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"content": "\u003cp>Cutting and dyeing your hair after a breakup can be therapeutic. Just ask Brooklyn’s Sir Babygirl. Her track “Heels,” from the album \u003ca href=\"https://sirbabygirl.bandcamp.com/album/crush-on-me\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crush On Me\u003c/em>\u003c/a>, conjures images of the aftermath of a dramatic fallout—running home with high heels in hand, tears glimmering under street lights and eventually taking one’s power back with the symbolic act of a new ‘do.\u003c/p>\n\u003cp>\u003cem>Crush On Me\u003c/em> came out on the San Francisco indie label \u003ca href=\"http://www.fatherdaughterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Father/Daughter Records\u003c/a> last year. It was praised in publications like \u003ca href=\"https://www.rollingstone.com/music/music-features/sir-babygirl-crush-on-me-artist-you-need-to-know-832880/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>\u003c/a> and \u003ca href=\"https://www.thefader.com/2019/01/16/sir-babygirl-crush-on-me-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The FADER\u003c/em>\u003c/a>, and positioned Sir Babygirl as a rising artist to watch.\u003c/p>\n\u003cp>https://youtu.be/581gVQZDhhk\u003c/p>\n\u003cp>Sir Babygirl’s music is a lot of fun—she references throwback pop and rock acts like Britney Spears, Christina Aguilera and Hole, but her work is much gayer and much more surreal. On \u003cem>Crush On Me\u003c/em>, her lyrics reference being gender nonbinary and bisexual. But Sir Babygirl doesn’t make it a \u003cem>thing\u003c/em>—it’s just part of the lens with which she writes about having crushes and coming of age. The singer was a theater major and also had a previous life as a comedian in Chicago, so her live shows are very campy and very playful (a strap-on harness is sometimes involved).\u003c/p>\n\u003cp>She comes to Oakland to perform at Starline Social Club on March 18 with the bands Club Night and Potty Mouth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cutting and dyeing your hair after a breakup can be therapeutic. Just ask Brooklyn’s Sir Babygirl. Her track “Heels,” from the album \u003ca href=\"https://sirbabygirl.bandcamp.com/album/crush-on-me\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Crush On Me\u003c/em>\u003c/a>, conjures images of the aftermath of a dramatic fallout—running home with high heels in hand, tears glimmering under street lights and eventually taking one’s power back with the symbolic act of a new ‘do.\u003c/p>\n\u003cp>\u003cem>Crush On Me\u003c/em> came out on the San Francisco indie label \u003ca href=\"http://www.fatherdaughterrecords.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Father/Daughter Records\u003c/a> last year. It was praised in publications like \u003ca href=\"https://www.rollingstone.com/music/music-features/sir-babygirl-crush-on-me-artist-you-need-to-know-832880/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Rolling Stone\u003c/em>\u003c/a> and \u003ca href=\"https://www.thefader.com/2019/01/16/sir-babygirl-crush-on-me-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The FADER\u003c/em>\u003c/a>, and positioned Sir Babygirl as a rising artist to watch.\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/581gVQZDhhk'\n title='//www.youtube.com/embed/581gVQZDhhk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Sir Babygirl’s music is a lot of fun—she references throwback pop and rock acts like Britney Spears, Christina Aguilera and Hole, but her work is much gayer and much more surreal. On \u003cem>Crush On Me\u003c/em>, her lyrics reference being gender nonbinary and bisexual. But Sir Babygirl doesn’t make it a \u003cem>thing\u003c/em>—it’s just part of the lens with which she writes about having crushes and coming of age. The singer was a theater major and also had a previous life as a comedian in Chicago, so her live shows are very campy and very playful (a strap-on harness is sometimes involved).\u003c/p>\n\u003cp>She comes to Oakland to perform at Starline Social Club on March 18 with the bands Club Night and Potty Mouth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Is Coachella Next? Canceled Ultra Festival, SXSW Has Fans Worried About Coronavirus",
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"content": "\u003cp>\u003cem>\u003cstrong>UPDATE, March 9\u003c/strong>: \u003ca href=\"https://variety.com/2020/music/news/coachella-stagecoach-festival-postponed-coronavirus-1203526766/\" rel=\"noopener noreferrer\" target=\"_blank\">According to reports\u003c/a>, Coachella organizers will soon announce that the festival is rescheduled this year to October.\u003c/em>\u003c/p>\n\u003cp>Coachella fans worried about a canceled festival this year due to the coronavirus got a new reason to be nervous Friday.\u003c/p>\n\u003cp>Officials in Austin \u003ca href=\"https://www.sxsw.com/2020-event-update/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a> this year’s South by Southwest festival in Austin, Texas on Friday, just two days after organizers canceled \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article240878956.html\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s Ultra festival\u003c/a> in Miami.\u003c/p>\n\u003cp>Both festivals draw over 100,000 people, roughly the per-day attendance of Coachella. And with coronavirus fears on high alert, petitions have circulated both \u003ca href=\"https://www.change.org/p/coachella-2020-music-festival-cancellation-of-coachella-2020-music-festival-due-to-covid-19-outbreak/sign?original_footer_petition_id=18993157&algorithm=promoted&source_location=petition_footer&grid_position=2&pt=AVBldGl0aW9uAKitOgEAAAAAXl8rTDJKY0kzNjg1NWIxYw%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">for\u003c/a> and \u003ca href=\"https://www.change.org/p/goldenvoice-do-not-cancel-coachella?source_location=topic_page\" target=\"_blank\" rel=\"noopener noreferrer\">against\u003c/a> canceling Coachella.\u003c/p>\n\u003cp>But officials so far have given only standard statements about monitoring the situation. [aside postid=\"arts_13876108,science_1957469\"]\u003c/p>\n\u003cp>“It is still over five weeks before visitors will make their way to Indio to attend a series of concerts here,” reads a statement issued by Indio, the city where \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella\u003c/a> is held. “The City of Indio is actively monitoring input from local, state, and national health officials to assess the health risks of COVID-19 and update those risks to stakeholders.”\u003c/p>\n\u003cp>As if to quell fears, Goldenvoice, the organizers of Coachella, released set times for the country music \u003ca href=\"https://www.stagecoachfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach festival\u003c/a> on Thursday. Like Coachella, Stagecoach is also held at the polo fields in Indio.\u003c/p>\n\u003cp>Many of Coachella’s attendees drive from other regions of California and beyond. Meanwhile, those flying to Coachella have worried not only about festival ticket refunds but airfare refunds and transfers.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.vox.com/the-goods/2020/3/5/21166359/us-airlines-coronavirus-cancel-flights-waiving-fees\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> by Vox, several airlines are waiving some cancellation fees and change-of-travel fees. American, Alaska, Delta, JetBlue and United have all made adjustments for the coronavirus. However, as Vox notes, those waivers are subject to limited terms and conditions and the time of the tickets’ purchase, which may affect Coachella attendees.\u003c/p>\n\u003cp>As for the festival itself, which runs for two consecutive weekends in April? Time will have to tell.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>UPDATE, March 9\u003c/strong>: \u003ca href=\"https://variety.com/2020/music/news/coachella-stagecoach-festival-postponed-coronavirus-1203526766/\" rel=\"noopener noreferrer\" target=\"_blank\">According to reports\u003c/a>, Coachella organizers will soon announce that the festival is rescheduled this year to October.\u003c/em>\u003c/p>\n\u003cp>Coachella fans worried about a canceled festival this year due to the coronavirus got a new reason to be nervous Friday.\u003c/p>\n\u003cp>Officials in Austin \u003ca href=\"https://www.sxsw.com/2020-event-update/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a> this year’s South by Southwest festival in Austin, Texas on Friday, just two days after organizers canceled \u003ca href=\"https://www.miamiherald.com/news/local/community/miami-dade/downtown-miami/article240878956.html\" target=\"_blank\" rel=\"noopener noreferrer\">this year’s Ultra festival\u003c/a> in Miami.\u003c/p>\n\u003cp>Both festivals draw over 100,000 people, roughly the per-day attendance of Coachella. And with coronavirus fears on high alert, petitions have circulated both \u003ca href=\"https://www.change.org/p/coachella-2020-music-festival-cancellation-of-coachella-2020-music-festival-due-to-covid-19-outbreak/sign?original_footer_petition_id=18993157&algorithm=promoted&source_location=petition_footer&grid_position=2&pt=AVBldGl0aW9uAKitOgEAAAAAXl8rTDJKY0kzNjg1NWIxYw%3D%3D\" target=\"_blank\" rel=\"noopener noreferrer\">for\u003c/a> and \u003ca href=\"https://www.change.org/p/goldenvoice-do-not-cancel-coachella?source_location=topic_page\" target=\"_blank\" rel=\"noopener noreferrer\">against\u003c/a> canceling Coachella.\u003c/p>\n\u003cp>But officials so far have given only standard statements about monitoring the situation. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It is still over five weeks before visitors will make their way to Indio to attend a series of concerts here,” reads a statement issued by Indio, the city where \u003ca href=\"https://www.coachella.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Coachella\u003c/a> is held. “The City of Indio is actively monitoring input from local, state, and national health officials to assess the health risks of COVID-19 and update those risks to stakeholders.”\u003c/p>\n\u003cp>As if to quell fears, Goldenvoice, the organizers of Coachella, released set times for the country music \u003ca href=\"https://www.stagecoachfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Stagecoach festival\u003c/a> on Thursday. Like Coachella, Stagecoach is also held at the polo fields in Indio.\u003c/p>\n\u003cp>Many of Coachella’s attendees drive from other regions of California and beyond. Meanwhile, those flying to Coachella have worried not only about festival ticket refunds but airfare refunds and transfers.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.vox.com/the-goods/2020/3/5/21166359/us-airlines-coronavirus-cancel-flights-waiving-fees\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> by Vox, several airlines are waiving some cancellation fees and change-of-travel fees. American, Alaska, Delta, JetBlue and United have all made adjustments for the coronavirus. However, as Vox notes, those waivers are subject to limited terms and conditions and the time of the tickets’ purchase, which may affect Coachella attendees.\u003c/p>\n\u003cp>As for the festival itself, which runs for two consecutive weekends in April? Time will have to tell.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "childrens-discovery-museum-in-san-jose-closes-after-employee-exposed-to-coronavirus",
"title": "The Bay Area Braces for Coronavirus Closures and Cancellations",
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"content": "\u003cp>\u003cstrong>Update, March 6, 5:30pm: \u003c/strong>San Francisco Mayor London Breed issued an advisory urging residents to cancel or postpone “non-essential events” such as sports games and concerts to stop the spread of coronavirus. \u003ca href=\"https://twitter.com/LondonBreed/status/1236086209740337152\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Children’s Discovery Museum\u003c/a> in San Jose announced Thursday that it will be closed through March 10 after one of its employees came in contact with a person who tested positive for the novel coronavirus. The employee is currently awaiting test results as the museum comes up with next steps.\u003c/p>\n\u003cp>“We are looking at all our protocols moving forward,” the musuem’s public relations manager, Cecilia Clark, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-joses-childrens-discovery-museum-closes-after-coronavirus-scare\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. “We will be cleaning and sanitizing the entire museum with a third-party professional before we open to the public.” [aside postid=\"arts_13876121\"]\u003c/p>\n\u003cp>The announcement comes after an \u003ca href=\"https://www.sccgov.org/sites/phd/DiseaseInformation/novel-coronavirus/Pages/home.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">advisory\u003c/a> from Santa Clara County’s public health department suggesting to postpone mass gatherings such as sports games and cultural events. Contra Costa County has also issued an advisory for people over 50 years old to avoid large events.\u003c/p>\n\u003cp>Over a dozen tech conferences in the Bay Area have been canceled or postponed due to the outbreak, including \u003ca href=\"https://lesbianswhotech.org/sanfrancisco2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a> and the \u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Game Developers Conference\u003c/a>, both now taking place in the summer. \u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Reboot Ideas Festival\u003c/a> in San Francisco’s Fort Mason Center, a conference about issues captivating the Jewish world, has been postponed. The Gucci Cruise 2021 fashion show, slated for San Francisco in May, is now \u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a>. The Tactile Dome exhibit, where visitors crawl through a dark, textured labyrinth in San Francisco’s Exploratorium, is \u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">closed indefinitely\u003c/a>. [aside postid=\"science_1957877\"]\u003c/p>\n\u003cp>The Stanford Theater in Palo Alto has \u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">suspended\u003c/a> all movie screenings, and San Francisco’s \u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Ocean Film Festival\u003c/a> at Cowell Theater has been delayed. And Stanford University’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center\u003c/a> and Anderson Collection have \u003ca href=\"https://museum.stanford.edu/about/news/event-updates-related-novel-coronavirus-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">suspended public tours\u003c/a> through April 15.\u003c/p>\n\u003cp>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Update, March 6, 5:30pm: \u003c/strong>San Francisco Mayor London Breed issued an advisory urging residents to cancel or postpone “non-essential events” such as sports games and concerts to stop the spread of coronavirus. \u003ca href=\"https://twitter.com/LondonBreed/status/1236086209740337152\" target=\"_blank\" rel=\"noopener noreferrer\">Read more\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.cdm.org/\" target=\"_blank\" rel=\"noopener noreferrer\">The Children’s Discovery Museum\u003c/a> in San Jose announced Thursday that it will be closed through March 10 after one of its employees came in contact with a person who tested positive for the novel coronavirus. The employee is currently awaiting test results as the museum comes up with next steps.\u003c/p>\n\u003cp>“We are looking at all our protocols moving forward,” the musuem’s public relations manager, Cecilia Clark, \u003ca href=\"https://datebook.sfchronicle.com/art-exhibits/san-joses-childrens-discovery-museum-closes-after-coronavirus-scare\" target=\"_blank\" rel=\"noopener noreferrer\">told \u003cem>San Francisco Chronicle\u003c/em>\u003c/a>. “We will be cleaning and sanitizing the entire museum with a third-party professional before we open to the public.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The announcement comes after an \u003ca href=\"https://www.sccgov.org/sites/phd/DiseaseInformation/novel-coronavirus/Pages/home.aspx\" target=\"_blank\" rel=\"noopener noreferrer\">advisory\u003c/a> from Santa Clara County’s public health department suggesting to postpone mass gatherings such as sports games and cultural events. Contra Costa County has also issued an advisory for people over 50 years old to avoid large events.\u003c/p>\n\u003cp>Over a dozen tech conferences in the Bay Area have been canceled or postponed due to the outbreak, including \u003ca href=\"https://lesbianswhotech.org/sanfrancisco2020/\" target=\"_blank\" rel=\"noopener noreferrer\">Lesbians Who Tech\u003c/a> and the \u003ca href=\"https://www.gdconf.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Game Developers Conference\u003c/a>, both now taking place in the summer. \u003ca href=\"https://www.rebootideasfestival.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Reboot Ideas Festival\u003c/a> in San Francisco’s Fort Mason Center, a conference about issues captivating the Jewish world, has been postponed. The Gucci Cruise 2021 fashion show, slated for San Francisco in May, is now \u003ca href=\"https://wwd.com/fashion-news/fashion-scoops/gucci-cancels-cruise-2021-show-in-san-francisco-1203526819/\" target=\"_blank\" rel=\"noopener noreferrer\">canceled\u003c/a>. The Tactile Dome exhibit, where visitors crawl through a dark, textured labyrinth in San Francisco’s Exploratorium, is \u003ca href=\"https://www.exploratorium.edu/visit/covid19\" target=\"_blank\" rel=\"noopener noreferrer\">closed indefinitely\u003c/a>. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Stanford Theater in Palo Alto has \u003ca href=\"https://stanfordtheatre.org/\" target=\"_blank\" rel=\"noopener noreferrer\">suspended\u003c/a> all movie screenings, and San Francisco’s \u003ca href=\"http://intloceanfilmfest.org/\" target=\"_blank\" rel=\"noopener noreferrer\">International Ocean Film Festival\u003c/a> at Cowell Theater has been delayed. And Stanford University’s \u003ca href=\"https://museum.stanford.edu/\" target=\"_blank\" rel=\"noopener noreferrer\">Cantor Arts Center\u003c/a> and Anderson Collection have \u003ca href=\"https://museum.stanford.edu/about/news/event-updates-related-novel-coronavirus-covid-19\" target=\"_blank\" rel=\"noopener noreferrer\">suspended public tours\u003c/a> through April 15.\u003c/p>\n\u003cp>For information on how to keep yourself safe from the coronavirus, \u003ca href=\"https://www.kqed.org/science/1957469/what-californians-need-to-know-about-the-coronavirus\" target=\"_blank\" rel=\"noopener noreferrer\">click here\u003c/a>, and see KQED’s \u003ca href=\"https://www.kqed.org/science/1957877/live-updates-coronavirus-in-the-san-francisco-bay-area\" target=\"_blank\" rel=\"noopener noreferrer\">live updates\u003c/a> for the latest news.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "McCoy Tyner, Groundbreaking Pianist Of 20th Century Jazz, Dies At 81",
"headTitle": "McCoy Tyner, Groundbreaking Pianist Of 20th Century Jazz, Dies At 81 | KQED",
"content": "\u003cfigure id=\"attachment_13876110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-800x800.jpg\" alt=\"Jazz great McCoy Tyner, seen here in a 1970 photo, died Friday at the age of 81.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13876110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazz great McCoy Tyner, seen here in a 1970 photo, died Friday at the age of 81. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCoy Tyner, a pianist whose deep resonance, hammering attack and sublime harmonic invention made him a game-changing catalyst in jazz and beyond, died Friday, March 6, at his home in New Jersey. His death was confirmed by his manager. No cause of death was given. He was 81. \u003c/p>\n\u003cp>Tyner was the last surviving member of the John Coltrane Quartet, among the most momentous groups in jazz history. Few musicians have ever exerted as much influence as a sideman. His crucial role in the group’s articulation of modal harmony, from the early 1960s on, will always stand as a defining achievement: The ringing intervals in his left hand, often perfect fourths or fifths, became the cornerstone of a style that endures today. \u003c/p>\n\u003cp>But Tyner was always a more multidimensional musician than the sum of his mannerisms would seem to suggest. And he had a long, consequential post-Coltrane career as a composer and bandleader. Among his dozens of albums are a handful regarded as classics, like \u003cem>Reaching Fourth, The Real McCoy \u003c/em>and \u003cem>Atlantis\u003c/em>. A number of his compositions, including “Passion Dance” and “Peresina,” have entered the common repertory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yaPVbKglRu8\u003c/p>\n\u003cp>Alfred McCoy Tyner was born Dec. 11, 1938 in Philadelphia, the oldest child of Jarvis Tyner and the former Beatrice Stevenson. The oldest of three siblings, he began taking piano lessons at 13. Within a few years he was playing professionally in and around Philadelphia, as part of a modern jazz scene that was one of the most vibrant in the country. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 1959, Tyner joined trumpeter Art Farmer and saxophonist Benny Golson in a group they called The Jazztet; he appeared on its first album, released the following year. That same year, 1960, Tyner played on Coltrane’s album \u003cem>My Favorite Things\u003c/em>; his tolling, meditative chords on the title track, a popular song borrowed from the hit Broadway musical \u003cem>The Sound of Music\u003c/em>, were a key part of its allure. \u003c/p>\n\u003cp>The classic John Coltrane Quartet — with Tyner, Jimmy Garrison on bass and Elvin Jones on drums — formally coalesced in 1962. For the next several years it created at a prodigious pace, recording landmark albums like \u003cem>Crescent \u003c/em>and \u003cem>A Love Supreme\u003c/em>, and setting a fearsome bar for intensity on the bandstand. Recordings like \u003cem>Live at Birdland \u003c/em>have been prized by generations of musicians and fans; in 2005 another live document, \u003cem>Live at the Half Note: One Down, One Up\u003c/em>, left another major impression, 40 years after its recording date. \u003c/p>\n\u003cp>Tyner stayed with Coltrane until soon after that recording, as the music grew more cacophonous, rhythmically abstract and untethered from root tonality. His piano chair was passed on to Alice Coltrane, who quickly made it her own.\u003c/p>\n\u003cp>“I was so immersed in the music when I was with John,” Tyner told me in 1997. “The influence was so great, and the roles we all played in that group were so powerful; you couldn’t divorce yourself from it just because you weren’t physically there. For a while there, all the horn players that were with me wanted to sound like John. So I deliberately started using alto sax instead of tenor, and other instruments, because I wanted to kind of try something different.”\u003c/p>\n\u003cp>https://youtu.be/EnQJsrUYb8Q\u003c/p>\n\u003cp>But the intrepid tone and earnest spiritualism in Coltrane’s music carried over into Tyner’s — especially during a feverish stretch in the 1970s, on a series of searching, Afrocentric albums like \u003cem>Extensions\u003c/em> and \u003cem>Sahara\u003c/em>. The critic Gary Giddins, \u003ca href=\"https://www.villagevoice.com/2019/12/11/jazz-wars-in-the-70s/?fbclid=IwAR0Cvhl1bgEvWjkbaawmIdSxsud5jjztvLIwsjUqvyO3Z69NXBUHTbLDr4M\">reflecting on the 1970s\u003c/a> in \u003cem>The Village Voice, \u003c/em>once pegged Tyner “the most influential pianist of the decade,” an assessment that could credibly be extended outside that frame.\u003c/p>\n\u003cp>Tyner was a 2002 NEA Jazz Master, and a five-time Grammy winner — most recently in 2004 for his album \u003cem>Illuminations\u003c/em>, featuring a band with trumpeter Terence Blanchard, alto saxophonist Gary Bartz, bassist Christian McBride and drummer Lewis Nash. He worked extensively in a trio format; one longtime working band had Avery Sharpe on bass and Aaron Scott on drums.\u003c/p>\n\u003cp>The legacy of Tyner’s pianism can be heard far and wide, in the music of everyone from salsa legend Eddie Palmieri to \u003cem>Late Show \u003c/em>bandleader Jon Batiste. His innovations in harmony, with their intimations of transcendence, form a standard proudly upheld by contemporary pianists like Nduduzo Makhathini, whose forthcoming Blue Note debut bears the influence unmistakably.\u003c/p>\n\u003cp>“I feel very honored, actually,” Tyner told me about the legions of pianists who have emulated his style. “I really do, because I think that if I could make a statement that makes a difference, and the influence could be preserved through the generations to come, that means that my stay here on earth has a meaning.”\u003c/p>\n\u003ch3>Stream Our In Memoriam Playlist\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5xzNO6v9SpMT4XD0zUQcYA\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=McCoy+Tyner%2C+Groundbreaking+Pianist+Of+20th+Century+Jazz%2C+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13876110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-800x800.jpg\" alt=\"Jazz great McCoy Tyner, seen here in a 1970 photo, died Friday at the age of 81.\" width=\"800\" height=\"800\" class=\"size-medium wp-image-13876110\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/gettyimages-74299476_sq-bf39695229cbd30225c0180578fa883fd9767eab-1920x1920.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jazz great McCoy Tyner, seen here in a 1970 photo, died Friday at the age of 81. \u003ccite>(Michael Ochs Archives/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>McCoy Tyner, a pianist whose deep resonance, hammering attack and sublime harmonic invention made him a game-changing catalyst in jazz and beyond, died Friday, March 6, at his home in New Jersey. His death was confirmed by his manager. No cause of death was given. He was 81. \u003c/p>\n\u003cp>Tyner was the last surviving member of the John Coltrane Quartet, among the most momentous groups in jazz history. Few musicians have ever exerted as much influence as a sideman. His crucial role in the group’s articulation of modal harmony, from the early 1960s on, will always stand as a defining achievement: The ringing intervals in his left hand, often perfect fourths or fifths, became the cornerstone of a style that endures today. \u003c/p>\n\u003cp>But Tyner was always a more multidimensional musician than the sum of his mannerisms would seem to suggest. And he had a long, consequential post-Coltrane career as a composer and bandleader. Among his dozens of albums are a handful regarded as classics, like \u003cem>Reaching Fourth, The Real McCoy \u003c/em>and \u003cem>Atlantis\u003c/em>. A number of his compositions, including “Passion Dance” and “Peresina,” have entered the common repertory.\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/yaPVbKglRu8'\n title='//www.youtube.com/embed/yaPVbKglRu8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Alfred McCoy Tyner was born Dec. 11, 1938 in Philadelphia, the oldest child of Jarvis Tyner and the former Beatrice Stevenson. The oldest of three siblings, he began taking piano lessons at 13. Within a few years he was playing professionally in and around Philadelphia, as part of a modern jazz scene that was one of the most vibrant in the country. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 1959, Tyner joined trumpeter Art Farmer and saxophonist Benny Golson in a group they called The Jazztet; he appeared on its first album, released the following year. That same year, 1960, Tyner played on Coltrane’s album \u003cem>My Favorite Things\u003c/em>; his tolling, meditative chords on the title track, a popular song borrowed from the hit Broadway musical \u003cem>The Sound of Music\u003c/em>, were a key part of its allure. \u003c/p>\n\u003cp>The classic John Coltrane Quartet — with Tyner, Jimmy Garrison on bass and Elvin Jones on drums — formally coalesced in 1962. For the next several years it created at a prodigious pace, recording landmark albums like \u003cem>Crescent \u003c/em>and \u003cem>A Love Supreme\u003c/em>, and setting a fearsome bar for intensity on the bandstand. Recordings like \u003cem>Live at Birdland \u003c/em>have been prized by generations of musicians and fans; in 2005 another live document, \u003cem>Live at the Half Note: One Down, One Up\u003c/em>, left another major impression, 40 years after its recording date. \u003c/p>\n\u003cp>Tyner stayed with Coltrane until soon after that recording, as the music grew more cacophonous, rhythmically abstract and untethered from root tonality. His piano chair was passed on to Alice Coltrane, who quickly made it her own.\u003c/p>\n\u003cp>“I was so immersed in the music when I was with John,” Tyner told me in 1997. “The influence was so great, and the roles we all played in that group were so powerful; you couldn’t divorce yourself from it just because you weren’t physically there. For a while there, all the horn players that were with me wanted to sound like John. So I deliberately started using alto sax instead of tenor, and other instruments, because I wanted to kind of try something different.”\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/EnQJsrUYb8Q'\n title='//www.youtube.com/embed/EnQJsrUYb8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the intrepid tone and earnest spiritualism in Coltrane’s music carried over into Tyner’s — especially during a feverish stretch in the 1970s, on a series of searching, Afrocentric albums like \u003cem>Extensions\u003c/em> and \u003cem>Sahara\u003c/em>. The critic Gary Giddins, \u003ca href=\"https://www.villagevoice.com/2019/12/11/jazz-wars-in-the-70s/?fbclid=IwAR0Cvhl1bgEvWjkbaawmIdSxsud5jjztvLIwsjUqvyO3Z69NXBUHTbLDr4M\">reflecting on the 1970s\u003c/a> in \u003cem>The Village Voice, \u003c/em>once pegged Tyner “the most influential pianist of the decade,” an assessment that could credibly be extended outside that frame.\u003c/p>\n\u003cp>Tyner was a 2002 NEA Jazz Master, and a five-time Grammy winner — most recently in 2004 for his album \u003cem>Illuminations\u003c/em>, featuring a band with trumpeter Terence Blanchard, alto saxophonist Gary Bartz, bassist Christian McBride and drummer Lewis Nash. He worked extensively in a trio format; one longtime working band had Avery Sharpe on bass and Aaron Scott on drums.\u003c/p>\n\u003cp>The legacy of Tyner’s pianism can be heard far and wide, in the music of everyone from salsa legend Eddie Palmieri to \u003cem>Late Show \u003c/em>bandleader Jon Batiste. His innovations in harmony, with their intimations of transcendence, form a standard proudly upheld by contemporary pianists like Nduduzo Makhathini, whose forthcoming Blue Note debut bears the influence unmistakably.\u003c/p>\n\u003cp>“I feel very honored, actually,” Tyner told me about the legions of pianists who have emulated his style. “I really do, because I think that if I could make a statement that makes a difference, and the influence could be preserved through the generations to come, that means that my stay here on earth has a meaning.”\u003c/p>\n\u003ch3>Stream Our In Memoriam Playlist\u003c/h3>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/5xzNO6v9SpMT4XD0zUQcYA\" width=\"100%\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=McCoy+Tyner%2C+Groundbreaking+Pianist+Of+20th+Century+Jazz%2C+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ci>This performance has been postponed, with hopes of rescheduling for a date in May. The exhibition of Matisse’s artwork remains on view in Slide Space 123 Gallery. For more, see \u003ca href=\"https://mcam.mills.edu/events/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>It’s a story of art inspiring art inspiring art. Henrí Matisse’s joyful paper compositions, which the artist began making in the 1940s with painted paper and a pair of scissors, inform an afternoon performance at the Mills College Art Museum featuring choreographer \u003ca href=\"http://www.molissafenley.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Molissa Fenley\u003c/a>, poet \u003ca href=\"http://bobholman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bob Holman\u003c/a> and composer \u003ca href=\"http://keithpatchel.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Keith Patchel\u003c/a>. \u003c/p>\n\u003cp>Where to start untangling this web of associations? Let’s begin with Holman, founder of New York’s Bowery Poetry Club and the author of 17 poetry collections. Inspired by Matisse’s work, he wrote the 2017 chapbook \u003ci>The Cutouts (Matisse)\u003c/i>, poetic descriptions of and extrapolations from the artist’s final years of work. \u003c/p>\n\u003cp>Then, composer Patchel set the suite of poems to music, creating a “songspiel” that includes lines like “snip, snip” and “Time for lunch, Henri / So eat your breakfast / Blue apple / Green coffee / Yellow fingers,” sometimes sung, sometimes spoken, to a background of spare piano and strings.\u003c/p>\n\u003cp>Enter Fenley (a Mills alum), a choreographer, performer and longtime Holman collaborator, to bring the whole thing into three-dimensional, bodily space. In an earlier performance of \u003ci>The Cut-Outs\u003c/i> at Stanford’s Anderson Collection, Fenley embodied the angular poses of the figures in Matisse’s \u003ci>Jazz\u003c/i> suite, freeing them from their static stances with graceful, sweeping gestures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And as a bonus to all this live, person-to-person transmission of Matisse’s works, the college’s own \u003ci>Jazz Suite\u003c/i> prints will be on display in \u003ca href=\"https://mcam.mills.edu/exhibitions/upcoming.php\" rel=\"noopener noreferrer\" target=\"_blank\">Slide Space 123 Gallery\u003c/a>, just a short walk from the performance space in Rothwell Theater, on view March 13–15. \u003ci>–Sarah Hotchkiss\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>This performance has been postponed, with hopes of rescheduling for a date in May. The exhibition of Matisse’s artwork remains on view in Slide Space 123 Gallery. For more, see \u003ca href=\"https://mcam.mills.edu/events/\" rel=\"noopener noreferrer\" target=\"_blank\">here\u003c/a>.\u003c/i>\u003c/p>\n\u003cp>It’s a story of art inspiring art inspiring art. Henrí Matisse’s joyful paper compositions, which the artist began making in the 1940s with painted paper and a pair of scissors, inform an afternoon performance at the Mills College Art Museum featuring choreographer \u003ca href=\"http://www.molissafenley.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Molissa Fenley\u003c/a>, poet \u003ca href=\"http://bobholman.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Bob Holman\u003c/a> and composer \u003ca href=\"http://keithpatchel.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Keith Patchel\u003c/a>. \u003c/p>\n\u003cp>Where to start untangling this web of associations? Let’s begin with Holman, founder of New York’s Bowery Poetry Club and the author of 17 poetry collections. Inspired by Matisse’s work, he wrote the 2017 chapbook \u003ci>The Cutouts (Matisse)\u003c/i>, poetic descriptions of and extrapolations from the artist’s final years of work. \u003c/p>\n\u003cp>Then, composer Patchel set the suite of poems to music, creating a “songspiel” that includes lines like “snip, snip” and “Time for lunch, Henri / So eat your breakfast / Blue apple / Green coffee / Yellow fingers,” sometimes sung, sometimes spoken, to a background of spare piano and strings.\u003c/p>\n\u003cp>Enter Fenley (a Mills alum), a choreographer, performer and longtime Holman collaborator, to bring the whole thing into three-dimensional, bodily space. In an earlier performance of \u003ci>The Cut-Outs\u003c/i> at Stanford’s Anderson Collection, Fenley embodied the angular poses of the figures in Matisse’s \u003ci>Jazz\u003c/i> suite, freeing them from their static stances with graceful, sweeping gestures.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>\u003cem>NOTE: This show has been \u003ca href=\"https://www.chasecenter.com/events/CglD6bGUKIDCTNfpKrLLa\" rel=\"noopener noreferrer\" target=\"_blank\">canceled\u003c/a> due to coronavirus restrictions.\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>Australian band Tame Impala has fans from just about every musical scene and subculture—that even includes pop superstar Rihanna, who \u003ca href=\"https://www.youtube.com/watch?v=x57ZM02NhF0\" target=\"_blank\" rel=\"noopener noreferrer\">covered\u003c/a> their track “\u003ca href=\"https://www.youtube.com/watch?v=tEXYfT_G0W0\" target=\"_blank\" rel=\"noopener noreferrer\">New Person, Same Old Mistakes\u003c/a>” on her acclaimed 2016 album, \u003cem>ANTI\u003c/em>.\u003c/p>\n\u003cp>After a five-year gap between albums, Tame Impala’s new project \u003cem>The Slow Rush\u003c/em> finds bandleader Kevin Parker weaving hip-hop drums and house music’s exuberant pulse into his expansive, psychedelic rock. \u003cem>The Slow Rush\u003c/em> has a smoother, more pop-oriented approach than Parker’s previous releases, but that doesn’t make it generic.\u003c/p>\n\u003cp>The multi-instrumentalist’s omnivorous tastes lead each track to surprising places, like the pensive “\u003ca href=\"https://www.youtube.com/watch?v=44lWO3qhQMk\" target=\"_blank\" rel=\"noopener noreferrer\">Posthumous Forgiveness\u003c/a>.” The song is full of tense, building surf-guitar riffs as Parker contemplates his complicated relationship with a father who wasn’t there for him, ultimately coming to an understanding of him as a man. The track’s R&B coda resolves the tension and brings a sense of peace that mirrors Parker’s emotional journey in the lyrics.\u003c/p>\n\u003cp>In the studio, Parker mostly works alone, but Tame Impala’s live shows bring out his music’s complex layers and sentimental undercurrents with a full band and stunning visuals. (At Treasure Island Music Festival in Oakland two years ago, they bathed the stage in a trippy light show and then showered the audience in confetti.) Tame Impala performs Friday, March 13, at the Chase Center in San Francisco. \u003ca href=\"https://www.chasecenter.com/events/CglD6bGUKIDCTNfpKrLLa\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—Nastia Voynovskaya\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/utCjuKDXQsE\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cp>Donning floral gasmasks and brandishing liberty torches against an apocalyptic, ombré pink landscape, \u003ca href=\"https://www.npr.org/artists/180622559/natalie-maines\">Natalie Maines\u003c/a>, Emily Robison and Martie Maguire look ready for battle. And that’s just the promotional photo.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15399450/dixie-chicks\" target=\"_blank\" rel=\"noopener noreferrer\">Dixie Chicks\u003c/a> has never left our consciousness. The trio’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/11/04/500562813/beyonc-and-the-dixie-chicks-offer-up-lessons-on-country-musics-past-and-future\" target=\"_blank\" rel=\"noopener noreferrer\">collaborated with Beyoncé\u003c/a>, \u003ca href=\"https://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener noreferrer\">sold out stadiums\u003c/a>, has been \u003ca href=\"https://www.npr.org/2018/10/11/656485202/hear-soccer-mommys-reflective-cover-of-dixie-chicks-wide-open-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">covered by young indie-rock artists\u003c/a> and recently \u003ca href=\"https://www.youtube.com/watch?v=tMoW5G5LU08\" target=\"_blank\" rel=\"noopener noreferrer\">took Taylor Swift back to her roots\u003c/a>. They are “\u003ca href=\"https://www.npr.org/2020/01/06/793951296/from-dixie-chicks-to-rihanna-our-music-predictions-for-2020\" target=\"_blank\" rel=\"noopener noreferrer\">heroes to a whole generation of country listeners and artists\u003c/a>,” NPR Music’s Ann Powers told \u003cem>All Things Considered\u003c/em> in January, but they haven’t released a studio album in 14 years.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sbVPcPL30xc\u003c/p>\n\u003cp>Co-produced by the band and Jack Antonoff—who have all teased the album for the past two years on social media—\u003cem>Gaslighter\u003c/em> will, finally, come out May 1 via \u003ca href=\"https://dixiechicks.lnk.to/GaslighterPSPAID\" target=\"_blank\" rel=\"noopener noreferrer\">Columbia Records\u003c/a>.\u003c/p>\n\u003cp>The powerful title track, out today with a video directed by Seanne Farmer, will stir the hearts of Dixie Chicks fans with the trio’s rumbling harmonies. “Gaslighter, I’m your mirror / Standing right here until you can see how / You broke me / Yeah, I’m broken,” Maines sings in a reflective section until, in perfect Maines fashion, she explodes with defiant rage: “You’re still sorry and there’s still no apology.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Dixie Chicks 2020—y’all, we’re ready.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dixie+Chicks+Announce+First+Album+In+14+Years%2C+%27Gaslighter%2C%27+Share+Title+Track&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donning floral gasmasks and brandishing liberty torches against an apocalyptic, ombré pink landscape, \u003ca href=\"https://www.npr.org/artists/180622559/natalie-maines\">Natalie Maines\u003c/a>, Emily Robison and Martie Maguire look ready for battle. And that’s just the promotional photo.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15399450/dixie-chicks\" target=\"_blank\" rel=\"noopener noreferrer\">Dixie Chicks\u003c/a> has never left our consciousness. The trio’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/11/04/500562813/beyonc-and-the-dixie-chicks-offer-up-lessons-on-country-musics-past-and-future\" target=\"_blank\" rel=\"noopener noreferrer\">collaborated with Beyoncé\u003c/a>, \u003ca href=\"https://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener noreferrer\">sold out stadiums\u003c/a>, has been \u003ca href=\"https://www.npr.org/2018/10/11/656485202/hear-soccer-mommys-reflective-cover-of-dixie-chicks-wide-open-spaces\" target=\"_blank\" rel=\"noopener noreferrer\">covered by young indie-rock artists\u003c/a> and recently \u003ca href=\"https://www.youtube.com/watch?v=tMoW5G5LU08\" target=\"_blank\" rel=\"noopener noreferrer\">took Taylor Swift back to her roots\u003c/a>. They are “\u003ca href=\"https://www.npr.org/2020/01/06/793951296/from-dixie-chicks-to-rihanna-our-music-predictions-for-2020\" target=\"_blank\" rel=\"noopener noreferrer\">heroes to a whole generation of country listeners and artists\u003c/a>,” NPR Music’s Ann Powers told \u003cem>All Things Considered\u003c/em> in January, but they haven’t released a studio album in 14 years.\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/sbVPcPL30xc'\n title='//www.youtube.com/embed/sbVPcPL30xc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Co-produced by the band and Jack Antonoff—who have all teased the album for the past two years on social media—\u003cem>Gaslighter\u003c/em> will, finally, come out May 1 via \u003ca href=\"https://dixiechicks.lnk.to/GaslighterPSPAID\" target=\"_blank\" rel=\"noopener noreferrer\">Columbia Records\u003c/a>.\u003c/p>\n\u003cp>The powerful title track, out today with a video directed by Seanne Farmer, will stir the hearts of Dixie Chicks fans with the trio’s rumbling harmonies. “Gaslighter, I’m your mirror / Standing right here until you can see how / You broke me / Yeah, I’m broken,” Maines sings in a reflective section until, in perfect Maines fashion, she explodes with defiant rage: “You’re still sorry and there’s still no apology.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco thrash legends Metallica have expressed delight over having a newly discovered species of crustacean named after them.\u003c/p>\n\u003cp>The Macrostylis Metallicola has a worm-like body, no eyes, no color and maxes out at a quarter of an inch long. It resides in the darkest depths of the Pacific, 16,000 feet below the ocean surface, and was discovered between Mexico and Hawaii by Dr. Torben Riehl and Dr. Bart De Smet of Ghent University, Belgium.\u003c/p>\n\u003cp>“The powerful music of Metallica has accompanied me the majority of my life,” \u003ca href=\"https://www.news18.com/news/buzz/macrostylis-metallicola-deep-sea-creature-discovered-in-pacific-ocean-named-after-metallica-2519015.html\" target=\"_blank\" rel=\"noopener noreferrer\">Riehl explained\u003c/a>. “I am thrilled to be able to give something back to the band by naming a new species after them!”\u003c/p>\n\u003cp>Here is the Macrostylis Metallicola in all of its glory, as presented in \u003cem>\u003ca href=\"https://peerj.com/articles/8621/\" target=\"_blank\" rel=\"noopener noreferrer\">PeerJ, The Journal of Life and Environmental Sciences\u003c/a>\u003c/em>:\u003c/p>\n\u003cfigure id=\"attachment_13875917\" class=\"wp-caption alignnone\" style=\"max-width: 510px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13875917\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/fig-2-1x.jpg\" alt=\"“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.”\" width=\"510\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x.jpg 510w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/fig-2-1x-160x188.jpg 160w\" sizes=\"(max-width: 510px) 100vw, 510px\">\u003cfigcaption class=\"wp-caption-text\">“Macrostylis metallicola n. sp. holotype ♀ 879 (SMF 50941) digitized pencil drawings of habitus.” \u003ccite>(PeerJ.com - DOI: 10.7717/peerj.8621/fig-2)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Delightfully, Metallica’s resident artist came up with their own vivid rendition, as the quartet celebrated the special milestone. “Now that’s one metal crustacean!” the band wrote.\u003c/p>\n\u003cp>https://www.instagram.com/p/B9FQ6GqA02F/\u003c/p>\n\u003cp>Remarkably, this is not the first time science’s love for heavy metal has expressed itself through the naming of new organisms.\u003c/p>\n\u003cp>Researcher Mats Eriksson has \u003ca href=\"https://www.loudersound.com/news/extinct-monster-worm-named-after-cannibal-corpse-bassist\" target=\"_blank\" rel=\"noopener noreferrer\">named worms\u003c/a> after Motörhead frontman Lemmy Kilmister (the Kalloprion Kilmisteri), Cannibal Corpse bassist Alex Webster (the Websteroprion Armstrongi) and King Diamond (Kingnites Diamondi). Elsewhere, Megadeth frontman Dave Mustaine has \u003ca href=\"https://loudwire.com/new-species-tarantula-named-after-megadeth-dave-mustaine/\" target=\"_blank\" rel=\"noopener noreferrer\">a tarantula\u003c/a> (Aphonopelma Davemustainei) named for him, and Ozzy Osbourne has been honored with \u003ca href=\"https://www.nme.com/news/music/ozzy-osbourne-20-1222564\" target=\"_blank\" rel=\"noopener noreferrer\">a frog\u003c/a> that sounds like a bat (Dendropsophus Ozzyi).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remarkably, this is not the first time science’s love for heavy metal has expressed itself through the naming of new organisms.\u003c/p>\n\u003cp>Researcher Mats Eriksson has \u003ca href=\"https://www.loudersound.com/news/extinct-monster-worm-named-after-cannibal-corpse-bassist\" target=\"_blank\" rel=\"noopener noreferrer\">named worms\u003c/a> after Motörhead frontman Lemmy Kilmister (the Kalloprion Kilmisteri), Cannibal Corpse bassist Alex Webster (the Websteroprion Armstrongi) and King Diamond (Kingnites Diamondi). Elsewhere, Megadeth frontman Dave Mustaine has \u003ca href=\"https://loudwire.com/new-species-tarantula-named-after-megadeth-dave-mustaine/\" target=\"_blank\" rel=\"noopener noreferrer\">a tarantula\u003c/a> (Aphonopelma Davemustainei) named for him, and Ozzy Osbourne has been honored with \u003ca href=\"https://www.nme.com/news/music/ozzy-osbourne-20-1222564\" target=\"_blank\" rel=\"noopener noreferrer\">a frog\u003c/a> that sounds like a bat (Dendropsophus Ozzyi).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A song fuses words and music. Yet the human brain can instantly separate a song’s lyrics from its melody.\u003c/p>\n\u003cp>And now scientists think they know how this happens.\u003c/p>\n\u003cp>A team led by researchers at McGill University \u003ca href=\"https://science.sciencemag.org/cgi/doi/10.1126/science.aaz3468\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> in \u003cem>Science\u003c/em> Thursday that song sounds are processed simultaneously by two separate brain areas—one in the left hemisphere and one in the right.\u003c/p>\n\u003cp>“On the left side you can decode the speech content but not the melodic content, and on the right side you can decode the melodic content but not the speech content,” says \u003ca href=\"https://www.mcgill.ca/neuro/robert-zatorre-phd\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Zatorre\u003c/a>, a professor at McGill University’s Montreal Neurological Institute.\u003c/p>\n\u003cp>The finding explains something doctors have observed in stroke patients for decades, says \u003ca href=\"https://www.mpg.de/914530/Daniela_Sammler\" target=\"_blank\" rel=\"noopener noreferrer\">Daniela Sammler\u003c/a>, a researcher at the Max Planck Institute for Cognition and Neurosciences in Leipzig, Germany, who was not involved in the study.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“If you have a stroke in the left hemisphere you are much more likely to have a language impairment than if you have a stroke in the right hemisphere,” Sammler says. Moreover, brain damage to certain areas of the right hemisphere can affect a person’s ability to perceive music.\u003c/p>\n\u003cp>The study was inspired by songbirds, Zatorre says.\u003c/p>\n\u003cp>Studies show that their brains decode sounds using two separate measures. One assesses how quickly a sound fluctuates over time. The other detects the frequencies in a sound.\u003c/p>\n\u003cp>“We thought, hey, maybe that’s what the human brain does too,” Zatorre says.\u003c/p>\n\u003cp>To find out, the team got help from a composer and a soprano. And they created lots of a cappella songs that were just a few seconds long.\u003c/p>\n\u003cp>Then the team used a computer to alter the recordings. Sometimes they removed information about sound frequencies, which produced a breathy voice a bit like Darth Vader’s.\u003c/p>\n\u003cp>“The speech is perfectly comprehensible, but all the melody is essentially gone,” Zatorre says.\u003c/p>\n\u003cp>Other songs were altered to remove information about how the sound changed over time. That sounds a bit like someone humming a sentence rather than singing the words.\u003c/p>\n\u003cp>“You can still perceive the melody but you can no longer tell what the speech is,” Zatorre says.\u003c/p>\n\u003cp>Armed with hundreds of altered song fragments, recorded in both English and French, the team set out to learn how a human brain would process these sounds.\u003c/p>\n\u003cp>The scientists played them for 49 people while an \u003ca href=\"http://fmri.ucsd.edu/Research/whatisfmri.html\" target=\"_blank\" rel=\"noopener noreferrer\">fMRI scanner\u003c/a> monitored brain activity. And it turned out that the people decoded sounds the same way songbirds do, by separating a sound’s time-related elements from the frequencies it contains, and processing the information using two different groups of specialized brain cells.\u003c/p>\n\u003cp>As a result, when we hear a song, it engages both hemispheres of the brain in a way that’s different than either speech or music alone, Zatorre says.\u003c/p>\n\u003cp>“That might be why [songs are] especially prominent and especially meaningful” in cultures around the globe, Zatorre says.\u003c/p>\n\u003cp>But it’s not just songs that require both hemispheres working together, Sammler says. That process is necessary to fully experience any type of sound.\u003c/p>\n\u003cp>Also, the brain circuits involved probably existed before human language appeared, Sammer says.\u003c/p>\n\u003cp>“Charles Darwin said the languages that we use today emerged from something that was a song-like proto-language,” she says.\u003c/p>\n\u003cp>Now that there’s good evidence a song takes two separate paths through the brain, researchers will need to figure out how the brain combines those twin streams of information into a coherent listening experience, Sammler says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We perceive the song as a song, right?” she says. “It’s one thing and it’s not like a speech stream or a melody stream.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+The+Brain+Teases+Apart+A+Song%27s+Words+And+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A song fuses words and music. Yet the human brain can instantly separate a song’s lyrics from its melody.\u003c/p>\n\u003cp>And now scientists think they know how this happens.\u003c/p>\n\u003cp>A team led by researchers at McGill University \u003ca href=\"https://science.sciencemag.org/cgi/doi/10.1126/science.aaz3468\" target=\"_blank\" rel=\"noopener noreferrer\">reported\u003c/a> in \u003cem>Science\u003c/em> Thursday that song sounds are processed simultaneously by two separate brain areas—one in the left hemisphere and one in the right.\u003c/p>\n\u003cp>“On the left side you can decode the speech content but not the melodic content, and on the right side you can decode the melodic content but not the speech content,” says \u003ca href=\"https://www.mcgill.ca/neuro/robert-zatorre-phd\" target=\"_blank\" rel=\"noopener noreferrer\">Robert Zatorre\u003c/a>, a professor at McGill University’s Montreal Neurological Institute.\u003c/p>\n\u003cp>The finding explains something doctors have observed in stroke patients for decades, says \u003ca href=\"https://www.mpg.de/914530/Daniela_Sammler\" target=\"_blank\" rel=\"noopener noreferrer\">Daniela Sammler\u003c/a>, a researcher at the Max Planck Institute for Cognition and Neurosciences in Leipzig, Germany, who was not involved in the study.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If you have a stroke in the left hemisphere you are much more likely to have a language impairment than if you have a stroke in the right hemisphere,” Sammler says. Moreover, brain damage to certain areas of the right hemisphere can affect a person’s ability to perceive music.\u003c/p>\n\u003cp>The study was inspired by songbirds, Zatorre says.\u003c/p>\n\u003cp>Studies show that their brains decode sounds using two separate measures. One assesses how quickly a sound fluctuates over time. The other detects the frequencies in a sound.\u003c/p>\n\u003cp>“We thought, hey, maybe that’s what the human brain does too,” Zatorre says.\u003c/p>\n\u003cp>To find out, the team got help from a composer and a soprano. And they created lots of a cappella songs that were just a few seconds long.\u003c/p>\n\u003cp>Then the team used a computer to alter the recordings. Sometimes they removed information about sound frequencies, which produced a breathy voice a bit like Darth Vader’s.\u003c/p>\n\u003cp>“The speech is perfectly comprehensible, but all the melody is essentially gone,” Zatorre says.\u003c/p>\n\u003cp>Other songs were altered to remove information about how the sound changed over time. That sounds a bit like someone humming a sentence rather than singing the words.\u003c/p>\n\u003cp>“You can still perceive the melody but you can no longer tell what the speech is,” Zatorre says.\u003c/p>\n\u003cp>Armed with hundreds of altered song fragments, recorded in both English and French, the team set out to learn how a human brain would process these sounds.\u003c/p>\n\u003cp>The scientists played them for 49 people while an \u003ca href=\"http://fmri.ucsd.edu/Research/whatisfmri.html\" target=\"_blank\" rel=\"noopener noreferrer\">fMRI scanner\u003c/a> monitored brain activity. And it turned out that the people decoded sounds the same way songbirds do, by separating a sound’s time-related elements from the frequencies it contains, and processing the information using two different groups of specialized brain cells.\u003c/p>\n\u003cp>As a result, when we hear a song, it engages both hemispheres of the brain in a way that’s different than either speech or music alone, Zatorre says.\u003c/p>\n\u003cp>“That might be why [songs are] especially prominent and especially meaningful” in cultures around the globe, Zatorre says.\u003c/p>\n\u003cp>But it’s not just songs that require both hemispheres working together, Sammler says. That process is necessary to fully experience any type of sound.\u003c/p>\n\u003cp>Also, the brain circuits involved probably existed before human language appeared, Sammer says.\u003c/p>\n\u003cp>“Charles Darwin said the languages that we use today emerged from something that was a song-like proto-language,” she says.\u003c/p>\n\u003cp>Now that there’s good evidence a song takes two separate paths through the brain, researchers will need to figure out how the brain combines those twin streams of information into a coherent listening experience, Sammler says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We perceive the song as a song, right?” she says. “It’s one thing and it’s not like a speech stream or a melody stream.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+The+Brain+Teases+Apart+A+Song%27s+Words+And+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike",
"headTitle": "PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike | KQED",
"content": "\u003cp>What started as a $5 indie rock gig in 1993 has since evolved into a week-long, diverse festival celebrating independent music.\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, which ran from Feb. 24 to March 1, included dozens of touring acts and more than 70 local artists. It stretched across big and small venues all over the Bay Area (including a new four-night series at SFJAZZ), and extended to Sacramento and Santa Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> put on a fiery hometown show on Feb. 28 at Oakland’s Fox Theater, and it was one of the festival’s biggest highlights. Playing guitar and piano, and sharing stories from his childhood in Oakland, Saadiq managed to make the sold-out concert feel like an intimate house show while delivering hit after hit.\u003c/p>\n\u003cp>Known for encouraging music discovery, Noise Pop continued its tradition of pairing artists in new, exciting ways. Emily Afton’s indie-rock ballads and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>’s hip-hop vocals were a fitting introduction on Feb. 27 for fans of The Seshen, a six-piece band that hybridizes the two styles, mixing in a little Latin flavor. On Feb. 26, the crowd at Great American Music Hall swooned over Angelica Garcia’s delicate yet soulful pop songs. Drawing from classical singing and opera, she transfixed the crowd before headliner Helado Negro hit the stage.\u003c/p>\n\u003cp>Post-punk quartet Mannequin Pussy put on a mosh pit-worthy performance at the Regency Ballroom on Feb. 29, which contrasted with \u003ca href=\"//6\">Best Coast\u003c/a>’s soft, heartfelt songs off of the band’s new album \u003cem>Always Tomorrow\u003c/em>, about finding positivity during dark times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See our photos with highlights from Noise Pop 2020 below.\u003c/p>\n\u003cfigure id=\"attachment_13875764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7488-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq headlines the Fox Theater in Oakland on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7661-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Fox Theater in Oakland during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8090-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Best Coast Headlines night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8131-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875782\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8004-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannequin Pussy play night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7415-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Seshen headline the Rickshaw Stop on night four of the Noise Pop Music and Art Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7238-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7096-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro backstage at the Great American Music Hall on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7150-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro plays a sold out show the Great American Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton backstage at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7259-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875794\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875794\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Negroni performs among festival attendees at the Starline Social Club on Tuesday, Feb. 25, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7840-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7685-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls backstage at Cafe du Nord during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7882-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tyler Holmes plays night six of the Noise Pop Music and Arts Festival at the Swedish American Hall on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "The festival activated intimate clubs and big venues, bringing stars like Raphael Saadiq and Best Coast together with a variety of buzzworthy acts.",
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"title": "PHOTOS: Noise Pop 2020 Offered an Exhilarating Mix of Stars and Underground Acts Alike | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What started as a $5 indie rock gig in 1993 has since evolved into a week-long, diverse festival celebrating independent music.\u003c/p>\n\u003cp>This year’s \u003ca href=\"https://www.noisepop.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music & Arts Festival\u003c/a>, which ran from Feb. 24 to March 1, included dozens of touring acts and more than 70 local artists. It stretched across big and small venues all over the Bay Area (including a new four-night series at SFJAZZ), and extended to Sacramento and Santa Cruz.\u003c/p>\n\u003cp>\u003ca href=\"https://www.kqed.org/arts/13810633/from-tony-toni-tone-to-insecure-rb-star-raphael-saadiq-is-timeless\" target=\"_blank\" rel=\"noopener noreferrer\">Raphael Saadiq\u003c/a> put on a fiery hometown show on Feb. 28 at Oakland’s Fox Theater, and it was one of the festival’s biggest highlights. Playing guitar and piano, and sharing stories from his childhood in Oakland, Saadiq managed to make the sold-out concert feel like an intimate house show while delivering hit after hit.\u003c/p>\n\u003cp>Known for encouraging music discovery, Noise Pop continued its tradition of pairing artists in new, exciting ways. Emily Afton’s indie-rock ballads and \u003ca href=\"https://www.kqed.org/arts/13853543/genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep\" target=\"_blank\" rel=\"noopener noreferrer\">Mahawam\u003c/a>’s hip-hop vocals were a fitting introduction on Feb. 27 for fans of The Seshen, a six-piece band that hybridizes the two styles, mixing in a little Latin flavor. On Feb. 26, the crowd at Great American Music Hall swooned over Angelica Garcia’s delicate yet soulful pop songs. Drawing from classical singing and opera, she transfixed the crowd before headliner Helado Negro hit the stage.\u003c/p>\n\u003cp>Post-punk quartet Mannequin Pussy put on a mosh pit-worthy performance at the Regency Ballroom on Feb. 29, which contrasted with \u003ca href=\"//6\">Best Coast\u003c/a>’s soft, heartfelt songs off of the band’s new album \u003cem>Always Tomorrow\u003c/em>, about finding positivity during dark times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>See our photos with highlights from Noise Pop 2020 below.\u003c/p>\n\u003cfigure id=\"attachment_13875764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875764\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7488-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7488-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Raphael Saadiq headlines the Fox Theater in Oakland on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875767\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875767\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7661-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7661-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Fox Theater in Oakland during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875789\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8090-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8090-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Best Coast Headlines night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875792\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875792\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8131-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8131-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875782\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875782\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A8004-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A8004-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mannequin Pussy play night six of the Noise Pop Music and Arts Festival at The Regency Ballroom on Saturday, Feb. 29. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875761\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7415-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7415-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Seshen headline the Rickshaw Stop on night four of the Noise Pop Music and Art Festival. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875757\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875757\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7238-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7238-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam plays at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875750\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875750\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7096-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7096-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro backstage at the Great American Music Hall on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875752\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875752\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7150-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7150-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Helado Negro plays a sold out show the Great American Music Hall during night three of the Noise Pop Music and Art Festival on Wednesday, Feb. 26, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875755\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875755\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7204-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7204-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emily Afton backstage at the Rickshaw Stop on Thursday, Feb. 27, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875758\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7259-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7259-160x107.jpg 160w, 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https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/Velvet-Negroni-performs-amongst-festival-attendees-at-the-Starline-Social-Club-on-Tuesday-Feb.-25-2020-op-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Velvet Negroni performs among festival attendees at the Starline Social Club on Tuesday, Feb. 25, 2020. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875774\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875774\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7840-Edit-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7840-Edit-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls play a surprise “After Hours” Noise Pop show at Cafe du Nord on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875768\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875768\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7685-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7685-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Death Valley Girls backstage at Cafe du Nord during night five of the Noise Pop Music and Art Festival on Friday, Feb. 28. \u003ccite>(Estefany Gonzalez)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13875776\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13875776\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/03/D7A7882-800x533.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/03/D7A7882-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption 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"content": "\u003cp>It’s not often that a singer gets compared to one of the past greats in their field and actually deserves it. How many times was someone hailed as “the new Sinatra”? Or “the new Dylan?” \u003c/p>\n\u003cp>Cecile McLorin Salvant got tagged as “the new Billie Holiday” early on, and it could have been a curse. The thing, though? It’s \u003ca href=\"https://www.youtube.com/watch?v=i7Aj-iiON7Y\" rel=\"noopener noreferrer\" target=\"_blank\">not too off\u003c/a>.\u003c/p>\n\u003cp>Salvant took the jazz world by storm when she burst on the scene early in the decade. And she quickly shed the comparisons to Billie Holiday, Sarah Vaughn and Bessie Smith by touring constantly and developing her own singular voice. Need any more proof of her individuality? Her new album, \u003cem>Ogresse\u003c/em>, is a 90-minute song cycle about a devilish woman with a hunger for human flesh. She brings it to the Bay Area on Wednesday, March 11, at the Paramount Theatre in Oakland. \u003ca href=\"http://www.paramounttheatre.com/schedule.html\">Details here\u003c/a>.—\u003cem>Gabe Meline\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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"order": 3
},
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},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"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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},
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"id": "city-arts",
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"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": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"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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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"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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"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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},
"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": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"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)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
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}
