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"content": "\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i_o69a9ZFFA\u003c/p>\n\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vAdboa7jWZo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\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/i_o69a9ZFFA'\n title='//www.youtube.com/embed/i_o69a9ZFFA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\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/vAdboa7jWZo'\n title='//www.youtube.com/embed/vAdboa7jWZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Can \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> heal America? That’s the question posed by a new podcast from WNYC, \u003ca href=\"https://www.wnycstudios.org/podcasts/dolly-partons-america\">\u003cem>Dolly Parton’s America\u003c/em>\u003c/a>\u003cem>, \u003c/em>hosted by \u003cem>Radiolab\u003c/em>‘s Jad Abumrad. It’s not as far-fetched as you might think.\u003c/p>\n\u003cp>The public radio host saw something in the iconic country singer — the way she’s composed of contradictions — that seemed somehow revelatory of the country as a whole. Dolly’s concert-attending fan base is composed of people we don’t think of having a lot in common these days.\u003c/p>\n\u003cp>“You’ve got evangelical church ladies standing next to men in drag — Dolly is massive in the LGBTQ community — standing next to guys in trucker hats,” Abumrad says. “All of these different communities, on either side of the ‘culture wars,’ all standing together, shoulder-to-shoulder, singing the same song.”\u003c/p>\n\u003cp>NPR’s Ari Shapiro spoke to Abumrad about reexamining Dolly’s cultural legacy, including her overlooked musical genius, her ability to exist as a container for so many ideas about America and her unexpected rejection of the label “feminist.” Hear the story in the audio player above and read on for an edited transcript of their conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Ari Shapiro: To talk for a minute about Dolly, the person and the musician, rather than Dolly, the metaphor and the symbol: You, in the very first episode, talk about the way she is perceived, the jokes about her appearance — the jokes she makes \u003c/strong>\u003cem>\u003cstrong>herself\u003c/strong>\u003c/em>\u003cstrong>. And then you pivot to the argument that she is among the best songwriters of the 20th century. One expert tells you that, if she were alive at a different time, she would have been like Mozart. How do you reconcile those two aspects of Dolly Parton, the genius and the punchline?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jad Abumrad:\u003c/strong> I don’t quite know how to reconcile them. But it does strike you when you look back at 1960s Dolly and 1970s Dolly, and you look at the number of songs that she’s writing — I mean, to say she was prolific doesn’t even capture it. She is writing No. 1 song after No. 1 song. Some of the greatest songs in pop music, they’re falling out of her head.\u003c/p>\n\u003cp>She told me in one interview — she wasn’t sure if this was true — but she may have written “I Will Always Love You” and “Jolene” on the same night. “I Will Always Love You” is a song that hit No. 1 in three consecutive decades [and] almost did it a fourth time. “Jolene” is a song that was translated into, I think, 40 different languages, and there are 200 different covers. And that happened on the \u003cem>same night\u003c/em>?\u003c/p>\n\u003cp>\u003cstrong>So why does somebody who can do that need to be a caricature, need to be a parody? Is it just the reality of existing as a woman in America and in Nashville at that time?\u003c/strong>\u003c/p>\n\u003cp>Yeah, I think so. I mean, that’s certainly what she said to me. If you consider Dolly in 1967, when she really hits the scene as the “girl singer” on \u003cem>The Porter Wagoner Show\u003c/em> — at that time, there were no lead roles for women. I mean, the female singer was sort of a decorative aspect of the male show, and that didn’t leave a lot of place for someone like Dolly, so she perhaps had to sort of play the male game for a while. But I think she would tell you, as she famously says, that it’s just what made her comfortable. It’s just how she wanted to look.\u003c/p>\n\u003cp>\u003cstrong>The first episode of the podcast has already sparked a vigorous discussion about feminism, and what it means to call yourself a feminist. Because in your conversations with Dolly, she really bristled at that label.\u003c/strong>\u003c/p>\n\u003cp>She shot that right down.\u003c/p>\n\u003cp>\u003cstrong>Her quote to you was, “I think of myself as a woman in business. I love men.” Even though her actions and her song lyrics and her life are embraced by so many feminists, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah. That was a real surprise to me. She is talked about openly as one of the great feminist figures of our time, and so I just figured she thought of herself that way. But clearly she has a complicated relationship to that term, as do many people who grew up in places in America that aren’t the coasts. So yeah, it was interesting to see the ways in which she very much walks the walk, but doesn’t quite want to talk the talk, because she knows how that might be perceived by certain segments of her audience.\u003c/p>\n\u003cp>\u003cstrong>How many hours did you spend with her? She gave you a lot of access.\u003c/strong>\u003c/p>\n\u003cp>I think we counted 12, over two years.\u003c/p>\n\u003cp>\u003cstrong>And this is a woman who has been interviewed hundreds of times, or thousands of times, over decades. Did you feel, going into those conversations, like there were a lot of questions she had never been asked?\u003c/strong>\u003c/p>\n\u003cp>There was a moment when we began to ask her questions about some of her early music, which no one ever asks her about, and her songwriting, which very few people ask her about. 1960s Dolly is just an ocean of pain in her songs — mostly witnessing the female pain around her, I think, in her community growing up.\u003c/p>\n\u003cp>\u003cstrong>She described that early music to you as “sad-ass songs.” They address death, miscarriages, abandonment, things like that.\u003c/strong>\u003c/p>\n\u003cp>It’s a really interesting, almost musical form of journalism that you’re seeing in that early work. And I think when she saw that we were taking her really, really seriously as a songwriter and as a person who is one of the great creative spirits of the last 60 years, she was willing to answer almost any question.\u003c/p>\n\u003cp>\u003cstrong>The series seems to present this big question of whether Dolly can heal the divide in our nation — whether there is some kind of secret sauce in Dolly Parton that can solve the problems that face America today. Did you feel like you came away with an answer to that question?\u003c/strong>\u003c/p>\n\u003cp>No, that’s sort of the question that never resolves for me. The image that runs through the entire series is what it is like to be at a Dolly concert. The fact that that space even exists in America right now is heartening to me. [Now,] to argue the other side — I mean, are these people really talking to each other? Are they arguing about politics and coming to some new understanding? Probably not. But they’re in the same space, and they’re been deeply polite in her presence. That feels like something to me.\u003c/p>\n\u003cp>\u003cstrong>Does she feel like she’s created that, or just like she’s fortunate to be in it? Does it feel precarious to her — did you get a sense of that?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I mean, she’s so deeply apolitical, at least in what she says, that I think she protects that space by choosing not to speak on certain topics. And I don’t think she’s avoiding something so much as she’s sort of putting her foot down in a different spot. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Can+Dolly+Parton+Heal+America%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can \u003ca href=\"https://www.npr.org/artists/15750509/dolly-parton\">Dolly Parton\u003c/a> heal America? That’s the question posed by a new podcast from WNYC, \u003ca href=\"https://www.wnycstudios.org/podcasts/dolly-partons-america\">\u003cem>Dolly Parton’s America\u003c/em>\u003c/a>\u003cem>, \u003c/em>hosted by \u003cem>Radiolab\u003c/em>‘s Jad Abumrad. It’s not as far-fetched as you might think.\u003c/p>\n\u003cp>The public radio host saw something in the iconic country singer — the way she’s composed of contradictions — that seemed somehow revelatory of the country as a whole. Dolly’s concert-attending fan base is composed of people we don’t think of having a lot in common these days.\u003c/p>\n\u003cp>“You’ve got evangelical church ladies standing next to men in drag — Dolly is massive in the LGBTQ community — standing next to guys in trucker hats,” Abumrad says. “All of these different communities, on either side of the ‘culture wars,’ all standing together, shoulder-to-shoulder, singing the same song.”\u003c/p>\n\u003cp>NPR’s Ari Shapiro spoke to Abumrad about reexamining Dolly’s cultural legacy, including her overlooked musical genius, her ability to exist as a container for so many ideas about America and her unexpected rejection of the label “feminist.” Hear the story in the audio player above and read on for an edited transcript of their conversation.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Ari Shapiro: To talk for a minute about Dolly, the person and the musician, rather than Dolly, the metaphor and the symbol: You, in the very first episode, talk about the way she is perceived, the jokes about her appearance — the jokes she makes \u003c/strong>\u003cem>\u003cstrong>herself\u003c/strong>\u003c/em>\u003cstrong>. And then you pivot to the argument that she is among the best songwriters of the 20th century. One expert tells you that, if she were alive at a different time, she would have been like Mozart. How do you reconcile those two aspects of Dolly Parton, the genius and the punchline?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jad Abumrad:\u003c/strong> I don’t quite know how to reconcile them. But it does strike you when you look back at 1960s Dolly and 1970s Dolly, and you look at the number of songs that she’s writing — I mean, to say she was prolific doesn’t even capture it. She is writing No. 1 song after No. 1 song. Some of the greatest songs in pop music, they’re falling out of her head.\u003c/p>\n\u003cp>She told me in one interview — she wasn’t sure if this was true — but she may have written “I Will Always Love You” and “Jolene” on the same night. “I Will Always Love You” is a song that hit No. 1 in three consecutive decades [and] almost did it a fourth time. “Jolene” is a song that was translated into, I think, 40 different languages, and there are 200 different covers. And that happened on the \u003cem>same night\u003c/em>?\u003c/p>\n\u003cp>\u003cstrong>So why does somebody who can do that need to be a caricature, need to be a parody? Is it just the reality of existing as a woman in America and in Nashville at that time?\u003c/strong>\u003c/p>\n\u003cp>Yeah, I think so. I mean, that’s certainly what she said to me. If you consider Dolly in 1967, when she really hits the scene as the “girl singer” on \u003cem>The Porter Wagoner Show\u003c/em> — at that time, there were no lead roles for women. I mean, the female singer was sort of a decorative aspect of the male show, and that didn’t leave a lot of place for someone like Dolly, so she perhaps had to sort of play the male game for a while. But I think she would tell you, as she famously says, that it’s just what made her comfortable. It’s just how she wanted to look.\u003c/p>\n\u003cp>\u003cstrong>The first episode of the podcast has already sparked a vigorous discussion about feminism, and what it means to call yourself a feminist. Because in your conversations with Dolly, she really bristled at that label.\u003c/strong>\u003c/p>\n\u003cp>She shot that right down.\u003c/p>\n\u003cp>\u003cstrong>Her quote to you was, “I think of myself as a woman in business. I love men.” Even though her actions and her song lyrics and her life are embraced by so many feminists, right?\u003c/strong>\u003c/p>\n\u003cp>Yeah. That was a real surprise to me. She is talked about openly as one of the great feminist figures of our time, and so I just figured she thought of herself that way. But clearly she has a complicated relationship to that term, as do many people who grew up in places in America that aren’t the coasts. So yeah, it was interesting to see the ways in which she very much walks the walk, but doesn’t quite want to talk the talk, because she knows how that might be perceived by certain segments of her audience.\u003c/p>\n\u003cp>\u003cstrong>How many hours did you spend with her? She gave you a lot of access.\u003c/strong>\u003c/p>\n\u003cp>I think we counted 12, over two years.\u003c/p>\n\u003cp>\u003cstrong>And this is a woman who has been interviewed hundreds of times, or thousands of times, over decades. Did you feel, going into those conversations, like there were a lot of questions she had never been asked?\u003c/strong>\u003c/p>\n\u003cp>There was a moment when we began to ask her questions about some of her early music, which no one ever asks her about, and her songwriting, which very few people ask her about. 1960s Dolly is just an ocean of pain in her songs — mostly witnessing the female pain around her, I think, in her community growing up.\u003c/p>\n\u003cp>\u003cstrong>She described that early music to you as “sad-ass songs.” They address death, miscarriages, abandonment, things like that.\u003c/strong>\u003c/p>\n\u003cp>It’s a really interesting, almost musical form of journalism that you’re seeing in that early work. And I think when she saw that we were taking her really, really seriously as a songwriter and as a person who is one of the great creative spirits of the last 60 years, she was willing to answer almost any question.\u003c/p>\n\u003cp>\u003cstrong>The series seems to present this big question of whether Dolly can heal the divide in our nation — whether there is some kind of secret sauce in Dolly Parton that can solve the problems that face America today. Did you feel like you came away with an answer to that question?\u003c/strong>\u003c/p>\n\u003cp>No, that’s sort of the question that never resolves for me. The image that runs through the entire series is what it is like to be at a Dolly concert. The fact that that space even exists in America right now is heartening to me. [Now,] to argue the other side — I mean, are these people really talking to each other? Are they arguing about politics and coming to some new understanding? Probably not. But they’re in the same space, and they’re been deeply polite in her presence. That feels like something to me.\u003c/p>\n\u003cp>\u003cstrong>Does she feel like she’s created that, or just like she’s fortunate to be in it? Does it feel precarious to her — did you get a sense of that?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I mean, she’s so deeply apolitical, at least in what she says, that I think she protects that space by choosing not to speak on certain topics. And I don’t think she’s avoiding something so much as she’s sort of putting her foot down in a different spot. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Can+Dolly+Parton+Heal+America%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Staff at Mills College are following in the footsteps of the Oakland liberal arts institution’s adjunct faculty members by unionizing as part of a broader organized labor trend in Bay Area higher education. [aside postID=arts_13855321,arts_12248119,arts_13389908] \u003c/p>\n\u003cp>Last month Mills staff announced the campaign to unionize with Service Employees International Union (SEIU) Local 1021, which also represents Mills faculty and this year \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">organized staff\u003c/a> at California College of the Arts. Organizers say the effort has widespread support on campus and estimated more than 200 employees are eligible for the bargaining unit. \u003c/p>\n\u003cp>On Thursday, members of the staff organizing committee, joined by a student supporter, delivered a letter to Elizabeth Hillman, the school’s president, requesting the administration voluntarily recognize the union in order to avoid a costly, potentially contentious election process through the National Labor Relations Board. “We seek to cultivate a partnership with College administration that honors the overwhelming support for unionization among Mills staff,” it reads.\u003c/p>\n\u003cp>“When it comes to labor unions, Mills embraces the democratic principle of free and fair decision-making by employees,” said Hillman, who’s led Mills since 2016, in a statement to KQED. “We’re now assessing how the possibility of unionization would affect our efforts to work together with our faculty and the entire community to ensure a sustainable future for Mills.”\u003c/p>\n\u003cp>Workers in various departments say they’re organizing for higher wages, stronger benefits and greater representation in institutional decision-making as Mills rebounds from a “financial emergency” two years ago. Like faculty and staff at other local colleges to unionize in recent years, they’re motivated to address issues such as wage stagnation, with incoming employees earning more than longtime ones in similar roles, by the rising cost-of-living in the Bay Area. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Mills has a social-justice and diversity policy that’s public and is supposed to drive institutional decisions around staffing and pedagogy,” said Brendan Glasson, a 2018 Mills graduate and staff organizer who now works as the music center technical director. “This is about helping Mills adhere itself further to its commitments to equity and sustainable working conditions.” \u003c/p>\n\u003cp>Some Mills staff have gone as many as eight years without raises, and benefits such as retirement contributions have declined as well, according to staff organizers. Employees have also been laid off and then encouraged to reapply for similar positions with added responsibilities. For example, Madison Davis, an alum and staff organizer who’s worked as a Mills fundraiser since 2017, said her job was previously divided between two people. \u003c/p>\n\u003cp>Due to the working conditions and low morale, Mills struggles with employee retention, and union organizers point out that rapid staff turnover also diminishes the student experience. “As a longtime employee, I’m watching Mills become a place where people work for 2-5 years and then leave, and that’s not particularly sustainable for us or our students,” said Vala Burnett, a Mills alum and staff organizer who’s worked as a health-sciences coordinator since 2005.\u003c/p>\n\u003cp>Mills, a private college for women and gender non-binary students, with graduate programs for all genders, declared a financial emergency in 2017 to resolve a $9 million deficit, and moved to fire eleven professors, many of them tenured, \u003ca href=\"https://www.kqed.org/arts/13389908/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college\">including\u003c/a> the internationally renowned composer and improviser Roscoe Mitchell. The American Association of University Professors criticized the administration for “declining to consider … alternatives to terminating faculty appointments.” \u003c/p>\n\u003cp>Beyond forcing out Mitchell, an important draw for music students, the crisis dramatically affected the \u003ca href=\"https://www.kqed.org/arts/12248119/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college\">storied Center for Contemporary Music\u003c/a>: Co-directors Chris Brown and Maggi Payne, longtime campus and music scene fixtures, retired early in the hopes of pre-empting additional cuts. Several other departments were also marked for downsizing as the school struggled to increase enrollment and, in the view of critics, prioritized sciences over liberal arts.\u003c/p>\n\u003cp>“Like many other small colleges, we are continuing to manage a budget deficit created by investment in new programs and lower enrollments,” Hillman said in a statement. \u003c/p>\n\u003cp>In the wake of the restructuring—part of a financial stabilization plan aiming to balance the budget by next year—Mills staff believe unionizing will give them greater representation in cost-cutting decisions in order to avoid or mitigate the effects of similar layoffs. “So it’s also about transparency,” Burnett said. “Through this process we get to the table, we get to open the books, and then staff is positioned to bring our knowledge to help Mills solve its problems.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SEIU Local 1021, which represents staff and faculty at several local private colleges, helped Mills adjuncts ratify their first union contract in 2016. According to the union, the contract provided adjuncts with an average 13-percent raise, protection against reduction of benefits and more say in working conditions. SEIU, known for representing public employees, has been organizing adjunct professors in recent years as part of its “Faculty Forward” campaign.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp> \u003c/p>\n\u003cp>Last month Mills staff announced the campaign to unionize with Service Employees International Union (SEIU) Local 1021, which also represents Mills faculty and this year \u003ca href=\"https://www.kqed.org/arts/13855321/california-college-of-the-arts-campus-consolidation-spurs-union-effort\">organized staff\u003c/a> at California College of the Arts. Organizers say the effort has widespread support on campus and estimated more than 200 employees are eligible for the bargaining unit. \u003c/p>\n\u003cp>On Thursday, members of the staff organizing committee, joined by a student supporter, delivered a letter to Elizabeth Hillman, the school’s president, requesting the administration voluntarily recognize the union in order to avoid a costly, potentially contentious election process through the National Labor Relations Board. “We seek to cultivate a partnership with College administration that honors the overwhelming support for unionization among Mills staff,” it reads.\u003c/p>\n\u003cp>“When it comes to labor unions, Mills embraces the democratic principle of free and fair decision-making by employees,” said Hillman, who’s led Mills since 2016, in a statement to KQED. “We’re now assessing how the possibility of unionization would affect our efforts to work together with our faculty and the entire community to ensure a sustainable future for Mills.”\u003c/p>\n\u003cp>Workers in various departments say they’re organizing for higher wages, stronger benefits and greater representation in institutional decision-making as Mills rebounds from a “financial emergency” two years ago. Like faculty and staff at other local colleges to unionize in recent years, they’re motivated to address issues such as wage stagnation, with incoming employees earning more than longtime ones in similar roles, by the rising cost-of-living in the Bay Area. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Mills has a social-justice and diversity policy that’s public and is supposed to drive institutional decisions around staffing and pedagogy,” said Brendan Glasson, a 2018 Mills graduate and staff organizer who now works as the music center technical director. “This is about helping Mills adhere itself further to its commitments to equity and sustainable working conditions.” \u003c/p>\n\u003cp>Some Mills staff have gone as many as eight years without raises, and benefits such as retirement contributions have declined as well, according to staff organizers. Employees have also been laid off and then encouraged to reapply for similar positions with added responsibilities. For example, Madison Davis, an alum and staff organizer who’s worked as a Mills fundraiser since 2017, said her job was previously divided between two people. \u003c/p>\n\u003cp>Due to the working conditions and low morale, Mills struggles with employee retention, and union organizers point out that rapid staff turnover also diminishes the student experience. “As a longtime employee, I’m watching Mills become a place where people work for 2-5 years and then leave, and that’s not particularly sustainable for us or our students,” said Vala Burnett, a Mills alum and staff organizer who’s worked as a health-sciences coordinator since 2005.\u003c/p>\n\u003cp>Mills, a private college for women and gender non-binary students, with graduate programs for all genders, declared a financial emergency in 2017 to resolve a $9 million deficit, and moved to fire eleven professors, many of them tenured, \u003ca href=\"https://www.kqed.org/arts/13389908/jazz-pioneer-roscoe-mitchell-marked-for-dismissal-at-mills-college\">including\u003c/a> the internationally renowned composer and improviser Roscoe Mitchell. The American Association of University Professors criticized the administration for “declining to consider … alternatives to terminating faculty appointments.” \u003c/p>\n\u003cp>Beyond forcing out Mitchell, an important draw for music students, the crisis dramatically affected the \u003ca href=\"https://www.kqed.org/arts/12248119/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college\">storied Center for Contemporary Music\u003c/a>: Co-directors Chris Brown and Maggi Payne, longtime campus and music scene fixtures, retired early in the hopes of pre-empting additional cuts. Several other departments were also marked for downsizing as the school struggled to increase enrollment and, in the view of critics, prioritized sciences over liberal arts.\u003c/p>\n\u003cp>“Like many other small colleges, we are continuing to manage a budget deficit created by investment in new programs and lower enrollments,” Hillman said in a statement. \u003c/p>\n\u003cp>In the wake of the restructuring—part of a financial stabilization plan aiming to balance the budget by next year—Mills staff believe unionizing will give them greater representation in cost-cutting decisions in order to avoid or mitigate the effects of similar layoffs. “So it’s also about transparency,” Burnett said. “Through this process we get to the table, we get to open the books, and then staff is positioned to bring our knowledge to help Mills solve its problems.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>SEIU Local 1021, which represents staff and faculty at several local private colleges, helped Mills adjuncts ratify their first union contract in 2016. According to the union, the contract provided adjuncts with an average 13-percent raise, protection against reduction of benefits and more say in working conditions. SEIU, known for representing public employees, has been organizing adjunct professors in recent years as part of its “Faculty Forward” campaign.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>: This band plays their album \u003cem>Keep It Like a Secret\u003c/em> in its entirety this week in Sonoma. Here’s a story about that album: Gabe was working at a record store when it came out, and after picking up the shipment, he walked four blocks across downtown to the store, carrying copies of it—and he sold four copies to friends and strangers on the street, before the store was even open. It’s only gotten more beloved since, and this weekend, the band plays it inside a 100-year-old wooden barn, on a hill above a vineyard. That’s Saturday, Nov. 23, at Gundlach-Bundschu winery outside of Sonoma. \u003ca href=\"https://www.gunbun.com/event/built-to-spill/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mozzy\u003c/strong>: At the end of \u003cem>Black Panther\u003c/em>, when the Wakandan royalty visit Oakland, the slow-rolling, reflective music playing is “Sleep Walkin,” by Sacramento rapper Mozzy. This song placement, on a soundtrack executive-produced by Kendrick Lamar, was a major moment for an artist that’s been street famous in Northern California for years. Mozzy is a really inventive vocal stylist: he borrows sounds from the streets to create new words, and then uses these coinages for clever internal rhymes, all in a gangsta rap context reminiscent of the Jacka. While it remains to be seen to what extent his profile grows nationally, \u003cem>Black Panther\u003c/em> accurately captured how Mozzy’s music is a constant refrain in the Oakland flatlands. He plays Saturday, Nov. 23, at the Phoenix Theater in Petaluma. \u003ca href=\"https://www.thephoenixtheater.com/e/mozzy-75482942513/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Traitor’\u003c/strong>: The Cinema Italian Style festival kicks off this weekend with \u003cem>The Traitor\u003c/em>, a film about the implosion of the Sicilian mafia in the 1980s. This is a timely one, pegged pretty obviously to the recent release of Martin Scorcese’s \u003cem>The Irishman\u003c/em>. But whereas Scorcese often has a romanticized, admiring stance on the mafia, \u003cem>The Traitor\u003c/em> takes a bold look at the damage it’s done to Italy and its people. The rest of the festival includes some great films too, and runs Friday–Sunday, Nov. 22-24, at the Vogue Theater in San Francisco. \u003ca href=\"https://iicsanfrancisco.esteri.it/iic_sanfrancisco/en/gli_eventi/calendario/2019/11/cinema-italian-style-2019.html\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Bay Area Record Fest\u003c/strong>: It’s often said the Bay Area lacks music industry infrastructure, hence all of the artists moving to Los Angeles. But it never seems that way at the Bay Area Record Fest, an annual gathering of local independent labels that reliably reminds us of the music community’s breadth. It’s an opportunity to buy things and meet the people often cloistered in recording studios and the like. It’s also a show, this year with a strong local lineup: performance artist Tyler Holmes, pop punk bandleader Kevin Nichols, garage standbys Sonny & the Sunsets, and the rapper Tia Nomore. All of them are affiliated with participating local labels including Ratskin, Text Me and Rocks in Your Head. Earlier installments were in San Francisco, but this year the Bay Area Record Fest is at 7th West in Oakland on Saturday, Nov. 23. It’s free and doors open at noon. \u003ca href=\"https://www.facebook.com/events/679625295781036/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Slayer\u003c/strong>: We know that next week is Thanksgiving, and it can be a rough time if you don’t get along with your family. Slayer is basically the ultimate “I hate my family music,” right? They’ve been making parents angry for over 30 years with albums like \u003cem>Reign in Blood\u003c/em> and \u003cem>God Hates Us All\u003c/em>. They’ve also been threatening to call it a day, so see ‘em while you can, and bring your estranged siblings. That’s on Tuesday, Nov. 26, at the Oakland Arena. \u003ca href=\"https://www.livenation.com/events/1146211-nov-26-2019-slayer\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline and Sam Lefebvre above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Built to Spill\u003c/strong>: This band plays their album \u003cem>Keep It Like a Secret\u003c/em> in its entirety this week in Sonoma. Here’s a story about that album: Gabe was working at a record store when it came out, and after picking up the shipment, he walked four blocks across downtown to the store, carrying copies of it—and he sold four copies to friends and strangers on the street, before the store was even open. It’s only gotten more beloved since, and this weekend, the band plays it inside a 100-year-old wooden barn, on a hill above a vineyard. That’s Saturday, Nov. 23, at Gundlach-Bundschu winery outside of Sonoma. \u003ca href=\"https://www.gunbun.com/event/built-to-spill/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mozzy\u003c/strong>: At the end of \u003cem>Black Panther\u003c/em>, when the Wakandan royalty visit Oakland, the slow-rolling, reflective music playing is “Sleep Walkin,” by Sacramento rapper Mozzy. This song placement, on a soundtrack executive-produced by Kendrick Lamar, was a major moment for an artist that’s been street famous in Northern California for years. Mozzy is a really inventive vocal stylist: he borrows sounds from the streets to create new words, and then uses these coinages for clever internal rhymes, all in a gangsta rap context reminiscent of the Jacka. While it remains to be seen to what extent his profile grows nationally, \u003cem>Black Panther\u003c/em> accurately captured how Mozzy’s music is a constant refrain in the Oakland flatlands. He plays Saturday, Nov. 23, at the Phoenix Theater in Petaluma. \u003ca href=\"https://www.thephoenixtheater.com/e/mozzy-75482942513/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘The Traitor’\u003c/strong>: The Cinema Italian Style festival kicks off this weekend with \u003cem>The Traitor\u003c/em>, a film about the implosion of the Sicilian mafia in the 1980s. This is a timely one, pegged pretty obviously to the recent release of Martin Scorcese’s \u003cem>The Irishman\u003c/em>. But whereas Scorcese often has a romanticized, admiring stance on the mafia, \u003cem>The Traitor\u003c/em> takes a bold look at the damage it’s done to Italy and its people. The rest of the festival includes some great films too, and runs Friday–Sunday, Nov. 22-24, at the Vogue Theater in San Francisco. \u003ca href=\"https://iicsanfrancisco.esteri.it/iic_sanfrancisco/en/gli_eventi/calendario/2019/11/cinema-italian-style-2019.html\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Bay Area Record Fest\u003c/strong>: It’s often said the Bay Area lacks music industry infrastructure, hence all of the artists moving to Los Angeles. But it never seems that way at the Bay Area Record Fest, an annual gathering of local independent labels that reliably reminds us of the music community’s breadth. It’s an opportunity to buy things and meet the people often cloistered in recording studios and the like. It’s also a show, this year with a strong local lineup: performance artist Tyler Holmes, pop punk bandleader Kevin Nichols, garage standbys Sonny & the Sunsets, and the rapper Tia Nomore. All of them are affiliated with participating local labels including Ratskin, Text Me and Rocks in Your Head. Earlier installments were in San Francisco, but this year the Bay Area Record Fest is at 7th West in Oakland on Saturday, Nov. 23. It’s free and doors open at noon. \u003ca href=\"https://www.facebook.com/events/679625295781036/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Slayer\u003c/strong>: We know that next week is Thanksgiving, and it can be a rough time if you don’t get along with your family. Slayer is basically the ultimate “I hate my family music,” right? They’ve been making parents angry for over 30 years with albums like \u003cem>Reign in Blood\u003c/em> and \u003cem>God Hates Us All\u003c/em>. They’ve also been threatening to call it a day, so see ‘em while you can, and bring your estranged siblings. That’s on Tuesday, Nov. 26, at the Oakland Arena. \u003ca href=\"https://www.livenation.com/events/1146211-nov-26-2019-slayer\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Grammy Nominees For Best New Artist Point to a Sea Change in Pop",
"headTitle": "The Grammy Nominees For Best New Artist Point to a Sea Change in Pop | KQED",
"content": "\u003cp>The Grammy Awards’ category for new artists has always been the\u003ca href=\"https://harrypotter.fandom.com/wiki/Hufflepuff\"> Hufflepuff\u003c/a> house of the event, a mishmash of eccentrics, high achievers and hard-working young music industry favorites. (Notorious category winners\u003ca href=\"https://gizmodo.com/20-years-ago-today-milli-vanilli-lost-their-grammy-for-5694574\"> Milli Vanilli\u003c/a> did work hard, just not at singing.) Rarely has the field clearly pointed toward an exciting new musical era. But this year, that’s exactly what it suggests.\u003c/p>\n\u003cp>Three breakthrough pop stars, each of whom embodies creativity and influence in the streaming age—and who, together, garnered this year’s most Grammy nominations across the board—compete with three women exploding the boundaries of genres that might have previously held them back, alongside two groups with major grassroots followings and a powerful way of defying categorization. These musicians are fluent in the style-defying language of 21st-century sounds; their members look like America, and beyond its borders, the changing pop world; and they all released genuinely great music in 2019. Whoever wins in this category will deserve it— and will likely play a role in shaping popular music for a long time.\u003c/p>\n\u003cp>\u003cstrong>Black Pumas\u003c/strong>\u003c/p>\n\u003cp>This Austin-based duo-plus represents what bands are becoming in the new century: versatile, open-ended partnerships forged by adept experimenting with form. Singer Eric Burton learned his chops both auditioning for \u003cem>American Idol\u003c/em> and busking on L.A.’s Santa Monica Pier; producer-multi-instrumentalist Adrian Quesada is a Latinx music veteran (he’s \u003ca href=\"https://www.grammy.com/search/grupo%20fantasma\">won\u003c/a> a Grammy as a member of the funk orchestra Grupo Fantasma). Together, they’re reinventing Southwestern soul with a blend that honors the region’s funky historical fusions while incorporating a hip-hop vibe. The sum of their experience makes them a great live act, the key to success as a band in 2019.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ptWQ_-xmvXY&feature=emb_logo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Billie Eilish\u003c/strong>\u003c/p>\n\u003cp>At 17 years old, Eilish is the youngest-ever multiple Grammy nominee across the top four categories: best new artist, record, album and song of the year. She could pull this off because, like the SoundCloud rappers who’ve inspired her, she writes her own material with her brother, Finneas—mostly eschewing teen pop’s starmaking machinery. (She was quietly signed to a major-label development deal at age fourteen, but she and Finneas recorded the bulk of the songs that have made her a star\u003ca href=\"https://www.prosoundnetwork.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom\"> at home\u003c/a>.) Homeschooled by Hollywood-savvy parents, enraptured by SoundCloud rappers like Tyler, The Creator but equally indebted to Avril Lavigne, vocally ultrafeminine but otherwise androgynous—Eilish embodies the erasure of binary thinking about music, emotion and the self: she is the living essence of Generation Z.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-PZsSWwc9xA&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Lil Nas X\u003c/strong>\u003c/p>\n\u003cp>If new technologies generate the stars they deserve, the social media platform TikTok must be particularly blessed, because its breakthrough star is absolutely fabulous. Montero Lamar Hill, now 20, was just another kid trying to get Internet famous when he discovered a beat made by a Dutch kid and bought it\u003ca href=\"https://www.cnbc.com/2019/07/23/lil-nas-x-bought-the-beat-used-in-old-town-road-for-30-on-beatstars.html\"> for $30\u003c/a>. Around it, he built “Old Town Road,” the single biggest challenge to old music biz ways issued in recent memory. Country music will never be the same, but neither will pop or hip-hop. His irresistible hit is the\u003ca href=\"https://www.rollingstone.com/music/music-news/ray-charles-whatd-i-say-origin-842880/\"> “What’d I Say”\u003c/a> of our time, refusing to be contained—as does Lil Nas X himself, as much a comedian, conceptualist and burgeoning fashion icon as he is a musician. Like TikTok itself—a tool for capturing teens’ mobile imaginations—Lil Nas X takes us all into brand-new territory.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w2Ov5jzm3j8&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Lizzo\u003c/strong>\u003c/p>\n\u003cp>With two albums already under her sparkly belt, Lizzo is the kind of slow-burning phenomenon whose presence may seem odd in the best new artist category, but she belongs here—until 2019, the world was not entirely ready for her. The Houston-born, Minneapolis-nurtured rapper, singer and all-around generator of good vibes, challenges all kinds of preconceived notions about women’s pleasure, power and beauty, proudly queering the pitch of pop without being strident or politically correct. And she’s a band nerd who’s single-handedly revived the flute as a cool high school accessory. A comic artist with a serious mission, Lizzo defines America’s pleasure principle right now—her bold excessiveness is to 2019 is what cock-rock was to the 1970s, minus all the macho power plays. Prince loved her, and through her success, his spirit lives on.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P00HMxdsVZI&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>To comprehend the bond this 25-year-old singer-songwriter-rocker-dance queen has with her fans, just check out her Wikipedia page, which reads, “Maggie Rogers is known for being a\u003ca href=\"https://maggierogers.store/apparel/magg010017-maggie-rogers-witchy-feminist-t-shirt-black/\"> Witchy Feminist Rockstar\u003c/a> and a legend.” That kind of enthusiasm can’t be manufactured, and anyone who’s seen Rogers bound across a stage as thousands of young women shout her lyrics won’t doubt its veracity. As a teen, Rogers pursued a conventional singer-songwriter role, but time spent in Berlin led her to dance music; she explored that intersection as a student at NYU’s Clive Davis Institute of Recorded Music, where her teacher, NPR Music contributor Jason King, introduced her to Pharrell one day. The rest is a classic discovery story—except that like Billie Eilish, Rogers resisted being molded by the major label who signed her. An infectiously enthusiastic songwriter and performer, she expresses a spirit of resistance that runs through the best pop music now—the refusal to be too polished or predictable.\u003c/p>\n\u003cp>\u003cstrong>Rosalía\u003c/strong>\u003c/p>\n\u003cp>As EDM’s influence \u003ca href=\"778532395\">fades\u003c/a> and hip-hop settles into position as pop’s foundation, the universe of Latin rhythm and melody is revitalizing the Top 40. Rosalía is the Catalan auteur leading the way. Like many young artists, she’s not abandoning her roots, but reimagining them. Her music is rooted in the folkloric, theatrical lineage of \u003cem>flamenco\u003c/em>, which she studied seriously for a decade before fashioning her hybrid urban Latin sound. Her 2018 album, \u003cem>El Mal Querer—\u003c/em>inspired by a 14th-century novel of “dark love”—won the hearts of critics and influencers, and she went on to collaborate with Latin pop superstar J Balvin on the song “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\">Con Altura\u003c/a>,” which became a worldwide smash. Rosalía’s fluidity in combining experimental and mainstream elements distinguishes her, as does the fact that she sings in Spanish—she’s the first artist who performs solely in that language to be nominated as best new artist.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rht7rBHuXW8&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Tank and the Bangas\u003c/strong>\u003c/p>\n\u003cp>As much as 21st-century pop often floats forth from an unmoored Internet, it’s also generated within local communities whose reach grows through unprecedented platforms. NPR Music’s own\u003ca href=\"https://www.youtube.com/watch?v=QKzobTCIRDw\"> Tiny Desk\u003c/a> is one such platform, as New Orleans collective Tank and the Bangas discovered in the wake of winning our Tiny Desk Contest in 2017. By then, the group, led by slam poet and joy generator Tarriona “Tank” Ball on lead vocals, had come to embody what one writer called “\u003ca href=\"https://www.ft.com/content/9cba849c-057c-11e6-9b51-0fb5e65703ce\">New Orleans now\u003c/a>“: jazz-kissed but not old-timey, letting the good times roll in ways that acknowledge the complexities of life in an old city always seeking to transcend new problems. This is the kind of band that creates community wherever it goes—the best illustration of the new spin on jam bands that’s turned a sometimes-derided genre into the freshest ground out there.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0zU-Jm87kzY&feature=emb_logo\u003c/p>\n\u003cp>\u003cstrong>Yola\u003c/strong>\u003c/p>\n\u003cp>No new artist stands for the power of reinvention more than the woman born Yolanda Quartey in Bristol in 1984. Before becoming Americana’s beloved new sensation following a move to Nashville in 2018, Yola had another life as a pop songwriter in her native England, and a singer with dance-driven acts like Massive Attack. Her first love, however, was country music, a genre she patiently and fiercely made her own, first with the band Phantom Limb and then in solo music that frames her as an inheritor to both Dusty Springfield and Dolly Parton. Working with vintage-sound master Dan Auerbach of The Black Keys, Yola has effortlessly updated classic country soul on her debut album \u003cem>Walk Through Fire\u003c/em>; even more powerful are her live performances, which inevitably win legions of new fans. With country at a crossroads, Yola is a major force in illustrating what the genre can be at its most authentically American.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=1&v=jWTwuQ3LeH4&feature=emb_logo\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.youtube.com/watch?time_continue=1&v=jWTwuQ3LeH4&feature=emb_logo\" target=\"_blank\" rel=\"noopener noreferrer\">NPR.\u003c/a>\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Grammy+Nominees+For+Best+New+Artist+Point+To+A+Sea+Change+In+Pop&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Grammy Awards’ category for new artists has always been the\u003ca href=\"https://harrypotter.fandom.com/wiki/Hufflepuff\"> Hufflepuff\u003c/a> house of the event, a mishmash of eccentrics, high achievers and hard-working young music industry favorites. (Notorious category winners\u003ca href=\"https://gizmodo.com/20-years-ago-today-milli-vanilli-lost-their-grammy-for-5694574\"> Milli Vanilli\u003c/a> did work hard, just not at singing.) Rarely has the field clearly pointed toward an exciting new musical era. But this year, that’s exactly what it suggests.\u003c/p>\n\u003cp>Three breakthrough pop stars, each of whom embodies creativity and influence in the streaming age—and who, together, garnered this year’s most Grammy nominations across the board—compete with three women exploding the boundaries of genres that might have previously held them back, alongside two groups with major grassroots followings and a powerful way of defying categorization. These musicians are fluent in the style-defying language of 21st-century sounds; their members look like America, and beyond its borders, the changing pop world; and they all released genuinely great music in 2019. Whoever wins in this category will deserve it— and will likely play a role in shaping popular music for a long time.\u003c/p>\n\u003cp>\u003cstrong>Black Pumas\u003c/strong>\u003c/p>\n\u003cp>This Austin-based duo-plus represents what bands are becoming in the new century: versatile, open-ended partnerships forged by adept experimenting with form. Singer Eric Burton learned his chops both auditioning for \u003cem>American Idol\u003c/em> and busking on L.A.’s Santa Monica Pier; producer-multi-instrumentalist Adrian Quesada is a Latinx music veteran (he’s \u003ca href=\"https://www.grammy.com/search/grupo%20fantasma\">won\u003c/a> a Grammy as a member of the funk orchestra Grupo Fantasma). Together, they’re reinventing Southwestern soul with a blend that honors the region’s funky historical fusions while incorporating a hip-hop vibe. The sum of their experience makes them a great live act, the key to success as a band in 2019.\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/ptWQ_-xmvXY'\n title='//www.youtube.com/embed/ptWQ_-xmvXY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Billie Eilish\u003c/strong>\u003c/p>\n\u003cp>At 17 years old, Eilish is the youngest-ever multiple Grammy nominee across the top four categories: best new artist, record, album and song of the year. She could pull this off because, like the SoundCloud rappers who’ve inspired her, she writes her own material with her brother, Finneas—mostly eschewing teen pop’s starmaking machinery. (She was quietly signed to a major-label development deal at age fourteen, but she and Finneas recorded the bulk of the songs that have made her a star\u003ca href=\"https://www.prosoundnetwork.com/recording/finneas-on-producing-billie-eilishs-number-one-album-in-his-bedroom\"> at home\u003c/a>.) Homeschooled by Hollywood-savvy parents, enraptured by SoundCloud rappers like Tyler, The Creator but equally indebted to Avril Lavigne, vocally ultrafeminine but otherwise androgynous—Eilish embodies the erasure of binary thinking about music, emotion and the self: she is the living essence of Generation Z.\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/-PZsSWwc9xA'\n title='//www.youtube.com/embed/-PZsSWwc9xA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lil Nas X\u003c/strong>\u003c/p>\n\u003cp>If new technologies generate the stars they deserve, the social media platform TikTok must be particularly blessed, because its breakthrough star is absolutely fabulous. Montero Lamar Hill, now 20, was just another kid trying to get Internet famous when he discovered a beat made by a Dutch kid and bought it\u003ca href=\"https://www.cnbc.com/2019/07/23/lil-nas-x-bought-the-beat-used-in-old-town-road-for-30-on-beatstars.html\"> for $30\u003c/a>. Around it, he built “Old Town Road,” the single biggest challenge to old music biz ways issued in recent memory. Country music will never be the same, but neither will pop or hip-hop. His irresistible hit is the\u003ca href=\"https://www.rollingstone.com/music/music-news/ray-charles-whatd-i-say-origin-842880/\"> “What’d I Say”\u003c/a> of our time, refusing to be contained—as does Lil Nas X himself, as much a comedian, conceptualist and burgeoning fashion icon as he is a musician. Like TikTok itself—a tool for capturing teens’ mobile imaginations—Lil Nas X takes us all into brand-new territory.\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/w2Ov5jzm3j8'\n title='//www.youtube.com/embed/w2Ov5jzm3j8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Lizzo\u003c/strong>\u003c/p>\n\u003cp>With two albums already under her sparkly belt, Lizzo is the kind of slow-burning phenomenon whose presence may seem odd in the best new artist category, but she belongs here—until 2019, the world was not entirely ready for her. The Houston-born, Minneapolis-nurtured rapper, singer and all-around generator of good vibes, challenges all kinds of preconceived notions about women’s pleasure, power and beauty, proudly queering the pitch of pop without being strident or politically correct. And she’s a band nerd who’s single-handedly revived the flute as a cool high school accessory. A comic artist with a serious mission, Lizzo defines America’s pleasure principle right now—her bold excessiveness is to 2019 is what cock-rock was to the 1970s, minus all the macho power plays. Prince loved her, and through her success, his spirit lives on.\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/P00HMxdsVZI'\n title='//www.youtube.com/embed/P00HMxdsVZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Maggie Rogers\u003c/strong>\u003c/p>\n\u003cp>To comprehend the bond this 25-year-old singer-songwriter-rocker-dance queen has with her fans, just check out her Wikipedia page, which reads, “Maggie Rogers is known for being a\u003ca href=\"https://maggierogers.store/apparel/magg010017-maggie-rogers-witchy-feminist-t-shirt-black/\"> Witchy Feminist Rockstar\u003c/a> and a legend.” That kind of enthusiasm can’t be manufactured, and anyone who’s seen Rogers bound across a stage as thousands of young women shout her lyrics won’t doubt its veracity. As a teen, Rogers pursued a conventional singer-songwriter role, but time spent in Berlin led her to dance music; she explored that intersection as a student at NYU’s Clive Davis Institute of Recorded Music, where her teacher, NPR Music contributor Jason King, introduced her to Pharrell one day. The rest is a classic discovery story—except that like Billie Eilish, Rogers resisted being molded by the major label who signed her. An infectiously enthusiastic songwriter and performer, she expresses a spirit of resistance that runs through the best pop music now—the refusal to be too polished or predictable.\u003c/p>\n\u003cp>\u003cstrong>Rosalía\u003c/strong>\u003c/p>\n\u003cp>As EDM’s influence \u003ca href=\"778532395\">fades\u003c/a> and hip-hop settles into position as pop’s foundation, the universe of Latin rhythm and melody is revitalizing the Top 40. Rosalía is the Catalan auteur leading the way. Like many young artists, she’s not abandoning her roots, but reimagining them. Her music is rooted in the folkloric, theatrical lineage of \u003cem>flamenco\u003c/em>, which she studied seriously for a decade before fashioning her hybrid urban Latin sound. Her 2018 album, \u003cem>El Mal Querer—\u003c/em>inspired by a 14th-century novel of “dark love”—won the hearts of critics and influencers, and she went on to collaborate with Latin pop superstar J Balvin on the song “\u003ca href=\"https://www.youtube.com/watch?v=p7bfOZek9t4\">Con Altura\u003c/a>,” which became a worldwide smash. Rosalía’s fluidity in combining experimental and mainstream elements distinguishes her, as does the fact that she sings in Spanish—she’s the first artist who performs solely in that language to be nominated as best new artist.\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/Rht7rBHuXW8'\n title='//www.youtube.com/embed/Rht7rBHuXW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Tank and the Bangas\u003c/strong>\u003c/p>\n\u003cp>As much as 21st-century pop often floats forth from an unmoored Internet, it’s also generated within local communities whose reach grows through unprecedented platforms. NPR Music’s own\u003ca href=\"https://www.youtube.com/watch?v=QKzobTCIRDw\"> Tiny Desk\u003c/a> is one such platform, as New Orleans collective Tank and the Bangas discovered in the wake of winning our Tiny Desk Contest in 2017. By then, the group, led by slam poet and joy generator Tarriona “Tank” Ball on lead vocals, had come to embody what one writer called “\u003ca href=\"https://www.ft.com/content/9cba849c-057c-11e6-9b51-0fb5e65703ce\">New Orleans now\u003c/a>“: jazz-kissed but not old-timey, letting the good times roll in ways that acknowledge the complexities of life in an old city always seeking to transcend new problems. This is the kind of band that creates community wherever it goes—the best illustration of the new spin on jam bands that’s turned a sometimes-derided genre into the freshest ground out there.\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/0zU-Jm87kzY'\n title='//www.youtube.com/embed/0zU-Jm87kzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Yola\u003c/strong>\u003c/p>\n\u003cp>No new artist stands for the power of reinvention more than the woman born Yolanda Quartey in Bristol in 1984. Before becoming Americana’s beloved new sensation following a move to Nashville in 2018, Yola had another life as a pop songwriter in her native England, and a singer with dance-driven acts like Massive Attack. Her first love, however, was country music, a genre she patiently and fiercely made her own, first with the band Phantom Limb and then in solo music that frames her as an inheritor to both Dusty Springfield and Dolly Parton. Working with vintage-sound master Dan Auerbach of The Black Keys, Yola has effortlessly updated classic country soul on her debut album \u003cem>Walk Through Fire\u003c/em>; even more powerful are her live performances, which inevitably win legions of new fans. With country at a crossroads, Yola is a major force in illustrating what the genre can be at its most authentically American.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In a career—and personal life—loaded with enough drama to fuel an opera, \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye West\u003c/a> is finally presenting one. Or at least that’s what he tweeted Sunday, announcing a performance of \u003cem>Nebuchadnezzar\u003c/em>, “A Kanye West Opera” at the Hollywood Bowl on Nov. 24.\u003c/p>\n\u003cp>Little is known about the opera’s content other than its title, referring to the real life Biblical character who ruled over the Babylonian empire from c. 605 BC – c. 562 BC. West’s tweet gave a few more clues. The invitation artwork, etched with a golden image of the Babylonian king, states: “Music with Sunday Service, Peter Collins & Infinities Song.” (For what it’s worth, the Hollywood Bowl confirmed the event to \u003cem>NPR\u003c/em>.)\u003c/p>\n\u003cp>https://twitter.com/kanyewest/status/1196204600090513408?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1196204600090513408&ref_url=https%3A%2F%2Fwww.npr.org%2Fsections%2Fdeceptivecadence%2F2019%2F11%2F18%2F780479625%2Fkanye-west-announces-an-opera-which-isnt-as-crazy-as-it-sounds\u003c/p>\n\u003cp>Classical music buffs will note that Nebuchadnezzar has received the operatic treatment before, most notably in \u003ca href=\"https://www.npr.org/programs/attheopera/archives/010324.ato.html\">\u003cem>Nabucco\u003c/em>\u003c/a> (an Italian version of the king’s name), an emotionally charged early work by \u003ca href=\"https://www.npr.org/artists/16927552/giuseppe-verdi\">Giuseppe Verdi\u003c/a> from 1841. In Verdi’s portrayal, Nabucco is a complex man whose exile of Jews from their homeland, combined with political foibles, triggers a complete nervous breakdown.\u003c/p>\n\u003cp>A flawed leader with visions of grandeur who becomes mentally unstable is a plot line that West \u003cem>might\u003c/em> relate to. Last year on \u003ca href=\"https://www.youtube.com/watch?v=kJUc7Rz7QiU\">\u003cem>Jimmy Kimmel Live\u003c/em>\u003c/a>, West spoke openly about being bi-polar saying, “I don’t know anyone, you know, that f–ked up as much as I have that’s still as successful.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Regardless of the content of \u003cem>Nebuchadnezzar\u003c/em>, and before opera purists start wringing their hands, West can call his creation an opera if he chooses. The 400-year-old art form has proven itself terrifically adaptable and resilient. From cast-of-hundreds standards like Verdi’s \u003ca href=\"https://www.npr.org/2011/06/03/136888669/love-triangles-and-pyramids-verdis-aida\">\u003cem>Aida\u003c/em>\u003c/a> (which in some productions has included elephants) to single character, avant-garde monodramas such as \u003ca href=\"https://www.npr.org/artists/90295693/morton-feldman\">Morton Feldman\u003c/a>‘s \u003ca href=\"https://www.youtube.com/watch?v=0exs9F-888s\">\u003cem>Neither\u003c/em>\u003c/a>, opera comes in all shapes and sizes. As it should.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kanye+West+Announces+An+Opera+%28Which+Isn%27t+As+Crazy+As+It+Sounds%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Regardless of the content of \u003cem>Nebuchadnezzar\u003c/em>, and before opera purists start wringing their hands, West can call his creation an opera if he chooses. The 400-year-old art form has proven itself terrifically adaptable and resilient. From cast-of-hundreds standards like Verdi’s \u003ca href=\"https://www.npr.org/2011/06/03/136888669/love-triangles-and-pyramids-verdis-aida\">\u003cem>Aida\u003c/em>\u003c/a> (which in some productions has included elephants) to single character, avant-garde monodramas such as \u003ca href=\"https://www.npr.org/artists/90295693/morton-feldman\">Morton Feldman\u003c/a>‘s \u003ca href=\"https://www.youtube.com/watch?v=0exs9F-888s\">\u003cem>Neither\u003c/em>\u003c/a>, opera comes in all shapes and sizes. As it should.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/em>\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kanye+West+Announces+An+Opera+%28Which+Isn%27t+As+Crazy+As+It+Sounds%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wondering about the best podcasts for trips, long drives or (let’s face it) airport delays?\u003c/p>\n\u003cp>With the holidays fast approaching, chances are you’ll find yourself hitting the road or sky, and in need of binge-worthy audio to entertain you. Never fear: below, we’ve collected seven of the most immersive, compelling and (sorry) \u003cem>transporting\u003c/em> podcast episodes to recently come out of KQED.\u003c/p>\n\u003cp>Cue up these picks on your podcast platform of choice—or scroll to the end to download the Spotify playlist—and you’ll never be bored while stuck in traffic or delayed at the airport.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Secret Tunnels Under San Francisco? \u003c/a>\u003cbr>\nFrom \u003cem>Bay Curious\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Every episode of \u003cem>Bay Curious\u003c/em> is sparked by audience curiosity about local conundrums–and they’ve received a \u003cem>lot\u003c/em> of questions about whether there’s a network of mystery tunnels under San Francisco. This dark-and-dirty episode takes listeners to a place it’s likely they will never actually visit; a very real labyrinth that sprawls deep underground—AKA the city’s vast sewer system.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Listen to the episode to explore this underworld with the \u003cem>Bay Curious\u003c/em> team. Between lethal gases, fast-flowing rivers of sewage and the risk of getting lost in the darkness, you’ll probably be glad to take this tour \u003cem>virtually\u003c/em> via your headphones, rather than IRL.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/secret-tunnels-under-san-francisco/id1172473406?i=1000455577910\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Blind Beekeeper Relies on Sound to Keep Her Hives Happy\u003c/a>\u003cbr>\nFrom \u003cem>The California Report Magazine\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-13869926 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg\" alt=\"\" width=\"1020\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>“I didn’t think I could be a good beekeeper without being able to see.” This special episode from \u003cem>The California Report Magazine\u003c/em>’s weekly podcast immerses the listener in the world of Aerial: a Bay area nurse who lost her sight after using tampered eyedrops. Navigating her new reality, she found purpose and meaning in the hobby she’d enjoyed since she was a teen: beekeeping.\u003c/p>\n\u003cp>Listen as Aerial explains how she knows whether her swarm—she calls them “her girls”—are happy, and how to hear their “waggle dance” (the movement bees make to tell others where to find pollen). After experiencing this episode, you’ll never hear bees again the same way.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/blind-beekeeper-relies-on-sound-to-keep-her-hives-happy/id1314750545?i=1000452376183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">\u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness on Turning Red States Pink\u003c/a>\u003cbr>\nFrom \u003cem>The Cooler\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The most engrossing podcast interviews are the ones where you feel you’ve been teleported into the room with the people in question—and this 2018 interview with the infamously personable \u003cem>Queer Eye\u003c/em> star Jonathan Van Ness on KQED’s pop culture podcast \u003cem>The Cooler\u003c/em> is no exception.\u003c/p>\n\u003cp>In a conversation that ranges from raucous to heartfelt and intimate, Van Ness talks to hosts Emmanuel Hapsis, Jamedra Brown-Fleischman and Carly Severn about growing up gay in a small town, dealing with online trolls, the healing power of figure skating and a particularly controversial moment from \u003cem>Queer Eye\u003c/em>’s second season.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/queer-eyes-jonathan-van-ness-on-turning-red-states-pink/id1041117499?i=1000407027183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Joy\u003c/a>\u003cbr>\nfrom \u003cem>Truth Be Told \u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg\" alt=\"\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1200x600.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Is it OK to feel joy when it feels like the world is burning? In the first episode of KQED’s advice show made by people of color for people of color, host Tonya Mosley brings us to her hometown of Detroit, Michigan—the “epicenter of pleasure in the midst of turmoil,” as she calls it. Mosley sits down with her grandmother Ernestine Mosley and \u003cem>New York Times\u003c/em> bestselling author Adrienne Maree Brown for some hard questions, deep laughs, and much-needed affirmations about why it’s not only OK to feel joy, but it’s absolutely necessary.\u003c/p>\n\u003cp>And stay tuned: \u003cem>Truth Be Told\u003c/em> returns for a second season in early 2020!\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/joy-episode-1/id1462216572?i=1000438248776\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">‘We’re Still Here’\u003c/a>\u003cbr>\nFrom\u003cem> The Bay\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg\" alt=\"\" width=\"1020\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-768x576.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>In this episode of\u003cem> The Bay\u003c/em>, KQED reporter Alice Woelfle follows along with Native people from across the West Coast in a ceremonial canoe journey around Alcatraz Island. First, we hear the building of a tule boat, then the sound of paddle hitting the water as members of different tribes, territories, communities and families embark on their paddle around the island before returning to shore to be greeted by Ohlone elders.\u003c/p>\n\u003cp>The paddle commemorated the 50-year anniversary of the occupation of Alcatraz, a movement which lasted 19 months and brought widespread visibility for American Indian civil rights.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/were-still-here-canoe-journey-to-alcatraz-to-remember/id1350043452?i=1000453734022\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Oakland’s Rollerskating Country Singer\u003c/a>\u003cbr>\nFrom \u003cem>Rightnowish\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where do country singing and roller skating collide? On a small cul-de-sac on the southern side of Lake Merritt in Oakland, according to musician Miko Marks.\u003c/p>\n\u003cp>“As soon as I put these skates on, I feel like I’m a kid again,” Marks says in this episode of \u003cem>Rightnowish\u003c/em>, KQED’s new arts and culture podcast hosted by Pendarvis Harshaw. After nearly a decade of touring the nation as a country singer, Marks’s love for roller skating completely transformed her sense of play—and her music. Put on your skates (and your headphones!) and listen to the full episode to hear more about Marks’s new sound and new take on life with wheels.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/oaklands-rollerskating-country-singer/id1482187648?i=1000455674283\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Childhood as ‘Resume-Building’: Why Play Needs A Comeback\u003c/a>\u003cbr>\nFrom \u003cem>MindShift\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/DSC5859-1.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Remember when you were a kid and there was a designated time just for playing? Free play—the kind of play where kids independently choose the activities and the rules—may be a thing of the past, according to this \u003cem>MindShift\u003c/em> episode. “We’re just seeing an out-of-balance life for kids,” says Scott Bedley, a fourth grade teacher, about the pressure for students to succeed academically from a very young age. “There is a learning value behind play if you just allow it to happen.”\u003c/p>\n\u003cp>Head back to the classroom with the \u003cem>MindShift\u003c/em> team to explore what play looks like today, and why it’s in need of a major comeback.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/childhood-as-resume-building-why-play-needs-a-comeback/id1078765985?i=1000448438239\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/playlist/6qS3AzC3Gv7nrON2PrezAS\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wondering about the best podcasts for trips, long drives or (let’s face it) airport delays?\u003c/p>\n\u003cp>With the holidays fast approaching, chances are you’ll find yourself hitting the road or sky, and in need of binge-worthy audio to entertain you. Never fear: below, we’ve collected seven of the most immersive, compelling and (sorry) \u003cem>transporting\u003c/em> podcast episodes to recently come out of KQED.\u003c/p>\n\u003cp>Cue up these picks on your podcast platform of choice—or scroll to the end to download the Spotify playlist—and you’ll never be bored while stuck in traffic or delayed at the airport.\u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Secret Tunnels Under San Francisco? \u003c/a>\u003cbr>\nFrom \u003cem>Bay Curious\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869970\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39796_Tunnel_02-qut-1200x675.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Every episode of \u003cem>Bay Curious\u003c/em> is sparked by audience curiosity about local conundrums–and they’ve received a \u003cem>lot\u003c/em> of questions about whether there’s a network of mystery tunnels under San Francisco. This dark-and-dirty episode takes listeners to a place it’s likely they will never actually visit; a very real labyrinth that sprawls deep underground—AKA the city’s vast sewer system.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Listen to the episode to explore this underworld with the \u003cem>Bay Curious\u003c/em> team. Between lethal gases, fast-flowing rivers of sewage and the risk of getting lost in the darkness, you’ll probably be glad to take this tour \u003cem>virtually\u003c/em> via your headphones, rather than IRL.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11782405/tunnels-under-san-francisco-inside-the-dark-dangerous-world-of-the-sewers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/secret-tunnels-under-san-francisco/id1172473406?i=1000455577910\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Blind Beekeeper Relies on Sound to Keep Her Hives Happy\u003c/a>\u003cbr>\nFrom \u003cem>The California Report Magazine\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-13869926 size-full\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg\" alt=\"\" width=\"1020\" height=\"679\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/RS39379_beekeeper2-qut-1020x679-768x511.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>“I didn’t think I could be a good beekeeper without being able to see.” This special episode from \u003cem>The California Report Magazine\u003c/em>’s weekly podcast immerses the listener in the world of Aerial: a Bay area nurse who lost her sight after using tampered eyedrops. Navigating her new reality, she found purpose and meaning in the hobby she’d enjoyed since she was a teen: beekeeping.\u003c/p>\n\u003cp>Listen as Aerial explains how she knows whether her swarm—she calls them “her girls”—are happy, and how to hear their “waggle dance” (the movement bees make to tell others where to find pollen). After experiencing this episode, you’ll never hear bees again the same way.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11777723/blind-beekeeper-relies-on-the-sound-of-the-swarm-to-keep-her-hives-happy\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/blind-beekeeper-relies-on-sound-to-keep-her-hives-happy/id1314750545?i=1000452376183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">\u003cem>Queer Eye\u003c/em>‘s Jonathan Van Ness on Turning Red States Pink\u003c/a>\u003cbr>\nFrom \u003cem>The Cooler\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869925\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/Jonathan-Van-Ness-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The most engrossing podcast interviews are the ones where you feel you’ve been teleported into the room with the people in question—and this 2018 interview with the infamously personable \u003cem>Queer Eye\u003c/em> star Jonathan Van Ness on KQED’s pop culture podcast \u003cem>The Cooler\u003c/em> is no exception.\u003c/p>\n\u003cp>In a conversation that ranges from raucous to heartfelt and intimate, Van Ness talks to hosts Emmanuel Hapsis, Jamedra Brown-Fleischman and Carly Severn about growing up gay in a small town, dealing with online trolls, the healing power of figure skating and a particularly controversial moment from \u003cem>Queer Eye\u003c/em>’s second season.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/pop/102783/queer-eyes-jonathan-van-ness-on-turning-red-states-pink-one-makeover-at-a-time\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/queer-eyes-jonathan-van-ness-on-turning-red-states-pink/id1041117499?i=1000407027183\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Joy\u003c/a>\u003cbr>\nfrom \u003cem>Truth Be Told \u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869927\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg\" alt=\"\" width=\"1920\" height=\"960\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/EventBrite_TBT.R-1920x960-1200x600.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Is it OK to feel joy when it feels like the world is burning? In the first episode of KQED’s advice show made by people of color for people of color, host Tonya Mosley brings us to her hometown of Detroit, Michigan—the “epicenter of pleasure in the midst of turmoil,” as she calls it. Mosley sits down with her grandmother Ernestine Mosley and \u003cem>New York Times\u003c/em> bestselling author Adrienne Maree Brown for some hard questions, deep laughs, and much-needed affirmations about why it’s not only OK to feel joy, but it’s absolutely necessary.\u003c/p>\n\u003cp>And stay tuned: \u003cem>Truth Be Told\u003c/em> returns for a second season in early 2020!\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/podcasts/42/joy-may-16th\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/joy-episode-1/id1462216572?i=1000438248776\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">‘We’re Still Here’\u003c/a>\u003cbr>\nFrom\u003cem> The Bay\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869928\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg\" alt=\"\" width=\"1020\" height=\"765\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/IMG_2671-1-1020x765-768x576.jpg 768w\" sizes=\"(max-width: 1020px) 100vw, 1020px\">\u003c/p>\n\u003cp>In this episode of\u003cem> The Bay\u003c/em>, KQED reporter Alice Woelfle follows along with Native people from across the West Coast in a ceremonial canoe journey around Alcatraz Island. First, we hear the building of a tule boat, then the sound of paddle hitting the water as members of different tribes, territories, communities and families embark on their paddle around the island before returning to shore to be greeted by Ohlone elders.\u003c/p>\n\u003cp>The paddle commemorated the 50-year anniversary of the occupation of Alcatraz, a movement which lasted 19 months and brought widespread visibility for American Indian civil rights.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/news/11780279/native-american-occupation-at-alcatraz-50-years\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/were-still-here-canoe-journey-to-alcatraz-to-remember/id1350043452?i=1000453734022\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Oakland’s Rollerskating Country Singer\u003c/a>\u003cbr>\nFrom \u003cem>Rightnowish\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg\" alt=\"\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/oakland-rollers-800x450-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Where do country singing and roller skating collide? On a small cul-de-sac on the southern side of Lake Merritt in Oakland, according to musician Miko Marks.\u003c/p>\n\u003cp>“As soon as I put these skates on, I feel like I’m a kid again,” Marks says in this episode of \u003cem>Rightnowish\u003c/em>, KQED’s new arts and culture podcast hosted by Pendarvis Harshaw. After nearly a decade of touring the nation as a country singer, Marks’s love for roller skating completely transformed her sense of play—and her music. Put on your skates (and your headphones!) and listen to the full episode to hear more about Marks’s new sound and new take on life with wheels.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/arts/13859970/rightnowish-miko-marks-and-the-oakland-rollers\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/oaklands-rollerskating-country-singer/id1482187648?i=1000455674283\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp> \u003c/p>\n\u003ch3>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Childhood as ‘Resume-Building’: Why Play Needs A Comeback\u003c/a>\u003cbr>\nFrom \u003cem>MindShift\u003c/em>\u003c/h3>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13869973\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/DSC5859-1.jpg\" alt=\"\" width=\"1920\" height=\"1281\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/DSC5859-1-1200x801.jpg 1200w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003c/p>\n\u003cp>Remember when you were a kid and there was a designated time just for playing? Free play—the kind of play where kids independently choose the activities and the rules—may be a thing of the past, according to this \u003cem>MindShift\u003c/em> episode. “We’re just seeing an out-of-balance life for kids,” says Scott Bedley, a fourth grade teacher, about the pressure for students to succeed academically from a very young age. “There is a learning value behind play if you just allow it to happen.”\u003c/p>\n\u003cp>Head back to the classroom with the \u003cem>MindShift\u003c/em> team to explore what play looks like today, and why it’s in need of a major comeback.\u003c/p>\n\u003cul>\n\u003cli>\u003ca href=\"https://www.kqed.org/mindshift/54326/childhood-as-resume-building-why-play-needs-a-comeback\">Listen at kqed.org\u003c/a>\u003c/li>\n\u003cli>\u003ca href=\"https://podcasts.apple.com/us/podcast/childhood-as-resume-building-why-play-needs-a-comeback/id1078765985?i=1000448438239\">Listen on Apple Podcasts\u003c/a>\u003c/li>\n\u003c/ul>\n\u003cp>\u003cem>(Also available on NPR One, Spotify or wherever you get your podcasts)\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Watch This 9-Year-Old Girl Drum Her Heart Out to Nirvana's 'In Bloom'",
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"content": "\u003cp>Within the last year, drummer Nandi Bushell has \u003ca href=\"https://www.instagram.com/p/Bz30fNtgROO/\">hung out with Questlove\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=WyaKxwYXVKU\">performed with Lenny Kravitz\u003c/a> and been \u003ca href=\"https://www.ipswichstar.co.uk/news/nandi-bushell-ipswich-drummer-argos-christmas-advert-1-6375730\">featured in an ad\u003c/a> for the British retailer Argos. Oh, and she’s nine years old.\u003c/p>\n\u003cp>The drumming prodigy and rock and roll enthusiast from Ipswich, England has been posting drumming videos online since she was \u003ca href=\"https://www.youtube.com/channel/UCbMg1QLaHBzmww35QK-mHEQ/videos\">six years old\u003c/a>, and her latest release shows her drumming alongside \u003ca href=\"https://www.npr.org/artists/15446165/nirvana\">Nirvana\u003c/a>‘s 1991 classic “In Bloom.” It is, frankly, delightful.\u003c/p>\n\u003cp>The video has it all: impeccable timing, mind-melting screams and a very satisfied smile right at the end. For added context, the British and Zulu rock star shares that she’s a big fan of Dave Grohl and \u003cem>School of Rock\u003c/em>, which she calls “the best film in the world.” Rock on, Nandi.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mlm0qws5kjE&feature=emb_logo\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Watch+This+9-Year-Old+Girl+Drum+Her+Heart+Out+To+Nirvana%27s+%27In+Bloom%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Nandi Bushell's video has it all: style, timing and mind-melting screams. She absolutely crushes it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Within the last year, drummer Nandi Bushell has \u003ca href=\"https://www.instagram.com/p/Bz30fNtgROO/\">hung out with Questlove\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=WyaKxwYXVKU\">performed with Lenny Kravitz\u003c/a> and been \u003ca href=\"https://www.ipswichstar.co.uk/news/nandi-bushell-ipswich-drummer-argos-christmas-advert-1-6375730\">featured in an ad\u003c/a> for the British retailer Argos. Oh, and she’s nine years old.\u003c/p>\n\u003cp>The drumming prodigy and rock and roll enthusiast from Ipswich, England has been posting drumming videos online since she was \u003ca href=\"https://www.youtube.com/channel/UCbMg1QLaHBzmww35QK-mHEQ/videos\">six years old\u003c/a>, and her latest release shows her drumming alongside \u003ca href=\"https://www.npr.org/artists/15446165/nirvana\">Nirvana\u003c/a>‘s 1991 classic “In Bloom.” It is, frankly, delightful.\u003c/p>\n\u003cp>The video has it all: impeccable timing, mind-melting screams and a very satisfied smile right at the end. For added context, the British and Zulu rock star shares that she’s a big fan of Dave Grohl and \u003cem>School of Rock\u003c/em>, which she calls “the best film in the world.” Rock on, Nandi.\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/Mlm0qws5kjE'\n title='//www.youtube.com/embed/Mlm0qws5kjE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 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=Watch+This+9-Year-Old+Girl+Drum+Her+Heart+Out+To+Nirvana%27s+%27In+Bloom%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bay Area Indie Rock Isn't What It Used To Be—And That's a Good Thing",
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"content": "\u003cp>Although the Bay Area has no shortage of musical talent, many say that there are fewer pathways to success than in previous decades.\u003c/p>\n\u003cp>“One of the most exciting things about being here in the ’90s was that you could discover a local band that you loved and watch as, over the course of a couple years, they went from opening on a small bill to landing headlining gigs at the biggest venues in San Francisco and becoming a national act,” says \u003ca href=\"https://www.kqed.org/arts/13868599/raphael-saadiq-maya-jane-coles-to-headline-noise-pop-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music and Arts Festival\u003c/a> founder and director Kevin Arnold. “That doesn’t seem as doable as it used to.”\u003c/p>\n\u003cp>Indeed, though local rock acts like \u003ca href=\"https://www.rollingstone.com/music/music-features/metal-singer-kristina-esfandiari-on-using-dark-sounds-to-heal-203344/\" target=\"_blank\" rel=\"noopener noreferrer\">Kris Esfandiari\u003c/a> (of King Woman and Miserable) and \u003ca href=\"https://www.npr.org/2019/06/04/729568271/jay-som-announces-new-album-hear-the-swirling-first-single-superbike\" target=\"_blank\" rel=\"noopener noreferrer\">Jay Som\u003c/a> have risen to national prominence in recent years, conditions in the Bay Area aren’t exactly optimal for artists. Rent keeps going up while wages stagnate. Several formerly independent venues have \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">consolidated under corporate giants\u003c/a>, while other \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" target=\"_blank\" rel=\"noopener noreferrer\">bastions of local music\u003c/a> have been forced to shut down entirely. Yet despite this confluence of pressures, there are still people writing, recording and performing independently produced rock’n’roll in the Bay Area, and there seems to be a renaissance underway.\u003c/p>\n\u003cp>When I covered Noise Pop last February, I was blown away by how packed the venues were for the opening acts. Weekday shows at the historic venues like the Fillmore and smaller locales like Bottom of the Hill brimmed with energetic crowds. Even more recently, I’ve seen venues like Rickshaw Stop in San Francisco and 924 Gilman in Berkeley pack out for local shows, and was especially surprised when I watched the DIY venue Oakland.Secret fill up on a Tuesday night for a show slated with local acts Grumpster, Sarchasm and Dirty Boiz as well as the Portland art rock outfit On Drugs.\u003c/p>\n\u003cp>Today’s Bay Area’s rock’n’roll underground is all the more exciting because barriers that constrained previous generations are beginning to fall. Bands have done away with genre purism, synthesizing sounds that reflects the decentralized way we listen to music in the digital age. And in contrast to the white dude-centric indie rock scenes of the ’90s and ’00s, there is also a growing diversity in both crowd demographics and the bands themselves.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Below is a selection of three bands on the forefront of this resurgence. It is by no means a comprehensive list, but each act selected is emblematic of the larger shifts at play.\u003c/p>\n\u003cfigure id=\"attachment_13869865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/grumpster-2-800x800.jpg\" alt=\"The members of indie rock band Grumpster, two young men and a young woman.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/grumpster-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/grumpster-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/grumpster-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/grumpster-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/grumpster-2.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grumpster. \u003ccite>(Grumpster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Grumpster\u003c/h2>\n\u003cp>Over the past two years, \u003ca href=\"https://grumpster.bandcamp.com/album/underwhelmed\" target=\"_blank\" rel=\"noopener noreferrer\">Grumpster\u003c/a> has been cutting their teeth and rising in notoriety. The East Bay band has gone from playing small punk shows at 924 Gilman to performing at storied rock clubs such as Slim’s and The Fillmore. They are known for delivering high-intensity performances, with lead singer Falyn Walsh often stopping mid-song to rev the crowd into frenzied moshing.\u003c/p>\n\u003cp>“Everyone is there to have a good time,” she says. “I love bringing a room’s energy up to its highest point for people.”\u003c/p>\n\u003cp>Walsh’s vocals are unencumbered and fresh as water. Her singing is effortless, relying on a melodic quality inherent to her regular speaking voice. It bobs along over guitarist Lalo Gonzalez’s distorted riffs and drummer Noel Agtane’s cymbal splashes. The songs they make are simple and infectious, with strains of Green Day and the Ramones and fragments of surf-rock and psychedelia.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=737675972/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Kairos,” the leading single off their 2018 \u003ca href=\"https://grumpster.bandcamp.com/album/cutting-ties\" target=\"_blank\" rel=\"noopener noreferrer\">split EP\u003c/a> with the band Slumped, opens with a marcher’s drumline, the kick pulsing beneath a roll of snare. After a build-up, a guitar opens into a fuzzy wall of sound and the drums build to an explosive crash. It’s pop-punk in the sludgy key of grunge. Walsh begins singing with an anodyne lilt, “I can’t quite put my finger on this feeling in my brain / I’m dying to know now do you maybe feel the same?”\u003c/p>\n\u003cp>“Kairos” is an anthem for a crush, a snapshot of the anxiety you get before knowing whether someone likes you back or not. It’s familiar territory for this genre, but what’s fascinating is the lack of gender assigned to the song’s object of desire. This androgynous “you” is depicted in the accompanying music-video as a pinata with blood-shot eyes.\u003c/p>\n\u003cp>“Everyone has had a crush,” she said, “and that can be terrifying.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More recently, Walsh says she has been writing songs about mental health that she hopes can strike a chord with people dealing with similar issues. “People are finally talking about their mental health,” she says, “which is so much healthier than pushing it down.” “Tunnel Vision,” a single off of their new debut full-length, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Underwhelmed\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, describes the sensory experience of an anxiety attack. “Breathe in, breathe out, without a sound / Stay away from me / Anxiety.” (Grumpster’s \u003cem>Underwhelmed\u003c/em> release show is on Nov. 16 at \u003ca href=\"https://dothebay.com/events/2019/11/16/grumpster-record-release-small-crush-slumped-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>.) \u003c/span>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FhVGBIDzZR0\u003c/p>\n\u003ch2>Same Girls\u003c/h2>\n\u003cp>I get the feeling that the members of \u003ca href=\"https://soundcloud.com/samegirls510?fbclid=IwAR03KwRdxDA_KMaTSO9xBc5La44aYRMf49WJpgu8NbdjLjw4JWpSWyJUWas\" target=\"_blank\" rel=\"noopener noreferrer\">Same Girls\u003c/a> revel in the experience of being in on a joke that no one else gets. Frontman and guitarist Taifa Nia tells me that he has decided Same Girls is a new wave band, while drummer and co-writer Otto Janes nods with a knowing smirk. It’s not that they’re being flippant, it’s that they really don’t care to classify their sound—so “new wave” it is. While the genre does factor into their influences, so does post-punk, garage rock, funk, disco, grunge, motown and whatever else piques their interests in the process of making music.\u003c/p>\n\u003cp>“I think most good music is geared towards the counterculture,” says Nia.\u003c/p>\n\u003cp>https://youtu.be/lnOntAahqgg\u003c/p>\n\u003cp>Nia and Janes, along with guitarist Tyler Valentino and bassist Michael Devito, have known each other since high school. Now in their early twenties, the chemistry that develops over multiple years of friendship is apparent on their tracks. On record they build insular worlds of different genre’s influences, each song distinctive and daring. Live, they are brash and compulsively danceable.\u003c/p>\n\u003cp>Same Girls’ first album, \u003cem>Young Minded\u003c/em>, came out in September of 2018 through \u003ca href=\"https://www.kqed.org/arts/13816703/can-text-me-records-become-san-franciscos-new-hit-factory\" target=\"_blank\" rel=\"noopener noreferrer\">Text Me Records\u003c/a>, a multi-genre label that has been putting on some of the freshest up and comers in the Bay Area. The record feels like the band is trying on as many different hats as they can. This can be damaging to a debut release’s sense of cohesion, but they sound good in every style they slip into. Nia holds the songs together with a disaffected coolness, showing an impressive range as he adopts the affectation of a British punk singer on the fuzzed out “Hello,” croons nasally on the upbeat “Sailing” and drawls with heavy vocal-fry on the slow and psyched-out “Sculpted.”\u003c/p>\n\u003cfigure id=\"attachment_13869867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/kevin-nichols-800x800.jpg\" alt=\"Musician Kevin Nichols sits on a sidewalk wearing all black clothing and rainbow shoes.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Nichols \u003ccite>(Lucy Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kevin Nichols\u003c/h2>\n\u003cp>A running joke among Bay Area artists is that everyone is just waiting to get successful enough to move to L.A., but \u003ca href=\"https://kevinnichols.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Nichols\u003c/a> is happily running against the grain. “I do think there is a bit of a duty in the artist’s hands to keep something alive,” says the artist, who moved here from Southern California a year ago. “I came here because I feel like it’s still a place where people are free to be themselves, and hopefully I can help continue that.”\u003c/p>\n\u003cp>Nichols calls his music “prunge,” a portmanteau of pop and grunge that aptly describes the catchy melodies that rise from his songs’ discordant foundations. He and his backing band play heavy. His guitar screeches and whines as if it is being skinned alive. There is a distorted muddiness to the composition, until a bright, sinewy riff emerges to establish a clarity you can’t help but nod along to. “It’s rooted in grunge, but it’s just a little more tender,” he says.\u003c/p>\n\u003cp>As of now, Nichols has released two EPs of a planned trilogy that aim to, in his words, “capture the emotional landscape of particular points in my life.” The second installment, \u003cem>Long Lungs\u003c/em>, is an amicable break-up album, without a sense of finger-pointing or vindication. The hurt of separation is apparent, but Nichols seems more interested in how to best process these feelings and the contradictions they bring up within himself. Bittersweet, but not bitter.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hTfA2WFIDsk\u003c/p>\n\u003cp>Such is the case for a lot of the music Kevin Nichols makes. It would be so easy for him to fall into the “tortured artist” archetype. Shut the world off and make songs about how alienated everyone has made him feel. It would certainly be the grunge thing to do. Instead, he writes songs that consider the fact that other people suffer too.\u003c/p>\n\u003cp>In 2017 he released a full-length album titled\u003cem> I Don’t Want To Die But I Want To Die\u003c/em>, which chronicles his experiences of living with depression in blistering detail. The album was featured on Bandcamp’s global “New and Notable” section when it dropped. The record isn’t a misanthropic manifesto. Nichols wrote it to both better articulate how he was feeling and to feel less alone in doing so. Connection instead of isolation.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=f7A3_6yHYTE\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Nichols doesn’t appear to be alone in his desires either. As walls of identity and genre continue to buckle under new perspectives, people are coming together in new ways to escape the outside world for a night, to dance and to find a new favorite local band.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Although the Bay Area has no shortage of musical talent, many say that there are fewer pathways to success than in previous decades.\u003c/p>\n\u003cp>“One of the most exciting things about being here in the ’90s was that you could discover a local band that you loved and watch as, over the course of a couple years, they went from opening on a small bill to landing headlining gigs at the biggest venues in San Francisco and becoming a national act,” says \u003ca href=\"https://www.kqed.org/arts/13868599/raphael-saadiq-maya-jane-coles-to-headline-noise-pop-2020\" target=\"_blank\" rel=\"noopener noreferrer\">Noise Pop Music and Arts Festival\u003c/a> founder and director Kevin Arnold. “That doesn’t seem as doable as it used to.”\u003c/p>\n\u003cp>Indeed, though local rock acts like \u003ca href=\"https://www.rollingstone.com/music/music-features/metal-singer-kristina-esfandiari-on-using-dark-sounds-to-heal-203344/\" target=\"_blank\" rel=\"noopener noreferrer\">Kris Esfandiari\u003c/a> (of King Woman and Miserable) and \u003ca href=\"https://www.npr.org/2019/06/04/729568271/jay-som-announces-new-album-hear-the-swirling-first-single-superbike\" target=\"_blank\" rel=\"noopener noreferrer\">Jay Som\u003c/a> have risen to national prominence in recent years, conditions in the Bay Area aren’t exactly optimal for artists. Rent keeps going up while wages stagnate. Several formerly independent venues have \u003ca href=\"https://www.kqed.org/arts/13846754/in-2018-corporate-monotony-seized-san-francisco-music-venues\" target=\"_blank\" rel=\"noopener noreferrer\">consolidated under corporate giants\u003c/a>, while other \u003ca href=\"https://www.kqed.org/arts/13839507/if-the-hemlocks-walls-could-talk-looking-back-at-17-years-of-shows\" target=\"_blank\" rel=\"noopener noreferrer\">bastions of local music\u003c/a> have been forced to shut down entirely. Yet despite this confluence of pressures, there are still people writing, recording and performing independently produced rock’n’roll in the Bay Area, and there seems to be a renaissance underway.\u003c/p>\n\u003cp>When I covered Noise Pop last February, I was blown away by how packed the venues were for the opening acts. Weekday shows at the historic venues like the Fillmore and smaller locales like Bottom of the Hill brimmed with energetic crowds. Even more recently, I’ve seen venues like Rickshaw Stop in San Francisco and 924 Gilman in Berkeley pack out for local shows, and was especially surprised when I watched the DIY venue Oakland.Secret fill up on a Tuesday night for a show slated with local acts Grumpster, Sarchasm and Dirty Boiz as well as the Portland art rock outfit On Drugs.\u003c/p>\n\u003cp>Today’s Bay Area’s rock’n’roll underground is all the more exciting because barriers that constrained previous generations are beginning to fall. Bands have done away with genre purism, synthesizing sounds that reflects the decentralized way we listen to music in the digital age. And in contrast to the white dude-centric indie rock scenes of the ’90s and ’00s, there is also a growing diversity in both crowd demographics and the bands themselves.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Below is a selection of three bands on the forefront of this resurgence. It is by no means a comprehensive list, but each act selected is emblematic of the larger shifts at play.\u003c/p>\n\u003cfigure id=\"attachment_13869865\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869865\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/grumpster-2-800x800.jpg\" alt=\"The members of indie rock band Grumpster, two young men and a young woman.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/grumpster-2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/grumpster-2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/grumpster-2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/grumpster-2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/grumpster-2.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grumpster. \u003ccite>(Grumpster)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Grumpster\u003c/h2>\n\u003cp>Over the past two years, \u003ca href=\"https://grumpster.bandcamp.com/album/underwhelmed\" target=\"_blank\" rel=\"noopener noreferrer\">Grumpster\u003c/a> has been cutting their teeth and rising in notoriety. The East Bay band has gone from playing small punk shows at 924 Gilman to performing at storied rock clubs such as Slim’s and The Fillmore. They are known for delivering high-intensity performances, with lead singer Falyn Walsh often stopping mid-song to rev the crowd into frenzied moshing.\u003c/p>\n\u003cp>“Everyone is there to have a good time,” she says. “I love bringing a room’s energy up to its highest point for people.”\u003c/p>\n\u003cp>Walsh’s vocals are unencumbered and fresh as water. Her singing is effortless, relying on a melodic quality inherent to her regular speaking voice. It bobs along over guitarist Lalo Gonzalez’s distorted riffs and drummer Noel Agtane’s cymbal splashes. The songs they make are simple and infectious, with strains of Green Day and the Ramones and fragments of surf-rock and psychedelia.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=737675972/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>“Kairos,” the leading single off their 2018 \u003ca href=\"https://grumpster.bandcamp.com/album/cutting-ties\" target=\"_blank\" rel=\"noopener noreferrer\">split EP\u003c/a> with the band Slumped, opens with a marcher’s drumline, the kick pulsing beneath a roll of snare. After a build-up, a guitar opens into a fuzzy wall of sound and the drums build to an explosive crash. It’s pop-punk in the sludgy key of grunge. Walsh begins singing with an anodyne lilt, “I can’t quite put my finger on this feeling in my brain / I’m dying to know now do you maybe feel the same?”\u003c/p>\n\u003cp>“Kairos” is an anthem for a crush, a snapshot of the anxiety you get before knowing whether someone likes you back or not. It’s familiar territory for this genre, but what’s fascinating is the lack of gender assigned to the song’s object of desire. This androgynous “you” is depicted in the accompanying music-video as a pinata with blood-shot eyes.\u003c/p>\n\u003cp>“Everyone has had a crush,” she said, “and that can be terrifying.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">More recently, Walsh says she has been writing songs about mental health that she hopes can strike a chord with people dealing with similar issues. “People are finally talking about their mental health,” she says, “which is so much healthier than pushing it down.” “Tunnel Vision,” a single off of their new debut full-length, \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">Underwhelmed\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, describes the sensory experience of an anxiety attack. “Breathe in, breathe out, without a sound / Stay away from me / Anxiety.” (Grumpster’s \u003cem>Underwhelmed\u003c/em> release show is on Nov. 16 at \u003ca href=\"https://dothebay.com/events/2019/11/16/grumpster-record-release-small-crush-slumped-tickets\" target=\"_blank\" rel=\"noopener noreferrer\">924 Gilman\u003c/a>.) \u003c/span>\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/FhVGBIDzZR0'\n title='//www.youtube.com/embed/FhVGBIDzZR0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Same Girls\u003c/h2>\n\u003cp>I get the feeling that the members of \u003ca href=\"https://soundcloud.com/samegirls510?fbclid=IwAR03KwRdxDA_KMaTSO9xBc5La44aYRMf49WJpgu8NbdjLjw4JWpSWyJUWas\" target=\"_blank\" rel=\"noopener noreferrer\">Same Girls\u003c/a> revel in the experience of being in on a joke that no one else gets. Frontman and guitarist Taifa Nia tells me that he has decided Same Girls is a new wave band, while drummer and co-writer Otto Janes nods with a knowing smirk. It’s not that they’re being flippant, it’s that they really don’t care to classify their sound—so “new wave” it is. While the genre does factor into their influences, so does post-punk, garage rock, funk, disco, grunge, motown and whatever else piques their interests in the process of making music.\u003c/p>\n\u003cp>“I think most good music is geared towards the counterculture,” says Nia.\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/lnOntAahqgg'\n title='//www.youtube.com/embed/lnOntAahqgg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nia and Janes, along with guitarist Tyler Valentino and bassist Michael Devito, have known each other since high school. Now in their early twenties, the chemistry that develops over multiple years of friendship is apparent on their tracks. On record they build insular worlds of different genre’s influences, each song distinctive and daring. Live, they are brash and compulsively danceable.\u003c/p>\n\u003cp>Same Girls’ first album, \u003cem>Young Minded\u003c/em>, came out in September of 2018 through \u003ca href=\"https://www.kqed.org/arts/13816703/can-text-me-records-become-san-franciscos-new-hit-factory\" target=\"_blank\" rel=\"noopener noreferrer\">Text Me Records\u003c/a>, a multi-genre label that has been putting on some of the freshest up and comers in the Bay Area. The record feels like the band is trying on as many different hats as they can. This can be damaging to a debut release’s sense of cohesion, but they sound good in every style they slip into. Nia holds the songs together with a disaffected coolness, showing an impressive range as he adopts the affectation of a British punk singer on the fuzzed out “Hello,” croons nasally on the upbeat “Sailing” and drawls with heavy vocal-fry on the slow and psyched-out “Sculpted.”\u003c/p>\n\u003cfigure id=\"attachment_13869867\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13869867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/11/kevin-nichols-800x800.jpg\" alt=\"Musician Kevin Nichols sits on a sidewalk wearing all black clothing and rainbow shoes.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/11/kevin-nichols.jpg 1365w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Kevin Nichols \u003ccite>(Lucy Miller)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kevin Nichols\u003c/h2>\n\u003cp>A running joke among Bay Area artists is that everyone is just waiting to get successful enough to move to L.A., but \u003ca href=\"https://kevinnichols.bandcamp.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kevin Nichols\u003c/a> is happily running against the grain. “I do think there is a bit of a duty in the artist’s hands to keep something alive,” says the artist, who moved here from Southern California a year ago. “I came here because I feel like it’s still a place where people are free to be themselves, and hopefully I can help continue that.”\u003c/p>\n\u003cp>Nichols calls his music “prunge,” a portmanteau of pop and grunge that aptly describes the catchy melodies that rise from his songs’ discordant foundations. He and his backing band play heavy. His guitar screeches and whines as if it is being skinned alive. There is a distorted muddiness to the composition, until a bright, sinewy riff emerges to establish a clarity you can’t help but nod along to. “It’s rooted in grunge, but it’s just a little more tender,” he says.\u003c/p>\n\u003cp>As of now, Nichols has released two EPs of a planned trilogy that aim to, in his words, “capture the emotional landscape of particular points in my life.” The second installment, \u003cem>Long Lungs\u003c/em>, is an amicable break-up album, without a sense of finger-pointing or vindication. The hurt of separation is apparent, but Nichols seems more interested in how to best process these feelings and the contradictions they bring up within himself. Bittersweet, but not bitter.\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/hTfA2WFIDsk'\n title='//www.youtube.com/embed/hTfA2WFIDsk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Such is the case for a lot of the music Kevin Nichols makes. It would be so easy for him to fall into the “tortured artist” archetype. Shut the world off and make songs about how alienated everyone has made him feel. It would certainly be the grunge thing to do. Instead, he writes songs that consider the fact that other people suffer too.\u003c/p>\n\u003cp>In 2017 he released a full-length album titled\u003cem> I Don’t Want To Die But I Want To Die\u003c/em>, which chronicles his experiences of living with depression in blistering detail. The album was featured on Bandcamp’s global “New and Notable” section when it dropped. The record isn’t a misanthropic manifesto. Nichols wrote it to both better articulate how he was feeling and to feel less alone in doing so. Connection instead of isolation.\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/f7A3_6yHYTE'\n title='//www.youtube.com/embed/f7A3_6yHYTE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nichols doesn’t appear to be alone in his desires either. As walls of identity and genre continue to buckle under new perspectives, people are coming together in new ways to escape the outside world for a night, to dance and to find a new favorite local band.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Do List: Rebirth Brass Band, Holiday Train Ride and More for Nov. 14–21",
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"content": "\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Grace Cheung and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>The Rebirth Brass Band\u003c/strong>: You might have seen the Rebirth Brass Band in the TV show \u003cem>Tremé\u003c/em>—they’re one of the best brass bands in New Orleans, and definitely one of the longest-running. But its not like they’re a dusty, old-fashioned ensemble upholding a bygone tradition. Some of their younger family members have been \u003ca href=\"https://en.wikipedia.org/wiki/Soulja_Slim\" rel=\"noopener noreferrer\" target=\"_blank\">well-known rappers\u003c/a> in New Orleans, so they incorporate hip-hop into their music, and their club appearances are full-on sweaty dance parties. The Rebirth Brass Band play Thursday and Friday, Nov. 14 and 15, at the Starline Social Club in Oakland (\u003ca href=\"https://starlinesocialclub.com/calendar\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>) and on Saturday, Nov. 16, at the Mezzanine in San Francisco (\u003ca href=\"https://mezzaninesf.com/events/rebirth-brass-band/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>). \u003c/p>\n\u003cp>\u003cstrong>Rexx Life Raj\u003c/strong>: There’s something about Rexx Life Raj’s new album, \u003cem>Father Figure 3: Somewhere Out There\u003c/em>, that makes you want to break out your journal and reflect on where you’ve been and where you’re going. He’s a truly gifted lyricist who writes with such a relatable openness and vulnerability. Rexx Life Raj is from Berkeley, and he’s been on the come-up in recent years, building up his cult following through lyrical honesty rather than going viral through some gimmick. He plays Wednesday, Nov. 20, at the Independent in San Francisco. \u003ca href=\"https://www.theindependentsf.com/event/9945715/rexx-life-raj/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Holiday Train Ride\u003c/strong>: It’s one of the best times of the year: repeat \u003cem>Polar Express\u003c/em> viewing season! And if you’re already feeling the holiday spirit creep up on you, the Napa Valley Wine Train is doing a special holiday-themed ride that sounds like a real-life Polar Express experience. Under their new ownership, the wine train has been doing a bunch of these themed rides, like murder mystery dinners and beer tasting trips. This Christmas-themed one includes hot chocolate, cookies, and a Santa on board. It runs from Nov. 19 through the end of the year. \u003ca href=\"https://www.winetrain.com/events/santa-train/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>50th Anniversary of the Occupation of Alcatraz\u003c/strong>: It’s the anniversary of an important event in Bay Area history this month: the Native American occupation of Alcatraz in 1969. For 19 months, 89 American Indians and supporters took up residence on Alcatraz to protest the treatment of indigenous peoples by the U.S. government. Many of the original occupants are still alive, and next week, some of them will get together to tell their stories of organizing and living on the island. That includes adults from three different tribes, as well as two participants who were children on the island in 1969. That’s on Tuesday, Nov. 19, at the main branch of the public library in San Francisco. \u003ca href=\"https://sfpl.org/?pg=1038012501\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Grace Cheung and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>The Rebirth Brass Band\u003c/strong>: You might have seen the Rebirth Brass Band in the TV show \u003cem>Tremé\u003c/em>—they’re one of the best brass bands in New Orleans, and definitely one of the longest-running. But its not like they’re a dusty, old-fashioned ensemble upholding a bygone tradition. Some of their younger family members have been \u003ca href=\"https://en.wikipedia.org/wiki/Soulja_Slim\" rel=\"noopener noreferrer\" target=\"_blank\">well-known rappers\u003c/a> in New Orleans, so they incorporate hip-hop into their music, and their club appearances are full-on sweaty dance parties. The Rebirth Brass Band play Thursday and Friday, Nov. 14 and 15, at the Starline Social Club in Oakland (\u003ca href=\"https://starlinesocialclub.com/calendar\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>) and on Saturday, Nov. 16, at the Mezzanine in San Francisco (\u003ca href=\"https://mezzaninesf.com/events/rebirth-brass-band/\" rel=\"noopener noreferrer\" target=\"_blank\">details here\u003c/a>). \u003c/p>\n\u003cp>\u003cstrong>Rexx Life Raj\u003c/strong>: There’s something about Rexx Life Raj’s new album, \u003cem>Father Figure 3: Somewhere Out There\u003c/em>, that makes you want to break out your journal and reflect on where you’ve been and where you’re going. He’s a truly gifted lyricist who writes with such a relatable openness and vulnerability. Rexx Life Raj is from Berkeley, and he’s been on the come-up in recent years, building up his cult following through lyrical honesty rather than going viral through some gimmick. He plays Wednesday, Nov. 20, at the Independent in San Francisco. \u003ca href=\"https://www.theindependentsf.com/event/9945715/rexx-life-raj/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>. \u003c/p>\n\u003cp>\u003cstrong>Holiday Train Ride\u003c/strong>: It’s one of the best times of the year: repeat \u003cem>Polar Express\u003c/em> viewing season! And if you’re already feeling the holiday spirit creep up on you, the Napa Valley Wine Train is doing a special holiday-themed ride that sounds like a real-life Polar Express experience. Under their new ownership, the wine train has been doing a bunch of these themed rides, like murder mystery dinners and beer tasting trips. This Christmas-themed one includes hot chocolate, cookies, and a Santa on board. It runs from Nov. 19 through the end of the year. \u003ca href=\"https://www.winetrain.com/events/santa-train/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\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>\u003cstrong>50th Anniversary of the Occupation of Alcatraz\u003c/strong>: It’s the anniversary of an important event in Bay Area history this month: the Native American occupation of Alcatraz in 1969. For 19 months, 89 American Indians and supporters took up residence on Alcatraz to protest the treatment of indigenous peoples by the U.S. government. Many of the original occupants are still alive, and next week, some of them will get together to tell their stories of organizing and living on the island. That includes adults from three different tribes, as well as two participants who were children on the island in 1969. That’s on Tuesday, Nov. 19, at the main branch of the public library in San Francisco. \u003ca href=\"https://sfpl.org/?pg=1038012501\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"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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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"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.",
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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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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"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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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"source": "WNYC"
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"link": "/radio/program/freakonomics-radio",
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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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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"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. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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},
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"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/",
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"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"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"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",
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