounds at once impossible and exactly like your friend did the last time her heart got broken. There are overblown moments on \u003cem>Love, Marriage & Divorce\u003c/em>, but most of the album feels personal, and all that reverb helps to make it feel interior, even private. Babyface’s voice is tangy and refined. On “Roller Coaster” he’s punchy, using his voice like a rhythm instrument. Braxton takes liberties with the beat. Her two solo turns, “I Wish,” which is too real, and “I’d Rather Be Broke,” aren’t occasions to show off; they further the narrative. The album sticks to its story, and in the process delivers a set of mature songs masterfully detailed. —\u003cem>Frannie Kelley\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138576\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-1440x809.jpg\" alt=\"Triptykon, <em>Melana Chasmata</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Triptykon, \u003cem>Melana Chasmata\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>TRIPTYKON\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MELANA CHASMATA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>In his third band in three decades, \u003ca href=\"http://www.npr.org/blogs/therecord/2014/05/21/314007649/the-long-shadow-of-tom-warrior-metals-dark-innovator\" target=\"_blank\" rel=\"noopener\">Tom Warrior\u003c/a> continues to be one of metal’s most thoughtful innovators. As visionary as Warrior has been in Hellhammer and \u003ca href=\"http://www.npr.org/artists/325810489/celtic-frost\" target=\"_blank\" rel=\"noopener\">Celtic Frost\u003c/a>, Warrior works best in tandem with a band that locks into his dark world. Triptykon’s second album, \u003cem>Melana Chasmata\u003c/em>, is a bottomless pit where nocturnal creatures breed and kill, uncovering atmospheres and riffs still unknown. \u003cem>–Lars Gotrich\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138577\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-1440x809.jpg\" alt=\"The War on Drugs, <em>Lost in the Dream</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The War on Drugs, \u003cem>Lost in the Dream\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>THE WAR ON DRUGS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LOST IN THE DREAM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/91730305/the-war-on-drugs\" target=\"_blank\" rel=\"noopener\">The War On Drugs\u003c/a>‘ \u003cem>Lost In The Dream\u003c/em> is the sound of tomorrow’s greatest classic rock today. Lead singer and guitarist Adam Granduciel’s epic guitar playing and songwriting on album tracks like “Under The Pressure,” “In Reverse” and the seven minute “An Ocean In Between The Waves,” are infused with mesmerizing \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Springsteen\u003c/a>–\u003ca href=\"http://www.npr.org/artists/15300677/tom-petty\" target=\"_blank\" rel=\"noopener\">Petty\u003c/a>–\u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">Velvet Underground\u003c/a> influences. He’s got a vocal style that brings to mind \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Dylan\u003c/a> circa \u003cem>Blood On The Tracks\u003c/em>. It’s possible to deduce the themes of the album by the names of the songs. “Eyes To The Wind,” “The Haunting Idle,” the title song and the slow burning “Suffering,” express matters of the heart and soul. There’s plenty of searching, longing, and questioning, set to a soundtrack of a psychedelic heartland.\u003cem> Lost In The Dream\u003c/em> is a triumphant, transcendent, classic rock album — whether or not you hear the Springsteenisms that subtly inform the record. —\u003cem>Bruce Warren, \u003ca href=\"http://www.xpn.org/\" target=\"_blank\" rel=\"noopener\">WXPN\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138578\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yg_wide-7185bf9f9d7843bc629c0a6a9778f1e7df695ce3-e1404174335605.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yg_wide-7185bf9f9d7843bc629c0a6a9778f1e7df695ce3-e1404174335605.jpg\" alt=\"YG, My Krazy Life\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138578\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">YG,\u003cem> My Krazy Life\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>YG\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MY KRAZY LIFE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>After the success of his platinum selling single “My Hitta” and \u003ca href=\"http://www.npr.org/artists/250250872/drake\" target=\"_blank\" rel=\"noopener\">Drake\u003c/a>-flavored “Who Do You Love,” YG released his debut album, \u003cem>My Krazy Life\u003c/em> earlier this year. \u003cem>My Krazy Life\u003c/em> has the feeling of a traditional West Coast album (skits included): You can hear \u003ca href=\"http://www.npr.org/artists/15594870/dr-dre\" target=\"_blank\" rel=\"noopener\">Dr. Dre\u003c/a> bass lines and some Bay Area bounce slips in thanks to the production of DJ Mustard. YG is a ’90s baby straight outta Compton, the storied neighborhood that brought us rap icons \u003ca href=\"http://www.npr.org/artists/16853156/n-w-a\" target=\"_blank\" rel=\"noopener\">N.W.A\u003c/a>. When the good kid from the maad city himself, \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>, meets up with his bad a$$ neighbor YG on “Really Be (Smoking N Drinking)” they sound vulnerable exposing the harsh realities of inner city life and their coping mechanisms (Kush and alcohol). \u003cem>My Krazy Life\u003c/em> is his cautionary tale about the trappings of street life — the highs, the lows and eventually redemption. \u003cem>–Cedric Shine\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>All album photos by Sarah Tilotta/NPR\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=NPR+Music%27s+25+Favorite+Albums+Of+2014+%28So+Far%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the year’s halfway point, with summer just about to flip the calendar over to side B, it’s a challenge to get a satisfying picture of the year in music, even if you’re just looking at a single genre. Consider the voices of the couple dozen obsessive listeners from NPR Music and our public radio partners who made this list, and the only thing that remains undeniably true is that great albums come out of every genre, from every corner of the world.\u003c/p>\n\u003cp>What links them together? 2014 has, in its first six months, been a wonderful year for musicians who go deep. The 25 albums on this list (presented alphabetically) all start with a sound, a vibe, a concept or crucial idea. After that, they flower in different ways. One might display the range of sounds a band leader can pull out of a few fellow musicians or the depth of emotion a singer can plumb while mapping the course of desire and heartbreak. Others offer history lessons, looking back over 20 years in the life of an American city or 200 years in the life of an instrument.\u003c/p>\n\u003cp>All pull you in with both hands. All of them connect us as listeners to the work done by musicians who ask for more than three minutes of our time. These ones deserve it. These are our favorite albums of the year so far.\u003c/p>\n\u003chr>\n\u003ch3>NPR Music’s 25 Favorite Albums Of 2014 (So Far)\u003c/h3>\n\u003chr>\n\u003cfigure id=\"attachment_10138554\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-400x224.jpg\" alt=\"Ana Tijoux, <em>Vengo</em>\" width=\"640\" height=\"359\" class=\"size-thumbnail wp-image-10138554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/anatijoux_25albums_wide-625885fe4bdb167d9de441283b7f6168039fd513.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Ana Tijoux, \u003cem>Vengo\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ANA TIJOUX\u003cbr>\u003c/strong>\u003cstrong>\u003cem>VENGO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Over the last few years, Chilean rapper \u003ca href=\"http://www.npr.org/artists/128773620/ana-tijoux\" target=\"_blank\" rel=\"noopener\">Ana Tijoux\u003c/a> has released one flawless record after another, making her one of Latin America’s most beloved rappers. Her most recent album, \u003cem>Vengo, \u003c/em>is no exception. It’s musically exhilarating while lyrically poignant, a difficult equilibrium that Latin hip-hop — a genre that tends to be very political — sometimes has trouble achieving. Tijoux walks the thin line that separates thoughtful from preachy with confidence: She’s at that sweet spot of being joyously combative, relaxed but resistant. Musically \u003cem>Vengo \u003c/em>is also quite breathtaking. While some of her colleagues wallow in derivative beats, she proves why she’s at the top of her class with a unique blend of jazz, funk and Andean rhythms. For those who don’t know her work, this is a good time to catch up. —\u003cem>Jasmine Garsd\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138555\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-1440x809.jpg\" alt=\"Angel Olsen, <em>Burn Your Fire for No Witness</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138555\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/angelolsen_25albums2014_wide-c255930b0b966d6ace69b05f15657eeedfe6dee9.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Angel Olsen, \u003cem>Burn Your Fire for No Witness\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ANGEL OLSEN\u003cbr>\u003c/strong>\u003cstrong>\u003cem>BURN YOUR FIRE FOR NO WITNESS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The word “confessional” tends to get tossed around to describe singer-songwriters who reveal — and even revel in — raw, sticky emotions. But there’s a kind of submissiveness, even apology, implied by that word that doesn’t suit \u003ca href=\"http://www.npr.org/artists/245998397/angel-olsen\" target=\"_blank\" rel=\"noopener\">Angel Olsen\u003c/a>. Whether she’s huddled over a single acoustic guitar or backed by a muscular rock band, Olsen’s voice grabs you by the collar and looks straight through you. As commanding and assertive as its title suggests, especially in naked and foreboding songs like the seven-minute “White Fire,” \u003cem>Burn Your Fire for No Witness\u003c/em> doesn’t waste a motion or a breath. Olsen’s subtle, commanding voice is the embodiment of coiled intensity: The more she seems to hold still, the harder her punches land. \u003cem>–Stephen Thompson\u003cbr>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138556\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-1440x809.jpg\" alt=\"Arturo O'Farrill & The Afro Latin Orchestra, Offense of the The Drum\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138556\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/arturoofarrill_25albums2014_wide-0f29838c637784796c7c937e1f21d91691e3f946.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Arturo O’Farrill & The Afro Latin Orchestra, Offense of the The Drum\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ARTURO O’FARRILL & THE AFRO LATIN ORCHESTRA\u003cbr>\u003c/strong>\u003cstrong>\u003cem>THE OFFENSE OF THE DRUM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>There’s no doubt that the Afro Latin Jazz Orchestra, led by pianist \u003ca href=\"http://www.npr.org/artists/90792805/arturo-o-farrill\" target=\"_blank\" rel=\"noopener\">Arturo O’Farrill\u003c/a>, is well versed in clave and swing. But here’s a list of other things that appear on its new album: Colombian country harp; “Iko Iko” featuring a Mardi Gras Indian chief; an mesmerizing beat pattern from Vijay Iyer; an arrangement of a work by French Romantic composer \u003ca href=\"http://www.npr.org/artists/91146991/erik-satie\" target=\"_blank\" rel=\"noopener\">Erik Satie\u003c/a>; Nuyorican slam poetry with scratching turntables; djembe, taiko drum and at least 26 other percussion instruments. Musical hybridity is at the heart of this band; here, it assimilates any remezcla thrown at it with furious conviction. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138557\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/beck_25albums2014-3c20c823707d96ff4b69ba9f4e64dbb11ea2fedc-e1404172420161.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/beck_25albums2014-3c20c823707d96ff4b69ba9f4e64dbb11ea2fedc-e1404172420161.jpg\" alt=\"Beck, Morning Phase\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138557\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Beck, \u003cem>Morning Phase\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>BECK\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MORNING PHASE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>If we needed any proof that albums still matter in this short-attention-span world, \u003ca href=\"http://www.npr.org/artists/15333650/beck\" target=\"_blank\" rel=\"noopener\">Beck\u003c/a>‘s flawless twelfth album, \u003cem>Morning Phase\u003c/em>, is a triumphant testimony. From the soft swells of the orchestral opener, “Cycle,” and the first strum of his guitar, the transportive effect of this slow and beautiful sonic journey begins. Made with Beck’s composer father, David Richard Campbell, and many of the same musicians behind 2002’s \u003cem>Sea Change\u003c/em> (Beck’s beloved ode to heartbreak), \u003cem>Morning Phase \u003c/em>could be called a companion piece, but is better described as a grown-up sequel. The songs pull at the heartstrings, and instead of pulling us downward, they are ultimately about finding the light when one lets go. Whether it is in the glow of early morning or under a blue moon, \u003cem>Morning Phase\u003c/em> provides a bittersweet reminder of the temporary nature of all things, and a wiser Beck right there with us. —\u003cem>Carmel Holt, \u003ca href=\"http://www.wfuv.org/\" target=\"_blank\" rel=\"noopener\">WFUV\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138558\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-1440x809.jpg\" alt=\"Brian Blade & The Fellowship Band, Landmarks\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/brianblade_25albums2014_wide-959b6f13bc89c012ce741f1fc967d0dbced58324.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Brian Blade & The Fellowship Band, Landmarks\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>BRIAN BLADE & THE FELLOWSHIP BAND\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LANDMARKS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>This album is led by an all-world jazz drummer but there aren’t really drum solos. It’s pastoral and tranquil when its peers are often urbane and frenetic. It feels simple — rhythmically, harmonically, structurally — in an age of complexity. So when a melody emerges, it cuts like a knife. When a saxophone reaches for that high note, the sincerity is palpable. And when the constantly simmering tension erupts, or even just hits a rolling boil, there’s a joyousness, an instant renewal of 20-year friendships, a velocity of celebration. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138559\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-1440x809.jpg\" alt=\"David Greilsammer, <em>Scarlatti/Cage: Sonatas</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138559\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/davidgreilsammer_25albums2014_wide-99d25fedf34ae96ac692fd68a1866d41cca086ed.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">David Greilsammer, \u003cem>Scarlatti/Cage: Sonatas\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>DAVID GREILSAMMER\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SCARLATTI & CAGE SONATAS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Like a crafty DJ, David Greilsammer has a knack for surprising musical juxtapositions. On the pianist’s album \u003cem>Baroque Conversations\u003c/em>, from 2012, 18th-century masters like Jean-Philippe Rameau sit cheek-by-jowl with modernists like Morton Feldman. Now Greilsammer’s back at it, swapping sonatas written 200 years apart by \u003ca href=\"http://www.npr.org/artists/91447657/domenico-scarlatti\" target=\"_blank\" rel=\"noopener\">Domenico Scarlatti\u003c/a> and \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a>. For Greilsammer the two composers are kindred spirits, both “inventors of sound” — Scarlatti with his radical harmonies and rhythms inspired by flamenco and Cage with his prepared piano (into which he inserted nuts, bolts and rubber thingamabobs to create a percussion orchestra). His performance of Scarlatti’s Sonata in D minor, K.213 exquisitely dovetails into Cage’s Sonatas XIV & XV, creating a third entity — the fascinating bridge connecting the daring and the delicate in each piece (you can listen to an excerpt here). To the “inventors” Scarlatti and Cage we can add and third name — Greilsammer, whose spunk and imagination are most welcome. \u003cem>–Tom Huizenga\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138560\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/freddiegibs_wide-6831c1711a09b57dec428dce56ac65fe196642fd-e1404172525229.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/freddiegibs_wide-6831c1711a09b57dec428dce56ac65fe196642fd-e1404172525229.jpg\" alt=\"Freddie Gibs & Madlib, Pinata\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138560\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Freddie Gibs & Madlib, Pinata\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>FREDDIE GIBBS & MADLIB\u003cbr>\u003c/strong>\u003cstrong>\u003cem>PIÑATA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Rapper Freddie Gibbs, born and raised in Gary, Ind., met venerable producer \u003ca href=\"http://www.npr.org/artists/15697271/madlib\" target=\"_blank\" rel=\"noopener\">Madlib \u003c/a>in Los Angeles, and the album they made together is a complete work that straddles generations and sensibilities. The pair’s conception of gangster music sounds more like crushed velvet than velour, dramatizing the turmoil of a narrator who could be Sincere’s older son, or the grandchild of Youngblood Priest. On one song, “Robes,” Gibbs quotes 1987 \u003ca href=\"http://www.npr.org/artists/15194292/babyface\" target=\"_blank\" rel=\"noopener\">Babyface\u003c/a> and invites two ’90s babies to jump on. Throughout, his eye is unsparing, never more so than when it’s turned on himself. On “Broken” he begins with the Basmala and later, talking about his inherited infidelity, says “Honestly, I know I’m out here f—ing up.” Gibbs’ phrasing is virtuosic; his words sound like they’ve levitated. No guest — not \u003ca href=\"http://www.npr.org/artists/18171955/scarface\" target=\"_blank\" rel=\"noopener\">Scarface\u003c/a>, not Raekwon, not \u003ca href=\"http://www.npr.org/artists/230494985/earl-sweatshirt\" target=\"_blank\" rel=\"noopener\">Earl\u003c/a>, not \u003ca href=\"http://www.npr.org/artists/228095350/danny-brown\" target=\"_blank\" rel=\"noopener\">Danny Brown\u003c/a> — outshines Gibbs over beats that are glassine and big-bodied and as real as can be. —\u003cem>Frannie Kelley\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138561\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/gordonvoidwell_25albums2014_wide-7e8cd1a53eb82771aaf005332b53b8e3ffa24032-e1404172572446.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/gordonvoidwell_25albums2014_wide-7e8cd1a53eb82771aaf005332b53b8e3ffa24032-e1404172572446.jpg\" alt=\"Gordon Voidwell, BAD ETUDES\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138561\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Gordon Voidwell, \u003cem>BAD ETUDES\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>GORDON VOIDWELL\u003cbr>\u003c/strong>\u003cstrong>\u003cem>BAD ÉTUDES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Like Frankenstein’s monster, \u003cem>BAD ÉTUDES\u003c/em> is stitched together, alive and breathing by the hand of its master, Bronx musician Gordon Voidwell. Oozing funk, pop, R&B and otherworldly inspiration, the record is filled to the brim with thoughtfully constructed modulations and manipulations — imagine a \u003ca href=\"http://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> from the future who says, “To hell with all these instruments. Let me see how far I can freak a keyboard.” With his production serving as a constantly tilting landscape of audacity, Voidwell takes it a step further by altering his vocals, veering them toward femininity then back again. He throws us off and turns us on; winds us up and breaks it all down. As a whole or piece-by-piece, this album is a funky sci-fi experiment gone right. —\u003cem>Kiana Fitzgerald\u003c/em>\u003c/p>\n\u003cp>\u003cem>Bad Études\u003c/em> is available for purchase on \u003ca href=\"http://gordonvoidwell.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Bandcamp\u003c/a>.\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138562\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-1440x809.jpg\" alt=\"Hurray for the Riff Raff, <em>Small Town Heroes</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138562\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/hurrayfortheriffraff_25albums_wide-d410e9b28c87df04d0efc66c410d286ebd2e098b.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Hurray for the Riff Raff, \u003cem>Small Town Heroes\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>HURRAY FOR THE RIFF RAFF\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SMALL TOWN HEROES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Considering the songs that populate \u003ca href=\"http://www.npr.org/artists/270950584/hurray-for-the-riff-raff\" target=\"_blank\" rel=\"noopener\">Hurray for the Riff Raff\u003c/a>‘s latest release, it makes sense that they titled the disc \u003cem>Small Town Heroes\u003c/em>. Here are the voices of battered women taking their power back; defiantly hopeful lovers; neighborhoods keeping their pride amid surging crime waves; the outlaw with the yearning heart; and of course the band on the road, longing for home. They’re songs about a city revitalizing itself, people coming into their own. Its rhythms and melodies call to mind everything from Appalachian tradition to the Mississippi Delta and the old folk-blues. Front-woman and songwriter Alynda Lee Segarra sings every lyric with a haunting, raw honesty. Where her voice doesn’t tremble like it’s shaking the rain out, it soars and bops like a determined bird flying against a breeze. \u003cem>Small Town Heroes \u003c/em>is an arresting, memorable disc from a band that’s only just getting started. \u003cem>–Kim Ruehl, \u003ca href=\"http://www.folkalley.com/\" target=\"_blank\" rel=\"noopener\">Folk Alley\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138563\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/jeffballardtrio_wide-445847285a240861b8014cb10f128810162dc677-e1404172957482.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/jeffballardtrio_wide-445847285a240861b8014cb10f128810162dc677-e1404172957482.jpg\" alt=\"Jeff Ballard Trio, Time's Tales\" width=\"639\" height=\"359\" class=\"size-full wp-image-10138563\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jeff Ballard Trio, \u003cem>Time’s Tales\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>JEFF BALLARD TRIO\u003cbr>\u003c/strong>\u003cstrong>\u003cem>TIME’S TALES\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Drummer Jeff Ballard had never led a recording before this one, which is amazing considering how many recordings he’s been a part of. His debut album reflects most of his divergent impulses toward the worldly and the familiar, the knotted bundles of odd-meter asymmetry and the silky-smooth groove — and does so with only three guys. It works because while his two collaborators play guitar (\u003ca href=\"http://www.npr.org/artists/88982391/lionel-loueke\" target=\"_blank\" rel=\"noopener\">Lionel Loueke\u003c/a>, from Benin) and sax (\u003ca href=\"http://www.npr.org/artists/95471452/miguel-zen-n\" target=\"_blank\" rel=\"noopener\">Miguel Zenón\u003c/a>, from Puerto Rico), everyone’s a percussionist at heart. That rapid fire rhythmic dialogue, and some nifty guitar noises, enables a skeleton crew to throw a street parade. \u003cem>–Patrick Jarenwattananon\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138564\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-1440x809.jpg\" alt=\"Kassem Mosse, <em>Workshop 19</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138564\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/kassemmosse_25albums2014_wide-a5625e6a032a65aea93dc61064473f6edf19b97b.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kassem Mosse, \u003cem>Workshop 19\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>KASSEM MOSSE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>WORKSHOP 19\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>On a string of singles released over the better part of a decade, Leipzig’s Kassem Mosse has found the sweet spot between stripped-down production and melody-driven songwriting. Making music that’s warmer than much of the techno coming out of Germany and sparser than much of the house music coming from the States, Mosse is hailed again and again for blazing his own trail, and sucking in others under his wake. An auteur to the bone, Mosse’s debut LP showcases the flexibility of his sound. It’s murky and melancholic, ambient at times, but also made to get people up out of their seats. Once again, Kassem Mosse finds the space between expected and inaccessible. \u003cem>–Sami Yenigun\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138565\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-1440x809.jpg\" alt=\"Leon Vynehall, <em>Music for the Uninvited</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/leonvynehall_25albums2014_wide-945e901dc484c8c80dc78c837d52418c6fe9cc26.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Leon Vynehall, \u003cem>Music for the Uninvited\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>LEON VYNEHALL\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MUSIC FOR THE UNINVITED\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Remember what it felt like to listen to your parents’ cassettes when you were a young child? Kind of, but not really, right? We recall snippets of songs, the stack of plastic cases below the car stereo, maybe the auto-reverse click between “Darling Nikki” and “When Doves Cry.” For many of us, it’s an impressionist painting in our mind of the moment we first fell in love with music. British dance producer Leon Vynehall called on his fuzzy memories of low fidelity while writing his debut album, \u003cem>Music For The Uninvited\u003c/em>, a sample-fueled fusion of house, disco, funk and soul. He even ends each “side” of the record with that unmistakable *snap* of a play button popping back into place. It’s an old-skool labor of love by one of the most promising young minds in dance music, nostalgic and next-level at the same time. \u003cem>–Otis Hart\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138566\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-1440x809.jpg\" alt=\"Los Lobos, <em>Si Se Puede</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138566\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/loslobos_25albums2014_wide-9db243ad5197f1ce296ae96dc0b9d72608621b47.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Los Lobos, \u003cem>Si Se Puede\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>LOS LOBOS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SI SE PUEDE!: LOS LOBOS AND FRIENDS\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Over 40 years ago music played a crucial role in one of this country’s most important civil rights struggles: not in the Jim Crow South but in the agricultural fields of California, where the United Farm Workers (UFW) was organizing laborers into a union for the first time ever. Traditional Mexican \u003cem>corridos\u003c/em> were reworked to call people to march, picket and strike. The music was made by some of the workers themselves, as well as members of the UFW, and you pretty much had to be out in the fields to hear it — until 1976 when the album \u003cem>Si Se Puede\u003c/em> was released as a fundraiser for the UFW. Herb Albert donated his A&M Records studios to a group of young Chicano musicians who called themselves Los Lobos del Este de los Angeles and who gathered some of their friends to record some of the music that had become part of the farm worker movement.\u003c/p>\n\u003cp>The band \u003ca href=\"http://www.npr.org/artists/15221330/los-lobos\" target=\"_blank\" rel=\"noopener\">shortened its name\u003c/a> and eventually made a big noise of their own, and 38 years later, long after it had gone out print, the music was finally digitally re-released this spring to coincide with the release of a biopic about César Chávez. The themes of social justice are timeless but more so is the notion that music can indeed help change the world. We seem to have forgotten that. That’s why this music, now nearly four decades old, still matters. \u003cem>–Felix Contreras\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138567\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-1440x809.jpg\" alt=\"Majid Bekkas, <em>Al Qantara</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138567\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/majidbekkas_25albums2014_wide-735e43996c07c0d59a7e500f48d272803a722b31.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Majid Bekkas, \u003cem>Al Qantara\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MAJID BEKKAS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>AL QANTARA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Al Qantara\u003c/em> (“The Bridge”) is a fitting title for the new album by Majid Bekkas. The native Moroccan’s home country has long been a nexus of African, Eastern and Western cultures. Bekkas is steeped in Gwana, an ancient Moroccan spiritual trance music, but on \u003cem>Al Qantara\u003c/em> he adroitly fuses the tradition with jazz and African styles. His principal tools are the oud and the guembri, a three-stringed guitar-sized instrument covered in camel skin that produces the low notes of a double bass. With his Afro-Oriental Jazz Trio, Bekkas guides a journey through traditional Moroccan tunes (“Bania”), jazz staples (Don Cherry’s “Guinea”) and his own mesmerizing creations. “Choroq,” after an extended oud introduction, gives way to Manuel Hermia’s evocative basuri (bamboo flute). When Khalid Kouhen’s Indian tabla drums kick in, the piece takes flight with a melody of sublime beauty. Hopefully \u003cem>Al Qantara\u003c/em> will bridge yet one more gap — the one between the notoriety Bekkas enjoys in Morocco and that which we hope he finds far beyond. \u003cem>–Tom Huizenga\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138568\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/mirandalambert_25albums2014_wide-1afdced0fd9712e5af2e30482dad5052d872a3a4-e1404173205726.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/mirandalambert_25albums2014_wide-1afdced0fd9712e5af2e30482dad5052d872a3a4-e1404173205726.jpg\" alt=\"Miranda Lambert, Platinum\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138568\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Miranda Lambert, \u003cem>Platinum\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>MIRANDA LAMBERT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>PLATINUM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/15394683/miranda-lambert\" target=\"_blank\" rel=\"noopener\">Miranda Lambert\u003c/a> likes to say in interviews that she’s no role model. And thank goodness. On her fifth studio album, country’s longtime self-aware bad girl\u003cem> \u003c/em>offers something more powerful than craziness and kerosene: a deliberately holistic portrait of 21\u003csup>st\u003c/sup>-century femininity, with room for vulnerability, regret, gentle nostalgia, hope and plenty of humor. Lambert speaks through characters who are married and independent, sexually confident and anxious about their looks, longing for home comforts and eager for the wide open road. The music ranges just as widely as Lambert’s world view, from traditional bluegrass to honky-tonk rock to the well-burnished country radio requires. Lambert herself always retains her individualistic edge. “You don’t know nothin’ about girls,” she sings, confronting stereotypes in the album’s lead track. Don’t worry, Miranda will school you. \u003cem>–Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138569\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-1440x809.jpg\" alt=\"Owen Pallett,<em> In Conflict</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/owenpallett_25albums2014_wide-caba29b13f483b3cdc8468db8fb7f40bef61cf67.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Owen Pallett,\u003cem> In Conflict\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>OWEN PALLETT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>IN CONFLICT\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Once the golden boy of Canada’s now decade-long indie invasion, \u003ca href=\"http://www.npr.org/artists/124207024/owen-pallett\" target=\"_blank\" rel=\"noopener\">Owen Pallett\u003c/a> made his best album by tracking the growing pains of becoming an adult: solitude, self-destruction, depression and regret cut with a confidence borne of the realization that you, you grown human person, have survived long enough to build a life made out of your own accumulated choices. Everything that made Pallett’s name is here on \u003cem>In Conflict\u003c/em>: the lonely, looped violin; lyrical details that weave soul-baring into mundane; the tense/triumphant orchestration that won him a spot as Arcade Fire’s resident classical guy (not to mention an Oscar nomination for scoring \u003cem>Her\u003c/em> last year). Any one of these would make him a tremendous talent. All of them, knit together with new authority and purpose, make him singular. \u003cem>–Jacob Ganz\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138570\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/johnadams_wide-da8e9b1a51f822449dab49d79b330922ed82f8e6-e1404173361922.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/johnadams_wide-da8e9b1a51f822449dab49d79b330922ed82f8e6-e1404173361922.jpg\" alt=\"St. Louis Symphony/Robertson, Adams: City Noir/Saxophone Concerto\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138570\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Louis Symphony/Robertson, \u003cem>Adams: City Noir/Saxophone Concerto\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ST. LOUIS SYMPHONY/DAVID ROBERTSON, CONDUCTOR\u003cbr>\u003c/strong>\u003cstrong>\u003cem>ADAMS: CITY NOIR/SAXOPHONE CONCERTO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Composer \u003ca href=\"http://www.npr.org/artists/14996733/john-adams\" target=\"_blank\" rel=\"noopener\">John Adams\u003c/a> wrote \u003cem>City Noir \u003c/em>as an homage to the City of Angels — and it is at once a cinematically scaled nod to 1940s and ’50s film scores and, especially in the first movement, an intricate bundle full of knotted melodies climbing inside each other. The saxophone concerto that accompanies \u003cem>City Noir \u003c/em>carries bebop in its DNA, and soloist Timothy McAllister is simply outstanding. Meanwhile, the St. Louis Symphony Orchestra and conductor David Robertson are born naturals for this music, turning in fresh, dynamic and invigorating performances. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138571\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-1440x808.jpg\" alt=\"St. Vincent, <em>St. Vincent</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-1440x808.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stvincent_wide-280106ebaf80914ede6b64eb8c77f73e3472bde4-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">St. Vincent, \u003cem>St. Vincent\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>ST. VINCENT\u003cbr>\u003c/strong>\u003cstrong>\u003cem>ST. VINCENT\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I’ve always thought Annie Clark’s music and guitar playing was pretty damn good — then she released her fourth \u003ca href=\"http://www.npr.org/artists/15159199/st-vincent\" target=\"_blank\" rel=\"noopener\">St. Vincent\u003c/a> record and I was floored. All of the qualities I’ve come to love in her music — the quirky lyrics, songs with hairpin turns and her idiosyncratic guitar playing — are here, sharper than ever. There are songs about her Jesus and her mother, about political activist Huey Newton, about running naked in the desert and the meaning of it all in this digital age. The songs are fun, sometimes funny and sonically a treat for the ears. \u003cem>–Bob Boilen\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138572\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-1440x809.jpg\" alt=\"Stromae,<em> Racine Caree</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138572\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/stromae_25albums_wide-af5d41726c92e7852807c8cb4306f62db4c485a8.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Stromae,\u003cem> Racine Caree\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>STROMAE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>RACINE CARRÉE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>It’s hard to pin the Belgian artist \u003ca href=\"http://www.npr.org/2014/06/19/322933388/stromae-global-star-in-the-making-set-to-touch-down-in-the-u-s\" target=\"_blank\" rel=\"noopener\">Stromae\u003c/a> down, and that’s just how he likes it: a little EDM, a little hip-hop, a little R&B, a little Eurodance, a little Congolese rumba, a little tango … and yet it all works, beautifully. One of the smartest songwriters around, Stromae navigates the shoals of modern life — from relationships and race to the financial crisis and existential concerns — with grace, humor, a wink and a teeny bit of swagger. There are so many tracks to fall in love with here — “Formidable,” “Tous Les Mêmes,” “Ave Cesaria,” “Ta Fête,” “Humain A L’Eau,” the global smash “Papaoutai” — that the whole album is an unmitigated, heavy-repeat pleasure. And his live show is, improbably, even better. \u003cem>–Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138573\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-1440x809.jpg\" alt=\"Sturgill Simpson, <em>Metamodern Sounds in Country Music</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sturgillsimpson_25albums_wide-3a6fe10b2beb40c99b2fc4fa86f799ff30665e0a.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sturgill Simpson, \u003cem>Metamodern Sounds in Country Music\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>STURGILL SIMPSON\u003cbr>\u003c/strong>\u003cstrong>\u003cem>METAMODERN SOUNDS IN COUNTRY MUSIC\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>There are people who fret about the health and purity of country music and there are those who just keep the damn stuff alive. On his second solo album, \u003ca href=\"http://www.npr.org/artists/323191173/sturgill-simpson\" target=\"_blank\" rel=\"noopener\">Sturgill Simpson\u003c/a> pumps oxygen into familiar forms — the honky-tonk all-night drunk, the philosophical road song, the countrypolitan ballad, the gospel singalong, the trucker anthem — with the no-fuss creativity of a rebel with a cause, and a plan. The Kentucky native, now living in Nashville, set out to make songs that honored tradition but rejected easy associations: Instead of odes to girls with painted-on jeans, Simpson applies his majestic baritone to sometimes psychedelic ruminations about fate, personal agency and the Zen interconnectedness of all things. His muscular touring band keeps Simpson grounded while letting him range wide. The result is hard country with no edges made for people with big sky minds. \u003cem>–Ann Powers\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138574\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-1440x809.jpg\" alt=\"Sylvan Esso<em>, Sylvan Esso</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138574\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/sylvanesso_wide-a91dee1a362ebdfdca117d186733594067a898ae-300x168.jpg 300w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Sylvan Esso\u003cem>, Sylvan Esso\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>SYLVAN ESSO\u003cbr>\u003c/strong>\u003cstrong>\u003cem>SYLVAN ESSO\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>An unexpected, intoxicating left-field debut, \u003cem>Sylvan Esso\u003c/em> captures the sound of two equally unlikely musicians: singer Amelia Meath, known for singing a cappella folk in Mountain Man, and producer Nick Sanborn, known for playing bass in the psychedelic roots-rock band Megafaun. Neither had hinted at anything that sounds quite like this batch of intricately crafted, emotionally resonant, strikingly catchy electro-pop songs. Music this sturdy and remix-ready doesn’t generally come from such a distinct and powerful lyrical point of view: Meath’s often hauntingly ambivalent words seize just as much attention as the multidimensional sound beds on which they’re placed. “Coffee” is the most unstoppably great song here — maybe the most unstoppably great song of the year, period — but everything else on \u003cem>Sylvan Esso\u003c/em> grabs hard, too, from the playful provocation of “Hey Mami” to the wobbly anthemic rush of “Play It Right.” \u003cem>–Stephen Thompson\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138575\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-1440x809.jpg\" alt=\"Toni Braxton & Babyface, <i>Love Marriage & Divorce</i>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/tonibraxton_25albums_wide-d68897f8f1269034b5263ffe797bf629b34cc40d.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Toni Braxton & Babyface, \u003ci>Love Marriage & Divorce\u003c/i>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>TONI BRAXTON & BABYFACE\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LOVE, MARRIAGE & DIVORCE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Rich doesn’t come close to describing \u003ca href=\"http://www.npr.org/artists/15292781/toni-braxton\" target=\"_blank\" rel=\"noopener\">Toni Braxton\u003c/a>‘s voice. More than 20 years after \u003ca href=\"https://www.youtube.com/watch?v=tLJPsHhcEOo\" target=\"_blank\" rel=\"noopener\">her first duet with Babyface\u003c/a>, with the mic capturing every little thing that comes out of her mouth — every catch, every low key run, even the bitten off end of a word — she sounds at once impossible and exactly like your friend did the last time her heart got broken. There are overblown moments on \u003cem>Love, Marriage & Divorce\u003c/em>, but most of the album feels personal, and all that reverb helps to make it feel interior, even private. Babyface’s voice is tangy and refined. On “Roller Coaster” he’s punchy, using his voice like a rhythm instrument. Braxton takes liberties with the beat. Her two solo turns, “I Wish,” which is too real, and “I’d Rather Be Broke,” aren’t occasions to show off; they further the narrative. The album sticks to its story, and in the process delivers a set of mature songs masterfully detailed. —\u003cem>Frannie Kelley\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138576\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-1440x809.jpg\" alt=\"Triptykon, <em>Melana Chasmata</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/triptykon_25albums_wide-af8b802366cd06353e918bf11cc3b101c2438b9f.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Triptykon, \u003cem>Melana Chasmata\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>TRIPTYKON\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MELANA CHASMATA\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>In his third band in three decades, \u003ca href=\"http://www.npr.org/blogs/therecord/2014/05/21/314007649/the-long-shadow-of-tom-warrior-metals-dark-innovator\" target=\"_blank\" rel=\"noopener\">Tom Warrior\u003c/a> continues to be one of metal’s most thoughtful innovators. As visionary as Warrior has been in Hellhammer and \u003ca href=\"http://www.npr.org/artists/325810489/celtic-frost\" target=\"_blank\" rel=\"noopener\">Celtic Frost\u003c/a>, Warrior works best in tandem with a band that locks into his dark world. Triptykon’s second album, \u003cem>Melana Chasmata\u003c/em>, is a bottomless pit where nocturnal creatures breed and kill, uncovering atmospheres and riffs still unknown. \u003cem>–Lars Gotrich\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138577\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-1440x809.jpg\" alt=\"The War on Drugs, <em>Lost in the Dream</em>\" width=\"640\" height=\"359\" class=\"size-large wp-image-10138577\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-1440x809.jpg 1440w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92-300x168.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2014/06/warondrugs_25albums_wide-60f9973e76de5dc94c418149656316f57da94b92.jpg 1597w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">The War on Drugs, \u003cem>Lost in the Dream\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>THE WAR ON DRUGS\u003cbr>\u003c/strong>\u003cstrong>\u003cem>LOST IN THE DREAM\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/91730305/the-war-on-drugs\" target=\"_blank\" rel=\"noopener\">The War On Drugs\u003c/a>‘ \u003cem>Lost In The Dream\u003c/em> is the sound of tomorrow’s greatest classic rock today. Lead singer and guitarist Adam Granduciel’s epic guitar playing and songwriting on album tracks like “Under The Pressure,” “In Reverse” and the seven minute “An Ocean In Between The Waves,” are infused with mesmerizing \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Springsteen\u003c/a>–\u003ca href=\"http://www.npr.org/artists/15300677/tom-petty\" target=\"_blank\" rel=\"noopener\">Petty\u003c/a>–\u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">Velvet Underground\u003c/a> influences. He’s got a vocal style that brings to mind \u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\" target=\"_blank\" rel=\"noopener\">Dylan\u003c/a> circa \u003cem>Blood On The Tracks\u003c/em>. It’s possible to deduce the themes of the album by the names of the songs. “Eyes To The Wind,” “The Haunting Idle,” the title song and the slow burning “Suffering,” express matters of the heart and soul. There’s plenty of searching, longing, and questioning, set to a soundtrack of a psychedelic heartland.\u003cem> Lost In The Dream\u003c/em> is a triumphant, transcendent, classic rock album — whether or not you hear the Springsteenisms that subtly inform the record. —\u003cem>Bruce Warren, \u003ca href=\"http://www.xpn.org/\" target=\"_blank\" rel=\"noopener\">WXPN\u003c/a>\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_10138578\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yg_wide-7185bf9f9d7843bc629c0a6a9778f1e7df695ce3-e1404174335605.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2014/06/yg_wide-7185bf9f9d7843bc629c0a6a9778f1e7df695ce3-e1404174335605.jpg\" alt=\"YG, My Krazy Life\" width=\"640\" height=\"360\" class=\"size-full wp-image-10138578\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">YG,\u003cem> My Krazy Life\u003c/em>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>YG\u003cbr>\u003c/strong>\u003cstrong>\u003cem>MY KRAZY LIFE\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>After the success of his platinum selling single “My Hitta” and \u003ca href=\"http://www.npr.org/artists/250250872/drake\" target=\"_blank\" rel=\"noopener\">Drake\u003c/a>-flavored “Who Do You Love,” YG released his debut album, \u003cem>My Krazy Life\u003c/em> earlier this year. \u003cem>My Krazy Life\u003c/em> has the feeling of a traditional West Coast album (skits included): You can hear \u003ca href=\"http://www.npr.org/artists/15594870/dr-dre\" target=\"_blank\" rel=\"noopener\">Dr. Dre\u003c/a> bass lines and some Bay Area bounce slips in thanks to the production of DJ Mustard. YG is a ’90s baby straight outta Compton, the storied neighborhood that brought us rap icons \u003ca href=\"http://www.npr.org/artists/16853156/n-w-a\" target=\"_blank\" rel=\"noopener\">N.W.A\u003c/a>. When the good kid from the maad city himself, \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>, meets up with his bad a$$ neighbor YG on “Really Be (Smoking N Drinking)” they sound vulnerable exposing the harsh realities of inner city life and their coping mechanisms (Kush and alcohol). \u003cem>My Krazy Life\u003c/em> is his cautionary tale about the trappings of street life — the highs, the lows and eventually redemption. \u003cem>–Cedric Shine\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"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",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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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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"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": {
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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": {
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"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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"id": "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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},
"fresh-air": {
"id": "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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"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": {
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"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",
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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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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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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",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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",
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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": {
"site": "news",
"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)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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",
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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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}
},
"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",
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