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"title": "Lizzo Backlash Raises the Question: Who Gets to Make Joyful Music?",
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"content": "\u003cp>Long before Lizzo made headlines with her \u003ca href=\"https://variety.com/2019/music/news/lizzo-coachella-weekend-two-sound-issues-1203194220/\" target=\"_blank\" rel=\"noopener noreferrer\">a cappella Coachella performance\u003c/a>, collaborated with Missy Elliott and hit No. 1 on the iTunes charts with her new album, millions of Americans already knew her voice.\u003c/p>\n\u003cp>The liberatory, soulful refrain of “Water Me” (“I am free, yeah, yeah!”) accompanied ads for \u003ca href=\"https://www.ispot.tv/ad/dCkO/2018-acura-mdx-by-design-for-any-road-t2\" target=\"_blank\" rel=\"noopener noreferrer\">Acura\u003c/a> and \u003ca href=\"https://www.ispot.tv/ad/w3wn/directv-now-your-thing-break-up-song-by-lizzo\" target=\"_blank\" rel=\"noopener noreferrer\">DIRECTV\u003c/a>; her kiss-off to online haters, “Let ‘Em Say,” soundtracked a \u003ca href=\"https://www.ispot.tv/ad/Amwt/target-well-chosen-song-by-lizzo-and-caroline-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Target commercial\u003c/a>. And, to her \u003ca href=\"https://snobette.com/2018/12/lizzo-weight-watchers-worship-controversy/\" target=\"_blank\" rel=\"noopener noreferrer\">body-positive fanbase’s frustration\u003c/a>, her sexy, self-empowerment anthem “Worship” pumped up dieters in a Weight Watchers commercial. (While I researched these, YouTube’s algorithm also fed me a low-cal margarita ad with Lizzo’s 2019 single, “Juice.”)\u003c/p>\n\u003cp>With music sales in decline and streaming royalties estimated at a fraction of a cent per play, musicians have to make strategic moves, once seen as selling out, to survive in today’s market. Given that the entertainment industry favors the thin, the light-skinned and the barely legal, the odds were stacked against Lizzo’s mainstream ascent as a 30-year-old, plus-sized, dark-skinned black woman. Licensing her music for commercials ensured that Lizzo would get paid for her creativity, while many others who look like her don’t.\u003c/p>\n\u003cp>https://youtu.be/XaCrQL_8eMY\u003c/p>\n\u003cp>That advertiser friendliness, however, has complicated the way listeners and critics receive her ultra-positive and inclusive new album, \u003cem>Cuz I Love You\u003c/em>. The image of Lizzo as a brand-aligned hashtag-feminist permeated Rawiya Kameir’s controversial \u003ca href=\"https://pitchfork.com/reviews/albums/lizzo-cuz-i-love-you/\" target=\"_blank\" rel=\"noopener noreferrer\">6.5 Pitchfork review\u003c/a>, where the writer likened her to this generation’s Natasha Bedingfield (ouch), whose nice but toothless girl-power bop “\u003ca href=\"https://www.youtube.com/watch?v=b7k0a5hYnSI\" target=\"_blank\" rel=\"noopener noreferrer\">Unwritten\u003c/a>” could play in “any given rom-com or yogurt commercial.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s room for critique of \u003cem>Cuz I Love You\u003c/em>, but it’s unfair to dismiss the content of Lizzo’s work because of its commercial appeal. (John Legend sold Pampers, and Cardi B peddled Pepsi at this year’s Super Bowl, and no one seems to take their creative output any less seriously.) It’s even more unfair to criticize it for what I think the Pitchfork review was really going after: its feel-goodness.\u003c/p>\n\u003cp>https://youtu.be/raVe1hZxFAc\u003c/p>\n\u003cp>Indeed, Lizzo has an important role in the music ecosystem. In a world filled with unresolved trauma, where we see daily violence, corruption, racism and sexism amplified in our social feeds, Lizzo offers the perspective of someone who has, against all odds, accepted and moved past her pain into sunnier, more optimistic terrain. She has an abundance mindset in a world of scarcity, and is stubbornly positive in a media climate that thrives on black trauma.\u003c/p>\n\u003cp>Trauma is big business. Music about unhealthy coping through drugs, consumerism and violence rules the charts. Black musicians who excavate the depths of racial trauma become lauded as Serious Artists, while those who make uplifting music, with uplifting lyrics, are often scoffed at as corny. (This trend drives media consumption as well: as an editor, I often notice that KQED Arts’ stories highlighting injustice perform astronomically better, traffic-wise, than our stories about solutions.)\u003c/p>\n\u003cp>Pop artists who do the difficult work of giving voice to social injustices, like Kendrick Lamar, Beyoncé and Solange, deserve all the praise they’re getting. But it’s clear that Lizzo doesn’t get permission to be joyous and carefree in the way that white peers such as Carly Rae Jepsen and Taylor Swift can—easily, profitably and without skepticism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are many stages of healing, and many shades of human emotion. We need songs that give voice to our bad impulses, our grief and our frustration at broken systems. But we also need to dance it out in the mirror sometimes, and that’s why self-love anthems like Lizzo’s “Juice” and “Soulmate” matter too—whether we hear them in a low-cal margarita ad on YouTube, while getting dressed in the morning or in a club with hundreds of strangers searching for connection, understanding or escape.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long before Lizzo made headlines with her \u003ca href=\"https://variety.com/2019/music/news/lizzo-coachella-weekend-two-sound-issues-1203194220/\" target=\"_blank\" rel=\"noopener noreferrer\">a cappella Coachella performance\u003c/a>, collaborated with Missy Elliott and hit No. 1 on the iTunes charts with her new album, millions of Americans already knew her voice.\u003c/p>\n\u003cp>The liberatory, soulful refrain of “Water Me” (“I am free, yeah, yeah!”) accompanied ads for \u003ca href=\"https://www.ispot.tv/ad/dCkO/2018-acura-mdx-by-design-for-any-road-t2\" target=\"_blank\" rel=\"noopener noreferrer\">Acura\u003c/a> and \u003ca href=\"https://www.ispot.tv/ad/w3wn/directv-now-your-thing-break-up-song-by-lizzo\" target=\"_blank\" rel=\"noopener noreferrer\">DIRECTV\u003c/a>; her kiss-off to online haters, “Let ‘Em Say,” soundtracked a \u003ca href=\"https://www.ispot.tv/ad/Amwt/target-well-chosen-song-by-lizzo-and-caroline-smith\" target=\"_blank\" rel=\"noopener noreferrer\">Target commercial\u003c/a>. And, to her \u003ca href=\"https://snobette.com/2018/12/lizzo-weight-watchers-worship-controversy/\" target=\"_blank\" rel=\"noopener noreferrer\">body-positive fanbase’s frustration\u003c/a>, her sexy, self-empowerment anthem “Worship” pumped up dieters in a Weight Watchers commercial. (While I researched these, YouTube’s algorithm also fed me a low-cal margarita ad with Lizzo’s 2019 single, “Juice.”)\u003c/p>\n\u003cp>With music sales in decline and streaming royalties estimated at a fraction of a cent per play, musicians have to make strategic moves, once seen as selling out, to survive in today’s market. Given that the entertainment industry favors the thin, the light-skinned and the barely legal, the odds were stacked against Lizzo’s mainstream ascent as a 30-year-old, plus-sized, dark-skinned black woman. Licensing her music for commercials ensured that Lizzo would get paid for her creativity, while many others who look like her don’t.\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/XaCrQL_8eMY'\n title='//www.youtube.com/embed/XaCrQL_8eMY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That advertiser friendliness, however, has complicated the way listeners and critics receive her ultra-positive and inclusive new album, \u003cem>Cuz I Love You\u003c/em>. The image of Lizzo as a brand-aligned hashtag-feminist permeated Rawiya Kameir’s controversial \u003ca href=\"https://pitchfork.com/reviews/albums/lizzo-cuz-i-love-you/\" target=\"_blank\" rel=\"noopener noreferrer\">6.5 Pitchfork review\u003c/a>, where the writer likened her to this generation’s Natasha Bedingfield (ouch), whose nice but toothless girl-power bop “\u003ca href=\"https://www.youtube.com/watch?v=b7k0a5hYnSI\" target=\"_blank\" rel=\"noopener noreferrer\">Unwritten\u003c/a>” could play in “any given rom-com or yogurt commercial.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s room for critique of \u003cem>Cuz I Love You\u003c/em>, but it’s unfair to dismiss the content of Lizzo’s work because of its commercial appeal. (John Legend sold Pampers, and Cardi B peddled Pepsi at this year’s Super Bowl, and no one seems to take their creative output any less seriously.) It’s even more unfair to criticize it for what I think the Pitchfork review was really going after: its feel-goodness.\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/raVe1hZxFAc'\n title='//www.youtube.com/embed/raVe1hZxFAc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Indeed, Lizzo has an important role in the music ecosystem. In a world filled with unresolved trauma, where we see daily violence, corruption, racism and sexism amplified in our social feeds, Lizzo offers the perspective of someone who has, against all odds, accepted and moved past her pain into sunnier, more optimistic terrain. She has an abundance mindset in a world of scarcity, and is stubbornly positive in a media climate that thrives on black trauma.\u003c/p>\n\u003cp>Trauma is big business. Music about unhealthy coping through drugs, consumerism and violence rules the charts. Black musicians who excavate the depths of racial trauma become lauded as Serious Artists, while those who make uplifting music, with uplifting lyrics, are often scoffed at as corny. (This trend drives media consumption as well: as an editor, I often notice that KQED Arts’ stories highlighting injustice perform astronomically better, traffic-wise, than our stories about solutions.)\u003c/p>\n\u003cp>Pop artists who do the difficult work of giving voice to social injustices, like Kendrick Lamar, Beyoncé and Solange, deserve all the praise they’re getting. But it’s clear that Lizzo doesn’t get permission to be joyous and carefree in the way that white peers such as Carly Rae Jepsen and Taylor Swift can—easily, profitably and without skepticism.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There are many stages of healing, and many shades of human emotion. We need songs that give voice to our bad impulses, our grief and our frustration at broken systems. But we also need to dance it out in the mirror sometimes, and that’s why self-love anthems like Lizzo’s “Juice” and “Soulmate” matter too—whether we hear them in a low-cal margarita ad on YouTube, while getting dressed in the morning or in a club with hundreds of strangers searching for connection, understanding or escape.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Caroline Shaw's Love Letter To The String Quartet",
"headTitle": "Caroline Shaw’s Love Letter To The String Quartet | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/514079652/caroline-shaw\">Caroline Shaw\u003c/a>‘s new album, \u003cem>Orange\u003c/em>, is a love letter to the string quartet. The North Carolina native burst onto the music scene in 2013, when she was the youngest composer to win a \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2013/04/15/177348405/caroline-shaw-30-wins-pulitzer-for-music\">Pulitzer Prize\u003c/a>. She’s still in her 30s and now, for the first time, there’s a recording devoted entirely to her work. \u003c/p>\n\u003cp>The album is like a garden, Shaw says in the liner notes. The soil contains musical remnants of the old masters which nourish her own new compositions — a refreshing twist on a centuries-old genre. In a piece called “The Cutting Garden,” she grafts sprigs of \u003ca href=\"https://www.npr.org/artists/15327819/wolfgang-amadeus-mozart\">Mozart\u003c/a> then \u003ca href=\"https://www.npr.org/artists/15868917/maurice-ravel\">Ravel\u003c/a> onto her own new quartet. \u003c/p>\n\u003cfigure id=\"attachment_13855429\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-160x160.jpg\" alt=\"Caroline Shaw's 'Orange.'\" width=\"160\" height=\"160\" class=\"size-thumbnail wp-image-13855429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164.jpg 1494w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Caroline Shaw’s ‘Orange.’ \u003ccite>(Nonesuch Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musicians playing Shaw’s music — tending her garden, as she puts it — are members of the \u003ca href=\"https://www.npr.org/2016/11/08/501157509/attacca-quartet-tiny-desk-concert\">Attacca Quartet\u003c/a>. It takes agility and precision to pull off this music, which tends to shift gears suddenly. The album’s opener, \u003cem>Entr’acte\u003c/em>, is all about abrupt juxtapositions and was inspired by a particularly lovely transition in a string quartet by Haydn. At one luminous point in Shaw’s piece, the Attacca players negotiate a thicket of pizzicato, then pivot to a single viola bowing across all four strings. \u003c/p>\n\u003cp>Shaw is inspired by more than just the classic composers. In a piece called \u003cem>Limestone & Felt\u003c/em>, she imagines herself in a Gothic cathedral, where shards of melody bounce off the walls and intertwine. In another, \u003cem>Valencia,\u003c/em> she creates an ode to the noble, store-bought orange, marveling at its architecture, its tiny sacks of juice explode via a pulsating spray of plucked notes. \u003c/p>\n\u003cp>https://youtu.be/TBcsR-6Zidc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Shaw doesn’t like to be called a “composer.” She’s more comfortable with just “musician.” And, I guess, that’s appropriate. Shaw has a master’s degree from Yale in violin. She’s also an accomplished singer with a quirky a cappella group called \u003ca href=\"https://www.youtube.com/watch?v=iKuFujJq6zU\">Roomful of Teeth\u003c/a>, for which her Pulitzer-winning piece was composed. And she’s contributed \u003ca href=\"https://soundcloud.com/kanyewest/say-you-will\">vocal tracks\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=T8NVBdC-ycA\">songs\u003c/a> by \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye West\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16001441/nas\">Nas\u003c/a>. Still, when you hear all the imaginative sounds on \u003cem>Orange\u003c/em>, you know you’re listening to the voice of a strong composer. \u003c/p>\n\u003cp>If you thought everything that could be said through the medium of the 250-year-old string quartet has already been said, the conversation just got a lot more interesting with Caroline Shaw’s \u003cem>Orange\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>(Caroline Shaw’s \u003c/em>Orange\u003cem>, performed by the Attacca Quartet, is released April 19 on New Amsterdam and Nonesuch Records.)\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Caroline+Shaw%27s+Love+Letter+To+The+String+Quartet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/514079652/caroline-shaw\">Caroline Shaw\u003c/a>‘s new album, \u003cem>Orange\u003c/em>, is a love letter to the string quartet. The North Carolina native burst onto the music scene in 2013, when she was the youngest composer to win a \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2013/04/15/177348405/caroline-shaw-30-wins-pulitzer-for-music\">Pulitzer Prize\u003c/a>. She’s still in her 30s and now, for the first time, there’s a recording devoted entirely to her work. \u003c/p>\n\u003cp>The album is like a garden, Shaw says in the liner notes. The soil contains musical remnants of the old masters which nourish her own new compositions — a refreshing twist on a centuries-old genre. In a piece called “The Cutting Garden,” she grafts sprigs of \u003ca href=\"https://www.npr.org/artists/15327819/wolfgang-amadeus-mozart\">Mozart\u003c/a> then \u003ca href=\"https://www.npr.org/artists/15868917/maurice-ravel\">Ravel\u003c/a> onto her own new quartet. \u003c/p>\n\u003cfigure id=\"attachment_13855429\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-160x160.jpg\" alt=\"Caroline Shaw's 'Orange.'\" width=\"160\" height=\"160\" class=\"size-thumbnail wp-image-13855429\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164-1200x1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/album-cover-extralarge_1551196842700_sq-48fcd3235c62e73fbe2b78d7d051981c53507164.jpg 1494w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">Caroline Shaw’s ‘Orange.’ \u003ccite>(Nonesuch Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The musicians playing Shaw’s music — tending her garden, as she puts it — are members of the \u003ca href=\"https://www.npr.org/2016/11/08/501157509/attacca-quartet-tiny-desk-concert\">Attacca Quartet\u003c/a>. It takes agility and precision to pull off this music, which tends to shift gears suddenly. The album’s opener, \u003cem>Entr’acte\u003c/em>, is all about abrupt juxtapositions and was inspired by a particularly lovely transition in a string quartet by Haydn. At one luminous point in Shaw’s piece, the Attacca players negotiate a thicket of pizzicato, then pivot to a single viola bowing across all four strings. \u003c/p>\n\u003cp>Shaw is inspired by more than just the classic composers. In a piece called \u003cem>Limestone & Felt\u003c/em>, she imagines herself in a Gothic cathedral, where shards of melody bounce off the walls and intertwine. In another, \u003cem>Valencia,\u003c/em> she creates an ode to the noble, store-bought orange, marveling at its architecture, its tiny sacks of juice explode via a pulsating spray of plucked notes. \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/TBcsR-6Zidc'\n title='//www.youtube.com/embed/TBcsR-6Zidc'\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>Shaw doesn’t like to be called a “composer.” She’s more comfortable with just “musician.” And, I guess, that’s appropriate. Shaw has a master’s degree from Yale in violin. She’s also an accomplished singer with a quirky a cappella group called \u003ca href=\"https://www.youtube.com/watch?v=iKuFujJq6zU\">Roomful of Teeth\u003c/a>, for which her Pulitzer-winning piece was composed. And she’s contributed \u003ca href=\"https://soundcloud.com/kanyewest/say-you-will\">vocal tracks\u003c/a> to \u003ca href=\"https://www.youtube.com/watch?v=T8NVBdC-ycA\">songs\u003c/a> by \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\">Kanye West\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16001441/nas\">Nas\u003c/a>. Still, when you hear all the imaginative sounds on \u003cem>Orange\u003c/em>, you know you’re listening to the voice of a strong composer. \u003c/p>\n\u003cp>If you thought everything that could be said through the medium of the 250-year-old string quartet has already been said, the conversation just got a lot more interesting with Caroline Shaw’s \u003cem>Orange\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>(Caroline Shaw’s \u003c/em>Orange\u003cem>, performed by the Attacca Quartet, is released April 19 on New Amsterdam and Nonesuch Records.)\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Caroline+Shaw%27s+Love+Letter+To+The+String+Quartet&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For many Bay Area musicians, holding down a day job is a necessary, unglamorous concession to a challenging economic reality rarely mentioned on stage.\u003c/p>\n\u003cp>But instead of compartmentalizing her various callings, Rupa Marya increasingly finds that her identities as a musician, physician, activist, parent and life partner overlap and converge. Whether protesting at Standing Rock, writing music with her band, \u003ca href=\"https://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a>, or teaching hospital medicine at the University of California, San Francisco, Marya’s diagnosis of society’s ills and her vision for healing guides her approach. Her new album, \u003cem>Growing Upward\u003c/em>, Rupa and the April Fishes’ sixth release, is by far her fiercest yet.\u003c/p>\n\u003cp>Compared to previous albums, \u003cem>Growing Upward\u003c/em> focuses less on showcasing the band’s stylistic diversity, pushing emotional parameters instead. Marya’s guitar work and vocals sound urgent and aggressive, yet tenderly inviting. Her music rocks harder, throwing down a gauntlet at the frontlines where the fight against climate change and indigenous rights merge with the struggle for police accountability.\u003c/p>\n\u003cp>Https://www.youtube.com/watch?v=sBoAFXAlVtQ&feature=youtu.be&mc_cid=c948fa8d27&mc_eid=9bb471f1ea\u003c/p>\n\u003cp>“This music is coming directly out of being there with people at Standing Rock as the police shot rubber bullets into their faces and groins, from watching families torn up because their unarmed child has been shot by the SFPD,” says Marya, who celebrates the release of \u003cem>Growing Upward\u003c/em> (due out April 19) at \u003ca href=\"https://www.thechapelsf.com/event/1829409-rupa-april-fishes-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> in San Francisco on April 26 on a double bill with Barrio Manouche, a band she’s championed since they first came together in Berkeley about five years ago. She also performs May 26 at \u003ca href=\"http://www.moesalley.com/artist.php?id=3011&artist=Rupa_&_The_April_Fishes_+_LoCura\" target=\"_blank\" rel=\"noopener\">Moe’s Alley\u003c/a> in Santa Cruz on a double bill with LoCura.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marya’s music draws on a wide array of cultural traditions, and her multifarious Fishes include some of the region’s most inventive players, including violinist Matthew Szemela, cellist Misha Khalikulov, \u003ca href=\"https://www.marioalbertosilva.com\" target=\"_blank\" rel=\"noopener\">trumpeter Mario Alberto Silva\u003c/a>, bassist-for-all-situations \u003ca href=\"https://www.danielfabricantmusic.com\" target=\"_blank\" rel=\"noopener\">Daniel Fabricant\u003c/a>, \u003ca href=\"https://www.rhythmallogy.com\" target=\"_blank\" rel=\"noopener\">drummer Aaron Kierbel\u003c/a>, and renegade \u003ca href=\"https://delicateear.com\" target=\"_blank\" rel=\"noopener\">sound designer JHNO\u003c/a> (a.k.a. John Eichenseer).\u003c/p>\n\u003cp>Since the release of Marya’s debut album \u003cem>eXtraOrdinary Rendition\u003c/em> (Cumbancha) in 2008, her music has reflected her political commitments. When she emerged on the Mission District scene as a world-cabaret troubadour, her playfully polyglot repertoire featured her original songs in French, Spanish, English and Hindi. The fact that many listeners didn’t understand the lyrics didn’t give the band pause. [aside postid='arts_13854812']\u003c/p>\n\u003cp>“Our initial sound was whimsical, circus-pirate music that reflected what was happening on Mission scene at the time,” says drummer Aaron Kierbel, the only original Fish still in the band. “Our whole name, April Fishes, coming from \u003ca href=\"https://www.thegoodlifefrance.com/april-fools-day-or-april-fish-day-france/\" target=\"_blank\" rel=\"noopener\">the French holiday\u003c/a>, embraced the character of the holy fool who transmits wisdom through humor and play.”\u003c/p>\n\u003cp>Rather than relegating her healing practice to her job at UC San Francisco, Marya says, “I see how important it is to take it out of the hospital into places I usually bring my guitar: into the street. My work is about zooming out to see where the pathology is, where the hurting is, so that we can move forward. I’ve never felt so embracing of my whole identity before.”\u003c/p>\n\u003cfigure id=\"attachment_13855180\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13855180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Rupa-and-the-April-Fishes.jpg\" alt=\"Rupa and the April Fishes celebrate the release of the new album 'Growing Upward' at The Chapel on April 26.\" width=\"650\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Rupa-and-the-April-Fishes.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Rupa-and-the-April-Fishes-160x107.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes celebrate the release of the new album ‘Growing Upward’ at The Chapel on April 26. \u003ccite>(Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marya has rarely shied away from taking risks on and off the bandstand. She was the lead plaintiff in the legal case that led to the song “\u003ca href=\"https://www.kqed.org/arts/11745186/happy-birthday-song-has-been-set-free\" target=\"_blank\" rel=\"noopener\">Happy Birthday\u003c/a>” entering the public domain in 2016, an effort for which she could have incurred hundreds of thousands of dollars in legal fees had Warner/Chappell prevailed in keeping the ubiquitous ditty under copyright. Now available free to anyone who wants to include the song on an album, film or broadcast, “Happy Birthday” opened the door for other ubiquitous songs to enter the public domain (Woody Guthrie’s “\u003ca href=\"https://www.nytimes.com/2016/06/18/business/media/this-guthrie-song-is-your-song-a-lawsuit-claims.html\" target=\"_blank\" rel=\"noopener\">This Land is Your Land\u003c/a>” is next in the queue).\u003c/p>\n\u003cp>Over the past decade Marya has become one of the Bay Area’s most visible activists on a number of progressive fronts, particularly police violence and racism in the medical system (a \u003ca href=\"https://www.facebook.com/NowThisPolitics/videos/how-the-health-care-system-has-racial-biases/1985138634850950/\" target=\"_blank\" rel=\"noopener\">Now This video\u003c/a> of her speaking at a conference on race and medicine has been viewed more than 12 million times on Facebook). [aside postid='arts_13854644']\u003c/p>\n\u003cp>On \u003cem>Growing Upward\u003c/em>, Marya’s lyrics are now almost entirely in English, and the messages are poetic but blunt, whether she’s decrying the enduring legacy of colonization in “Stolen Lands” or painting a picture of environmental degradation on the title track, singing, “They clouded up your mind with rent and debt / They suffocate with a petrochemical net.” It might sound bleak, but the song is a stirring call to action, and its central theme is set to a hip–hop-inflected beat.\u003c/p>\n\u003cp>“There’s always an element of wanting to leave people energized to go out and do the good work,” says Kierbel, who’s also a founding member of Cosa Nostra Strings, a Jazz Mafia spin off. “The music has matured a lot and it takes a lot of courage to evolve your sound, not doing the same thing that you know works. People ask for certain songs, and we don’t do them anymore. She really believes in where she’s going and I trust her artistic vision.” [aside postid='arts_13855209']\u003c/p>\n\u003cp>The emotional immediacy of Marya’s music doesn’t just reflect her experiences traveling the world as an activist and musician. The most profound change in recent years came on the home front with her husband, organic farmer Benjamin Fahrer, and the birth of their two sons. The act of creation seemed to open up the creative floodgates while raising the stakes for fighting for a better world.\u003c/p>\n\u003cp>“Becoming a mother between the last album and this one made me focus even more on the importance of what’s happening right now,” Marya says. “My son’s coming of age is coinciding with climate catastrophe, and we’re watching it happen. We had three weeks last fall when we couldn’t breathe.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>She continues, “This album is a chance to elevate our perspective and look clearly to what’s hurting.” And maybe dance together while strategizing for the future.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For many Bay Area musicians, holding down a day job is a necessary, unglamorous concession to a challenging economic reality rarely mentioned on stage.\u003c/p>\n\u003cp>But instead of compartmentalizing her various callings, Rupa Marya increasingly finds that her identities as a musician, physician, activist, parent and life partner overlap and converge. Whether protesting at Standing Rock, writing music with her band, \u003ca href=\"https://www.theaprilfishes.com/\" target=\"_blank\" rel=\"noopener\">Rupa and the April Fishes\u003c/a>, or teaching hospital medicine at the University of California, San Francisco, Marya’s diagnosis of society’s ills and her vision for healing guides her approach. Her new album, \u003cem>Growing Upward\u003c/em>, Rupa and the April Fishes’ sixth release, is by far her fiercest yet.\u003c/p>\n\u003cp>Compared to previous albums, \u003cem>Growing Upward\u003c/em> focuses less on showcasing the band’s stylistic diversity, pushing emotional parameters instead. Marya’s guitar work and vocals sound urgent and aggressive, yet tenderly inviting. Her music rocks harder, throwing down a gauntlet at the frontlines where the fight against climate change and indigenous rights merge with the struggle for police accountability.\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/sBoAFXAlVtQ'\n title='//www.youtube.com/embed/sBoAFXAlVtQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“This music is coming directly out of being there with people at Standing Rock as the police shot rubber bullets into their faces and groins, from watching families torn up because their unarmed child has been shot by the SFPD,” says Marya, who celebrates the release of \u003cem>Growing Upward\u003c/em> (due out April 19) at \u003ca href=\"https://www.thechapelsf.com/event/1829409-rupa-april-fishes-san-francisco/\" target=\"_blank\" rel=\"noopener\">The Chapel\u003c/a> in San Francisco on April 26 on a double bill with Barrio Manouche, a band she’s championed since they first came together in Berkeley about five years ago. She also performs May 26 at \u003ca href=\"http://www.moesalley.com/artist.php?id=3011&artist=Rupa_&_The_April_Fishes_+_LoCura\" target=\"_blank\" rel=\"noopener\">Moe’s Alley\u003c/a> in Santa Cruz on a double bill with LoCura.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marya’s music draws on a wide array of cultural traditions, and her multifarious Fishes include some of the region’s most inventive players, including violinist Matthew Szemela, cellist Misha Khalikulov, \u003ca href=\"https://www.marioalbertosilva.com\" target=\"_blank\" rel=\"noopener\">trumpeter Mario Alberto Silva\u003c/a>, bassist-for-all-situations \u003ca href=\"https://www.danielfabricantmusic.com\" target=\"_blank\" rel=\"noopener\">Daniel Fabricant\u003c/a>, \u003ca href=\"https://www.rhythmallogy.com\" target=\"_blank\" rel=\"noopener\">drummer Aaron Kierbel\u003c/a>, and renegade \u003ca href=\"https://delicateear.com\" target=\"_blank\" rel=\"noopener\">sound designer JHNO\u003c/a> (a.k.a. John Eichenseer).\u003c/p>\n\u003cp>Since the release of Marya’s debut album \u003cem>eXtraOrdinary Rendition\u003c/em> (Cumbancha) in 2008, her music has reflected her political commitments. When she emerged on the Mission District scene as a world-cabaret troubadour, her playfully polyglot repertoire featured her original songs in French, Spanish, English and Hindi. The fact that many listeners didn’t understand the lyrics didn’t give the band pause. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our initial sound was whimsical, circus-pirate music that reflected what was happening on Mission scene at the time,” says drummer Aaron Kierbel, the only original Fish still in the band. “Our whole name, April Fishes, coming from \u003ca href=\"https://www.thegoodlifefrance.com/april-fools-day-or-april-fish-day-france/\" target=\"_blank\" rel=\"noopener\">the French holiday\u003c/a>, embraced the character of the holy fool who transmits wisdom through humor and play.”\u003c/p>\n\u003cp>Rather than relegating her healing practice to her job at UC San Francisco, Marya says, “I see how important it is to take it out of the hospital into places I usually bring my guitar: into the street. My work is about zooming out to see where the pathology is, where the hurting is, so that we can move forward. I’ve never felt so embracing of my whole identity before.”\u003c/p>\n\u003cfigure id=\"attachment_13855180\" class=\"wp-caption aligncenter\" style=\"max-width: 650px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13855180\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Rupa-and-the-April-Fishes.jpg\" alt=\"Rupa and the April Fishes celebrate the release of the new album 'Growing Upward' at The Chapel on April 26.\" width=\"650\" height=\"433\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Rupa-and-the-April-Fishes.jpg 650w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Rupa-and-the-April-Fishes-160x107.jpg 160w\" sizes=\"(max-width: 650px) 100vw, 650px\">\u003cfigcaption class=\"wp-caption-text\">Rupa and the April Fishes celebrate the release of the new album ‘Growing Upward’ at The Chapel on April 26. \u003ccite>(Courtesy of Rupa and the April Fishes)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Marya has rarely shied away from taking risks on and off the bandstand. She was the lead plaintiff in the legal case that led to the song “\u003ca href=\"https://www.kqed.org/arts/11745186/happy-birthday-song-has-been-set-free\" target=\"_blank\" rel=\"noopener\">Happy Birthday\u003c/a>” entering the public domain in 2016, an effort for which she could have incurred hundreds of thousands of dollars in legal fees had Warner/Chappell prevailed in keeping the ubiquitous ditty under copyright. Now available free to anyone who wants to include the song on an album, film or broadcast, “Happy Birthday” opened the door for other ubiquitous songs to enter the public domain (Woody Guthrie’s “\u003ca href=\"https://www.nytimes.com/2016/06/18/business/media/this-guthrie-song-is-your-song-a-lawsuit-claims.html\" target=\"_blank\" rel=\"noopener\">This Land is Your Land\u003c/a>” is next in the queue).\u003c/p>\n\u003cp>Over the past decade Marya has become one of the Bay Area’s most visible activists on a number of progressive fronts, particularly police violence and racism in the medical system (a \u003ca href=\"https://www.facebook.com/NowThisPolitics/videos/how-the-health-care-system-has-racial-biases/1985138634850950/\" target=\"_blank\" rel=\"noopener\">Now This video\u003c/a> of her speaking at a conference on race and medicine has been viewed more than 12 million times on Facebook). \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The emotional immediacy of Marya’s music doesn’t just reflect her experiences traveling the world as an activist and musician. The most profound change in recent years came on the home front with her husband, organic farmer Benjamin Fahrer, and the birth of their two sons. The act of creation seemed to open up the creative floodgates while raising the stakes for fighting for a better world.\u003c/p>\n\u003cp>“Becoming a mother between the last album and this one made me focus even more on the importance of what’s happening right now,” Marya says. “My son’s coming of age is coinciding with climate catastrophe, and we’re watching it happen. We had three weeks last fall when we couldn’t breathe.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Mere days after Coachella 2019—where the specter of Beyoncé’s grand performance last year loomed large—she premiered \u003cem>Homecoming: A Beyoncé Film\u003c/em> on Netflix today, as expected. [aside postid='forum_2010101870195']\u003c/p>\n\u003cp>But, ever the generous queen, Beyoncé offered up a worthwhile supplement. A live album showcasing over an hour and a half’s worth of the over two-hour performance is out now. Covering 40 tracks—which comprises a vast bricolage of her own discography and others’—it features her cover of Maze’s “Before I Let Go,” her cover of “Lift Every Voice and Sing” and Blue’s own take of the black national anthem.\u003c/p>\n\u003cp>For what it’s worth: \u003cem>Lemonade\u003c/em> still is not on Spotify, so for subscribers, this might be the best way to hear “Formation,” “Hold Up” and “Freedom,” among other interspersed \u003cem>Lemonade\u003c/em> tracks.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/35S1JCj5paIfElT2GODl6x\" width=\"800\" height=\"800\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Copyright to NPR. For more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But, ever the generous queen, Beyoncé offered up a worthwhile supplement. A live album showcasing over an hour and a half’s worth of the over two-hour performance is out now. Covering 40 tracks—which comprises a vast bricolage of her own discography and others’—it features her cover of Maze’s “Before I Let Go,” her cover of “Lift Every Voice and Sing” and Blue’s own take of the black national anthem.\u003c/p>\n\u003cp>For what it’s worth: \u003cem>Lemonade\u003c/em> still is not on Spotify, so for subscribers, this might be the best way to hear “Formation,” “Hold Up” and “Freedom,” among other interspersed \u003cem>Lemonade\u003c/em> tracks.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/album/35S1JCj5paIfElT2GODl6x\" width=\"800\" height=\"800\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Copyright to NPR. For more, visit \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR.org\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Songwriters Are Not Treated Fairly': Nile Rodgers On Streaming's Present And Future",
"headTitle": "‘Songwriters Are Not Treated Fairly’: Nile Rodgers On Streaming’s Present And Future | KQED",
"content": "\u003cp>Earlier this week, a large group of successful songwriters sent Daniel Ek, the co-founder and chief executive of Spotify, a short and pointed letter in which they wrote of being “hurt and disappointed” and accusing Spotify of having “used us and tried to divide us.”\u003c/p>\n\u003cp>In order to understand why that letter was sent, we need to go back to early February. It was then that a byzantine, but important, \u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">decision\u003c/a> arrived which would see songwriters’ royalties from streaming services increase dramatically over the next five years. But Spotify and several other music streaming services — except for Apple Music — then began appealing that decision. Thus, the letter (which, when asked by NPR, Spotify declined to comment on).\u003c/p>\n\u003cp>Immediately after that appeal was filed, Spotify was roundly derided, accused of “\u003ca href=\"https://www.theverge.com/2019/3/15/18267288/apple-music-spotify-suing-songwriters-eu-antitrust\">suing songwriters\u003c/a>.” The National Music Publishers Association, which represents the companies that manage songwriters’ business interests, scathingly \u003ca href=\"http://nmpa.org/press_release/amazon-spotify-appeal-crb-decision/\">observed\u003c/a> that “no amount of insincere and hollow public relations gestures such as throwing parties or buying billboards of congratulations or naming songwriters ‘geniuses’ can hide the fact that these big tech bullies do not respect or value the songwriters who make their businesses possible.” It’s a characterization which Spotify disagreed with \u003ca href=\"https://artists.spotify.com/blog/you-might-have-heard-about-the-streaming-industry's-crb-appeal-here's-what\">and tried to explain\u003c/a> away.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/652120918/nile-rodgers-chic\">Nile Rodgers\u003c/a>, the leader of Chic and recently appointed chairman of the Songwriters Hall of Fame, was one of the signatories to the vexed letter. Speaking as both an artist and an advocate on behalf of them, Rodgers gave NPR a brief overview of what’s going on from his perspective.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>NPR Music: Who came up with the idea to send this letter to Spotify and Daniel Ek? What was the process of putting it together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nile Rodgers:\u003c/strong> I was asked by my manager to participate because of my position in the songwriting community, and I felt it was an important message to put out immediately and to support vocally. I think it’s intelligently presented and the message is very simple. Spotify, Amazon, et al.: Do not bite the hand that brings you your subscribers.\u003c/p>\n\u003cp>\u003cstrong>You’re the chairman of the Songwriters Hall of Fame – I have to assume that part of that role is advocacy on behalf of all those who \u003c/strong>\u003cstrong>\u003cem>don’t\u003c/em>\u003c/strong>\u003cstrong> make it into the Hall. What are the issues causing you the most concern?\u003c/strong>\u003c/p>\n\u003cp>I think it’s important, first, to acknowledge that thanks to streaming and companies like Apple, Spotify and Amazon delivering our songs to the consumer conveniently, the best days for music and its creators are once again in front of it. We need to help them succeed, while ensuring we get our fair and equitable slice of the growing pie. Tremendous credit goes to Apple for acknowledging the songwriter’s value and affirming the [Copyright Royalty Board] ruling! [\u003cem>Ed. note: Rodgers is referring to \u003c/em>\u003ca href=\"https://www.apple.com/uk/newsroom/2019/03/addressing-spotifys-claims/\">\u003cem>Apple’s decision\u003c/em>\u003c/a>\u003cem> not to appeal the decision raising songwriters’ royalties from streaming.\u003c/em>]\u003c/p>\n\u003cp>\u003cstrong>Do you think artists’ best interests are front-of-mind for Spotify, or any streaming service?\u003c/strong>\u003c/p>\n\u003cp>Daniel Ek and Jeff Bezos are highly intelligent people. They understand that people do not pay $10 a month to be able to push buttons on their technology — they spend their money to listen to The Beatles, Dua Lipa, Led Zeppelin, Beyoncé.\u003c/p>\n\u003cp>If great artists and songs start to disappear from these services, the money will then evaporate and go to whomever can deliver them. I suspect Spotify and Amazon now realize they have handled this badly, and I hope for a swift resolution that has no impact on their growth.\u003c/p>\n\u003cp>\u003cstrong>Are songwriters treated fairly in this brave new world of streaming? Or — is streaming even the root of the problem?\u003c/strong>\u003c/p>\n\u003cp>Songwriters are not treated fairly! In the U.K., we have created a £350 million publicly listed fund — the \u003ca href=\"https://www.hipgnosissongs.com/about\">Hipgnosis Songs Fund\u003c/a> — that has demonstrated to the financial community that hit songs are as investable financial instruments as gold or oil. Our ultimate aim is to use the leverage of that fund to place the songwriter at the top, rather than bottom, of the economic equation. Songs are the currency of the music industry and these creators should be acknowledged and rewarded.\u003c/p>\n\u003cp>\u003cstrong>Can streaming as it’s structured now ever be equitable, or even profitable, for songwriters – particularly low- and mid-tier independent songwriters, who are often the performers as well? If not, what could a possible solution look like?\u003c/strong>\u003c/p>\n\u003cp>There is no question that streaming will become equitable for all involved. History has many answers, and if you look at The Beatles, when they signed their record deal in 1962 [their per-single royalties were fractions of a cent]. By the time they break up, it’s over 20 times that. Part of that is because they are The Beatles, but a big part of it is that the business of the long-playing record became more sophisticated, and artists started getting a fairer share of the pie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We are in the early days of streaming and in due course, with a lot of “discussion” and advocacy, we will get what we deserve. For now, Daniel Ek and Jeff Bezos should immediately withdraw their appeal and demonstrate to songwriters that this was an error in judgement and that they value [songwriters’] contributions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Songwriters+Are+Not+Treated+Fairly%27%3A+Nile+Rodgers+On+Streaming%27s+Present+And+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earlier this week, a large group of successful songwriters sent Daniel Ek, the co-founder and chief executive of Spotify, a short and pointed letter in which they wrote of being “hurt and disappointed” and accusing Spotify of having “used us and tried to divide us.”\u003c/p>\n\u003cp>In order to understand why that letter was sent, we need to go back to early February. It was then that a byzantine, but important, \u003ca href=\"https://www.govinfo.gov/content/pkg/FR-2019-02-05/pdf/2019-00249.pdf\">decision\u003c/a> arrived which would see songwriters’ royalties from streaming services increase dramatically over the next five years. But Spotify and several other music streaming services — except for Apple Music — then began appealing that decision. Thus, the letter (which, when asked by NPR, Spotify declined to comment on).\u003c/p>\n\u003cp>Immediately after that appeal was filed, Spotify was roundly derided, accused of “\u003ca href=\"https://www.theverge.com/2019/3/15/18267288/apple-music-spotify-suing-songwriters-eu-antitrust\">suing songwriters\u003c/a>.” The National Music Publishers Association, which represents the companies that manage songwriters’ business interests, scathingly \u003ca href=\"http://nmpa.org/press_release/amazon-spotify-appeal-crb-decision/\">observed\u003c/a> that “no amount of insincere and hollow public relations gestures such as throwing parties or buying billboards of congratulations or naming songwriters ‘geniuses’ can hide the fact that these big tech bullies do not respect or value the songwriters who make their businesses possible.” It’s a characterization which Spotify disagreed with \u003ca href=\"https://artists.spotify.com/blog/you-might-have-heard-about-the-streaming-industry's-crb-appeal-here's-what\">and tried to explain\u003c/a> away.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/652120918/nile-rodgers-chic\">Nile Rodgers\u003c/a>, the leader of Chic and recently appointed chairman of the Songwriters Hall of Fame, was one of the signatories to the vexed letter. Speaking as both an artist and an advocate on behalf of them, Rodgers gave NPR a brief overview of what’s going on from his perspective.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This interview has been edited for length and clarity.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>NPR Music: Who came up with the idea to send this letter to Spotify and Daniel Ek? What was the process of putting it together?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Nile Rodgers:\u003c/strong> I was asked by my manager to participate because of my position in the songwriting community, and I felt it was an important message to put out immediately and to support vocally. I think it’s intelligently presented and the message is very simple. Spotify, Amazon, et al.: Do not bite the hand that brings you your subscribers.\u003c/p>\n\u003cp>\u003cstrong>You’re the chairman of the Songwriters Hall of Fame – I have to assume that part of that role is advocacy on behalf of all those who \u003c/strong>\u003cstrong>\u003cem>don’t\u003c/em>\u003c/strong>\u003cstrong> make it into the Hall. What are the issues causing you the most concern?\u003c/strong>\u003c/p>\n\u003cp>I think it’s important, first, to acknowledge that thanks to streaming and companies like Apple, Spotify and Amazon delivering our songs to the consumer conveniently, the best days for music and its creators are once again in front of it. We need to help them succeed, while ensuring we get our fair and equitable slice of the growing pie. Tremendous credit goes to Apple for acknowledging the songwriter’s value and affirming the [Copyright Royalty Board] ruling! [\u003cem>Ed. note: Rodgers is referring to \u003c/em>\u003ca href=\"https://www.apple.com/uk/newsroom/2019/03/addressing-spotifys-claims/\">\u003cem>Apple’s decision\u003c/em>\u003c/a>\u003cem> not to appeal the decision raising songwriters’ royalties from streaming.\u003c/em>]\u003c/p>\n\u003cp>\u003cstrong>Do you think artists’ best interests are front-of-mind for Spotify, or any streaming service?\u003c/strong>\u003c/p>\n\u003cp>Daniel Ek and Jeff Bezos are highly intelligent people. They understand that people do not pay $10 a month to be able to push buttons on their technology — they spend their money to listen to The Beatles, Dua Lipa, Led Zeppelin, Beyoncé.\u003c/p>\n\u003cp>If great artists and songs start to disappear from these services, the money will then evaporate and go to whomever can deliver them. I suspect Spotify and Amazon now realize they have handled this badly, and I hope for a swift resolution that has no impact on their growth.\u003c/p>\n\u003cp>\u003cstrong>Are songwriters treated fairly in this brave new world of streaming? Or — is streaming even the root of the problem?\u003c/strong>\u003c/p>\n\u003cp>Songwriters are not treated fairly! In the U.K., we have created a £350 million publicly listed fund — the \u003ca href=\"https://www.hipgnosissongs.com/about\">Hipgnosis Songs Fund\u003c/a> — that has demonstrated to the financial community that hit songs are as investable financial instruments as gold or oil. Our ultimate aim is to use the leverage of that fund to place the songwriter at the top, rather than bottom, of the economic equation. Songs are the currency of the music industry and these creators should be acknowledged and rewarded.\u003c/p>\n\u003cp>\u003cstrong>Can streaming as it’s structured now ever be equitable, or even profitable, for songwriters – particularly low- and mid-tier independent songwriters, who are often the performers as well? If not, what could a possible solution look like?\u003c/strong>\u003c/p>\n\u003cp>There is no question that streaming will become equitable for all involved. History has many answers, and if you look at The Beatles, when they signed their record deal in 1962 [their per-single royalties were fractions of a cent]. By the time they break up, it’s over 20 times that. Part of that is because they are The Beatles, but a big part of it is that the business of the long-playing record became more sophisticated, and artists started getting a fairer share of the pie.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We are in the early days of streaming and in due course, with a lot of “discussion” and advocacy, we will get what we deserve. For now, Daniel Ek and Jeff Bezos should immediately withdraw their appeal and demonstrate to songwriters that this was an error in judgement and that they value [songwriters’] contributions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Songwriters+Are+Not+Treated+Fairly%27%3A+Nile+Rodgers+On+Streaming%27s+Present+And+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Capitol Steps Find the Musical Comedy in American Politics",
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"content": "\u003cp>The \u003ca href=\"http://www.capsteps.com\" target=\"_blank\" rel=\"noopener\">Capitol Steps\u003c/a> began almost 40 years ago as a Christmas party stunt by U.S. Senate staffers in Washington, D.C. The apocryphal story: their first idea was to stage a nativity play, but in the whole of Congress, they couldn’t find three wise men or a virgin.\u003c/p>\n\u003cp>If that made you groan, you can stop reading here. Or maybe that’s your thing. If so, prepare for a night of jokes musical and otherwise that make you groan and guffaw in equal measure. Hey, when was the last time you found yourself laughing at politics? I’m not laughing watching John Oliver. I’m crying. You?\u003c/p>\n\u003cp>The troop (some of them actual veterans of politics) tours with a set list of 30 or so familiar songs set to fresh lyrics ripped from the headlines. Word is there’s a new one about Congresswoman Alexandria Ocasio-Cortez, which has to make you curious about the rhyming, just to start.\u003c/p>\n\u003cp>Mark Eaton, who manages as well as writes and performs for the Capitol Steps, says the Trump Era has been exhausting.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=NYFVqqgONv4]\u003c/p>\n\u003cp>“It is the best of times. It is the worst of times. There’s almost a story daily. Then the next day, people have already forgotten about it and moved on to something else,” said Eaton.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13854680,pop_109574,forum_2010101870525' label='Related Coverage']\u003c/p>\n\u003cp>There’s a fair bit of truth in that. Who’s still talking about Paul Ryan? Or Hillary Clinton? Well, President Donald Trump is, suggesting some of these songs can become relevant again if you wait just a minute or two.\u003c/p>\n\u003cp>Have Americans become too politically polarized to appreciate the way the Steps lampoon everyone on the national stage? People with no sense of humor about politics tend to steer clear of their shows. “People who see our show, they know what we’re doing,” said Eaton. But they still get complaints, mostly about their costumes.\u003c/p>\n\u003cp>“We had a bit where a person comes through in a shark outfit, and somebody said ‘Oh, it’s not cool, because they’re endangered.’ So typically, it’s not the abuse of politicians that people complain about. It’s something bizarre.”\u003c/p>\n\u003cp>Humans, on the other hand, are fair game. Take the aging liberals on the U.S. Supreme Court bench.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=PwU_r7q9nTQ]\u003c/p>\n\u003cp>Since they began, the satirical comedy troupe has recorded more than 30 albums, including \u003cem>Campaign and Suffering\u003c/em>, \u003cem>Take the Money and Run for President\u003c/em>, and \u003cem>I’m So Indicted\u003c/em>. They’ve been featured on public radio stations nationwide during their \u003ca href=\"http://www.capsteps.com/radio/\" target=\"_blank\" rel=\"noopener\">Politics Takes a Holiday\u003c/a> radio specials. But most of their live performances take place in (where else?) Washington, D.C. Thankfully, they do travel beyond the Beltway on occasion. So take advantage.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>Capitol Steps\u003c/strong> perform ‘Make America Grin Again’ at the \u003ca href=\"http://montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a> on Sunday, April 14, 2019. For more information, click \u003ca href=\"http://montalvoarts.org/events/capitolsteps_2019/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.capsteps.com\" target=\"_blank\" rel=\"noopener\">Capitol Steps\u003c/a> began almost 40 years ago as a Christmas party stunt by U.S. Senate staffers in Washington, D.C. The apocryphal story: their first idea was to stage a nativity play, but in the whole of Congress, they couldn’t find three wise men or a virgin.\u003c/p>\n\u003cp>If that made you groan, you can stop reading here. Or maybe that’s your thing. If so, prepare for a night of jokes musical and otherwise that make you groan and guffaw in equal measure. Hey, when was the last time you found yourself laughing at politics? I’m not laughing watching John Oliver. I’m crying. You?\u003c/p>\n\u003cp>The troop (some of them actual veterans of politics) tours with a set list of 30 or so familiar songs set to fresh lyrics ripped from the headlines. Word is there’s a new one about Congresswoman Alexandria Ocasio-Cortez, which has to make you curious about the rhyming, just to start.\u003c/p>\n\u003cp>Mark Eaton, who manages as well as writes and performs for the Capitol Steps, says the Trump Era has been exhausting.\u003c/p>\n\u003cp>\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/NYFVqqgONv4'\n title='//www.youtube.com/embed/NYFVqqgONv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“It is the best of times. It is the worst of times. There’s almost a story daily. Then the next day, people have already forgotten about it and moved on to something else,” said Eaton.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a fair bit of truth in that. Who’s still talking about Paul Ryan? Or Hillary Clinton? Well, President Donald Trump is, suggesting some of these songs can become relevant again if you wait just a minute or two.\u003c/p>\n\u003cp>Have Americans become too politically polarized to appreciate the way the Steps lampoon everyone on the national stage? People with no sense of humor about politics tend to steer clear of their shows. “People who see our show, they know what we’re doing,” said Eaton. But they still get complaints, mostly about their costumes.\u003c/p>\n\u003cp>“We had a bit where a person comes through in a shark outfit, and somebody said ‘Oh, it’s not cool, because they’re endangered.’ So typically, it’s not the abuse of politicians that people complain about. It’s something bizarre.”\u003c/p>\n\u003cp>Humans, on the other hand, are fair game. Take the aging liberals on the U.S. Supreme Court bench.\u003c/p>\n\u003cp>\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/PwU_r7q9nTQ'\n title='//www.youtube.com/embed/PwU_r7q9nTQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Since they began, the satirical comedy troupe has recorded more than 30 albums, including \u003cem>Campaign and Suffering\u003c/em>, \u003cem>Take the Money and Run for President\u003c/em>, and \u003cem>I’m So Indicted\u003c/em>. They’ve been featured on public radio stations nationwide during their \u003ca href=\"http://www.capsteps.com/radio/\" target=\"_blank\" rel=\"noopener\">Politics Takes a Holiday\u003c/a> radio specials. But most of their live performances take place in (where else?) Washington, D.C. Thankfully, they do travel beyond the Beltway on occasion. So take advantage.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The \u003cstrong>Capitol Steps\u003c/strong> perform ‘Make America Grin Again’ at the \u003ca href=\"http://montalvoarts.org\" target=\"_blank\" rel=\"noopener\">Montalvo Arts Center\u003c/a> on Sunday, April 14, 2019. For more information, click \u003ca href=\"http://montalvoarts.org/events/capitolsteps_2019/\" target=\"_blank\" rel=\"noopener\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "10-coachella-performances-worth-watching-on-youtube-this-weekend",
"title": "10 Coachella Performances Worth Watching On YouTube This Weekend",
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"content": "\u003cp>Now in its 19th year, the \u003ca href=\"https://www.youtube.com/user/coachella\">Coachella Valley Music and Arts Festival\u003c/a> is more than a music festival, or even a lifestyle. It’s a capital-M moment that seems to stop the world. (And not \u003cem>entirely\u003c/em> because Beyoncé willed it so last year.) Beyond the experience of bearing witness to celebrities of the A- and D-lists as they drench themselves in sweat and dust while gorging on trendy cuisine and novelty cocktails, Coachella’s influence extends far beyond the festival grounds of Indio, California.\u003c/p>\n\u003cp>Even Coachella seems to be aware of this: For the first time ever, it’s doubling down on its festival streams by showcasing both weekends of the festival. Emergent K-pop group BLACKPINK is set to broadcast its message of sensory-overload pop music \u003ca href=\"https://www.latimes.com/business/hollywood/la-fi-ct-youtube-coachella-times-square-20190408-story.html\">in Times Square\u003c/a> this weekend. Childish Gambino and Rihanna premiered a new film, and with the aid of Amazon and YouTube, will premiere it globally this weekend for free.\u003c/p>\n\u003cp>For those looking to avoid the hefty price tag of a festival pass — or reluctant to experience Coachella anywhere but on a couch — we’ve got you covered. The only catch: You’ll need to watch it \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">live on YouTube\u003c/a>, as Coachella does not make its sets available after the fact as on-demand videos.\u003c/p>\n\u003cp>So, without further ado, here are 10 Coachella 2019 acts worth planning your weekend around, in chronological order. And if you’re the adventurous sort, you can scan and skip between a whopping 83 live performances across three channels at \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">youtube.com/user/coachella/coachellalive\u003c/a>.\u003c/p>\n\u003ch3 class=\"hed\">10 Coachella Sets We’re Watching This Weekend\u003c/h3>\n\u003ch4>Kacey Musgraves\u003c/h4>\n\u003cfigure id=\"attachment_13854931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1134354848-5b17415d54e71f6f69f45040c5d07f81a6ccbdb2-800x600.jpg\" alt=\"Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>Even if it’s not quite golden hour elsewhere, getting to see Kacey Musgraves perform as the sun wanes in Coachella might just be worth the price of admission. (Lucky for you, it only requires access to a device that streams YouTube.)\u003c/p>\n\u003ch4>BLACKPINK\u003c/h4>\n\u003cfigure id=\"attachment_13854934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1098327268-f3b5abd610964c14e98248532cca79ff9f4ae201-800x600.jpg\" alt=\"Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 11:30 p.m. ET / 8:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>BLACKPINK’s Coachella set is one for the books: It’s the first ever K-pop group to perform at the hallowed festival grounds — and quite possibly the first act ever to simulcast a Coachella set from Times Square. If BLACKPINK is good enough for Times Square, it’s good enough for your living room, right?\u003c/p>\n\u003ch4>Janelle Monáe\u003c/h4>\n\u003cfigure id=\"attachment_13854936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1130408167-8985f8827768a01762d9a72ab6d2806afbba0377-800x600.jpg\" alt=\"Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\u003c/figcaption>\u003c/figure>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:30 a.m. ET / 10:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>No introduction needed: Janelle Monáe is an electric presence live. Come for her excellent music; stay for what will surely be a spectacle when she breaks out “Pynk.”\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003ch4>Billie Eilish\u003c/h4>\n\u003cfigure id=\"attachment_13855014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855014 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Billie-Eilish-800x600.jpg\" alt=\"Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California. \u003ccite>(Kevin Winter/Getty Images for KROQ/Entercom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:50 a.m. ET / 9:50 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>The one time this author saw Billie Eilish, her gloomy pop whipped a sold-out club full of Gen Z-ers into a total frenzy — and that was months before the release of her star-making album \u003cem>When We All Fall Asleep, Where Do We Go?\u003c/em> If anything, this one’s worth throwing on in the event you’re struggling to keep up with the kids.\u003c/p>\n\u003ch3>Tame Impala\u003c/h3>\n\u003cfigure id=\"attachment_13854940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-596739456-9da84f4f754005b4bf7b56124b7a03d4d521e356-800x600.jpg\" alt=\"Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 2:00 a.m. ET / 11:00 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>There probably won’t be a better nightcap for your Saturday than Tame Impala’s groovy psychedelia. Bandleader Kevin Parker will almost certainly break out a few new songs, too.\u003c/p>\n\u003ch3>Little Simz\u003c/h3>\n\u003cfigure id=\"attachment_13854942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-947860284-37ee00888c22a0d5f9342d6ad03d06115098c9f5-800x600.jpg\" alt=\"Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England. \u003ccite>(John Phillips/Getty Images for Global Citizen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 3:00 a.m. ET / 12:00 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 3\u003c/p>\n\u003cp>…but if you’re looking to stay up, U.K. rapper Little Simz put out a stellar album this year titled \u003cem>GREY Area\u003c/em>. At 25, she’s a commanding, already-seasoned stage presence.\u003c/p>\n\u003c/div>\n\u003ch4>Bad Bunny\u003c/h4>\n\u003cfigure id=\"attachment_13854944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1128323097-2fc7c2e7e7ee1dc244489d901fbc47a064a089dd-800x600.jpg\" alt=\"Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019. \u003ccite>(Claudio Reyes/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>You’d be remiss to skip Bad Bunny, \u003cem>urbano\u003c/em>‘s Puerto Rican goofball prince, live. Still riding the wave of his immaculate, long-awaited debut \u003cem>X 100PRE\u003c/em>, Bad Bunny has charisma and charm for days.\u003c/p>\n\u003ch3>Pusha T\u003c/h3>\n\u003cfigure id=\"attachment_13854946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-976138098-70fb8236baf65585d64ef5f3bd680737cb46666e-800x600.jpg\" alt=\"Rapper Pusha T performs during the debut of his residency at Drai's Beach Club - Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pusha T performs during the debut of his residency at Drai’s Beach Club – Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:35 a.m. ET / 9:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>King Push decreed himself the steel-eyed sorcerer of rap with \u003cem>DAYTONA\u003c/em>. Come witness his proper coronation.\u003c/p>\n\u003ch4>Lizzo\u003c/h4>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13854957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-800x599.jpg\" alt=\"Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California. \u003ccite>(Matt Winkelmeyer/Getty Images for GLAAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:40 a.m. ET / 10:40 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>We don’t know what to tell you: If \u003ca href=\"https://www.youtube.com/watch?v=XaCrQL_8eMY\">the “Juice” video\u003c/a> won’t convince you to watch, maybe the promise of Lizzo twerking whilst playing the flute will.\u003c/p>\n\u003ch4>Ariana Grande\u003c/h4>\n\u003cfigure id=\"attachment_13854955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-800x599.jpg\" alt=\"Ariana Grande\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande \u003ccite>(Bennett Raglin/Getty Images for FIJI Water)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:35 a.m. ET / 10:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>To cap off the whole festival, come witness one of pop music’s biggest stars as she caps off a stunning run of music. (And, for what it’s worth, tickets for her ongoing tour sold out months in advance. This might be your only chance to see her.)\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+Coachella+Performances+Worth+Watching+On+YouTube+This+Weekend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in its 19th year, the \u003ca href=\"https://www.youtube.com/user/coachella\">Coachella Valley Music and Arts Festival\u003c/a> is more than a music festival, or even a lifestyle. It’s a capital-M moment that seems to stop the world. (And not \u003cem>entirely\u003c/em> because Beyoncé willed it so last year.) Beyond the experience of bearing witness to celebrities of the A- and D-lists as they drench themselves in sweat and dust while gorging on trendy cuisine and novelty cocktails, Coachella’s influence extends far beyond the festival grounds of Indio, California.\u003c/p>\n\u003cp>Even Coachella seems to be aware of this: For the first time ever, it’s doubling down on its festival streams by showcasing both weekends of the festival. Emergent K-pop group BLACKPINK is set to broadcast its message of sensory-overload pop music \u003ca href=\"https://www.latimes.com/business/hollywood/la-fi-ct-youtube-coachella-times-square-20190408-story.html\">in Times Square\u003c/a> this weekend. Childish Gambino and Rihanna premiered a new film, and with the aid of Amazon and YouTube, will premiere it globally this weekend for free.\u003c/p>\n\u003cp>For those looking to avoid the hefty price tag of a festival pass — or reluctant to experience Coachella anywhere but on a couch — we’ve got you covered. The only catch: You’ll need to watch it \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">live on YouTube\u003c/a>, as Coachella does not make its sets available after the fact as on-demand videos.\u003c/p>\n\u003cp>So, without further ado, here are 10 Coachella 2019 acts worth planning your weekend around, in chronological order. And if you’re the adventurous sort, you can scan and skip between a whopping 83 live performances across three channels at \u003ca href=\"https://www.youtube.com/user/coachella/coachellalive\">youtube.com/user/coachella/coachellalive\u003c/a>.\u003c/p>\n\u003ch3 class=\"hed\">10 Coachella Sets We’re Watching This Weekend\u003c/h3>\n\u003ch4>Kacey Musgraves\u003c/h4>\n\u003cfigure id=\"attachment_13854931\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854931\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1134354848-5b17415d54e71f6f69f45040c5d07f81a6ccbdb2-800x600.jpg\" alt=\"Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kacey Musgraves performs onstage for Loretta Lynn: An All-Star Birthday Celebration Concert at Bridgestone Arena on April 1, 2019 in Nashville, Tennessee.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>Even if it’s not quite golden hour elsewhere, getting to see Kacey Musgraves perform as the sun wanes in Coachella might just be worth the price of admission. (Lucky for you, it only requires access to a device that streams YouTube.)\u003c/p>\n\u003ch4>BLACKPINK\u003c/h4>\n\u003cfigure id=\"attachment_13854934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854934\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1098327268-f3b5abd610964c14e98248532cca79ff9f4ae201-800x600.jpg\" alt=\"Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Girl group BLACKPINK performs on stage during the 8th Gaon Chart K-Pop Awards on January 23, 2019 in Seoul, South Korea. (Photo by Chung Sung-Jun/Getty Images)\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 11:30 p.m. ET / 8:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>BLACKPINK’s Coachella set is one for the books: It’s the first ever K-pop group to perform at the hallowed festival grounds — and quite possibly the first act ever to simulcast a Coachella set from Times Square. If BLACKPINK is good enough for Times Square, it’s good enough for your living room, right?\u003c/p>\n\u003ch4>Janelle Monáe\u003c/h4>\n\u003cfigure id=\"attachment_13854936\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854936\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1130408167-8985f8827768a01762d9a72ab6d2806afbba0377-800x600.jpg\" alt=\"Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae performs at the AT&T Pre Game Concert leading in to NBA All-Star on Sunday, February 17, 2019 at EpiCentre Theater in Charlotte, North Carolina.\u003c/figcaption>\u003c/figure>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Friday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:30 a.m. ET / 10:30 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>No introduction needed: Janelle Monáe is an electric presence live. Come for her excellent music; stay for what will surely be a spectacle when she breaks out “Pynk.”\u003c/p>\n\u003c/div>\n\u003cdiv>\n\u003ch4>Billie Eilish\u003c/h4>\n\u003cfigure id=\"attachment_13855014\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13855014 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/Billie-Eilish-800x600.jpg\" alt=\"Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/Billie-Eilish-768x576.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish performs on stage during KROQ Absolut Almost Acoustic Christmas at The Forum on December 9, 2018 in Inglewood, California. \u003ccite>(Kevin Winter/Getty Images for KROQ/Entercom)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:50 a.m. ET / 9:50 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>The one time this author saw Billie Eilish, her gloomy pop whipped a sold-out club full of Gen Z-ers into a total frenzy — and that was months before the release of her star-making album \u003cem>When We All Fall Asleep, Where Do We Go?\u003c/em> If anything, this one’s worth throwing on in the event you’re struggling to keep up with the kids.\u003c/p>\n\u003ch3>Tame Impala\u003c/h3>\n\u003cfigure id=\"attachment_13854940\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854940\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-596739456-9da84f4f754005b4bf7b56124b7a03d4d521e356-800x600.jpg\" alt=\"Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Kevin Parker of Tame Impala performs onstage during FYF Fest 2016 at Los Angeles Sports Arena on August 27, 2016 in Los Angeles, California. \u003ccite>(Kevin Winter/Getty Images for FYF)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003c/div>\n\u003cdiv>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 2:00 a.m. ET / 11:00 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>There probably won’t be a better nightcap for your Saturday than Tame Impala’s groovy psychedelia. Bandleader Kevin Parker will almost certainly break out a few new songs, too.\u003c/p>\n\u003ch3>Little Simz\u003c/h3>\n\u003cfigure id=\"attachment_13854942\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854942\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-947860284-37ee00888c22a0d5f9342d6ad03d06115098c9f5-800x600.jpg\" alt=\"Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Little Simz performs on stage, as thousands of Global Citizens unite with leading UK artists industry leaders, and non-profit organizations for Global Citizen Live London, at the O2 Academy Brixton on April 17, 2018 in London, England. \u003ccite>(John Phillips/Getty Images for Global Citizen)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Saturday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 3:00 a.m. ET / 12:00 a.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 3\u003c/p>\n\u003cp>…but if you’re looking to stay up, U.K. rapper Little Simz put out a stellar album this year titled \u003cem>GREY Area\u003c/em>. At 25, she’s a commanding, already-seasoned stage presence.\u003c/p>\n\u003c/div>\n\u003ch4>Bad Bunny\u003c/h4>\n\u003cfigure id=\"attachment_13854944\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854944\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1128323097-2fc7c2e7e7ee1dc244489d901fbc47a064a089dd-800x600.jpg\" alt=\"Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Puerto Rican singer Bad Bunny performs during the 60th Vina del Mar International Song Festival in Vina del Mar, Chile, on March 1, 2019. \u003ccite>(Claudio Reyes/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 8:55 p.m. ET / 5:55 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 1\u003c/p>\n\u003cp>You’d be remiss to skip Bad Bunny, \u003cem>urbano\u003c/em>‘s Puerto Rican goofball prince, live. Still riding the wave of his immaculate, long-awaited debut \u003cem>X 100PRE\u003c/em>, Bad Bunny has charisma and charm for days.\u003c/p>\n\u003ch3>Pusha T\u003c/h3>\n\u003cfigure id=\"attachment_13854946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854946\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-976138098-70fb8236baf65585d64ef5f3bd680737cb46666e-800x600.jpg\" alt=\"Rapper Pusha T performs during the debut of his residency at Drai's Beach Club - Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada.\" width=\"800\" height=\"600\">\u003cfigcaption class=\"wp-caption-text\">Rapper Pusha T performs during the debut of his residency at Drai’s Beach Club – Nightclub at The Cromwell Las Vegas on June 16, 2018 in Las Vegas, Nevada. \u003ccite>(Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 12:35 a.m. ET / 9:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>King Push decreed himself the steel-eyed sorcerer of rap with \u003cem>DAYTONA\u003c/em>. Come witness his proper coronation.\u003c/p>\n\u003ch4>Lizzo\u003c/h4>\n\u003cp> \u003c/p>\n\u003cfigure id=\"attachment_13854957\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854957\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-800x599.jpg\" alt=\"Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California.\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1138973705-847714832fad830b4821e07af2a54003f9fc385f-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lizzo performs onstage at the 30th Annual GLAAD Media Awards Los Angeles at The Beverly Hilton Hotel on March 28, 2019 in Beverly Hills, California. \u003ccite>(Matt Winkelmeyer/Getty Images for GLAAD)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:40 a.m. ET / 10:40 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>We don’t know what to tell you: If \u003ca href=\"https://www.youtube.com/watch?v=XaCrQL_8eMY\">the “Juice” video\u003c/a> won’t convince you to watch, maybe the promise of Lizzo twerking whilst playing the flute will.\u003c/p>\n\u003ch4>Ariana Grande\u003c/h4>\n\u003cfigure id=\"attachment_13854955\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854955\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-800x599.jpg\" alt=\"Ariana Grande\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/gettyimages-1069288780-4ae435d1526144806d2207f009fd31cf60009467-s800-c85-768x575.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Grande \u003ccite>(Bennett Raglin/Getty Images for FIJI Water)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Day: \u003c/strong>Sunday\u003c/p>\n\u003cp>\u003cstrong>Time:\u003c/strong> 1:35 a.m. ET / 10:35 p.m. PT\u003c/p>\n\u003cp>\u003cstrong>Where: \u003c/strong>Channel 2\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To cap off the whole festival, come witness one of pop music’s biggest stars as she caps off a stunning run of music. (And, for what it’s worth, tickets for her ongoing tour sold out months in advance. This might be your only chance to see her.)\u003c/p>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=10+Coachella+Performances+Worth+Watching+On+YouTube+This+Weekend&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jazz Drummer Makaya McCraven Brings His 'Organic Beat Music' to SF",
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"content": "\u003cp>Jazz, that forever-rising dough of American music, is in a leavened state right now. A big part of the recipe is the saxophone—you’ve probably heard the words “Kamasi Washington” in conjunction with the notion that jazz is “back”—but a more fertile ingredient lately is the drum set. Similar to the acid-jazz explosion in the 1990s, rhythm is the backbone in jazz’s new sound, but it’s changed; you’re likely to hear influences of hip-hop producer \u003ca href=\"http://www.j-dilla.com/\" rel=\"noopener\" target=\"_blank\">J. Dilla\u003c/a> and electronic visionary \u003ca href=\"https://aphextwin.warp.net/\" rel=\"noopener\" target=\"_blank\">Aphex Twin\u003c/a> underpinning a propulsion that feels half-natural, half-electronic.\u003c/p>\n\u003cfigure id=\"attachment_13854885\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/universalbeings-160x160.jpg\" alt=\"'Universal Beings' is the latest album from Makaya McCraven.\" width=\"160\" height=\"160\" class=\"size-thumbnail wp-image-13854885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">‘Universal Beings’ is the latest album from Makaya McCraven.\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Makaya McCraven, whose excellent 2018 album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=ChnFBXxzpj4&list=PLbcerJq8u6Idxp3cG7COmJxId9jQ1IuDI\" rel=\"noopener\" target=\"_blank\">Universal Beings\u003c/a>\u003c/em> straddles that divide. Recorded at various jam sessions in four different cities (London, Chicago, New York and Los Angeles), the music from each was then edited into long, cohesive compositions. And while the sessions included some of the new guard’s top stars (including bassist \u003ca href=\"https://stanfordjazz.org/more-info/anna-butterss/\" rel=\"noopener\" target=\"_blank\">Anna Butterss\u003c/a> and British sax phenom \u003ca href=\"https://twitter.com/gmeline/status/1050218325664387072\" rel=\"noopener\" target=\"_blank\">Shabaka Hutchings\u003c/a>), it’s McCraven that gives the music its skittering-but-not-anxious pulse. He calls it “organic beat music.” \u003c/p>\n\u003cp>McCraven settles in with his group for two nights, April 16 and 17, at the \u003ca href=\"https://blackcatsf.com/\" rel=\"noopener\" target=\"_blank\">Black Cat\u003c/a>. A supper-club style joint in the Tenderloin, the Black Cat helpfully offers various tiers of tickets: table seating with an additional $20 per-person food or drink minimum; general admission for those who don’t mind standing; and the broke jazz fan’s option of hanging out in the upstairs lounge and hearing, but not watching, the music for free. However you experience the guy, McCraven is one to watch right now, and the shows are bound to be energy-filled and exciting. \u003ca href=\"https://www.eventbrite.com/o/black-cat-17110170624\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jazz, that forever-rising dough of American music, is in a leavened state right now. A big part of the recipe is the saxophone—you’ve probably heard the words “Kamasi Washington” in conjunction with the notion that jazz is “back”—but a more fertile ingredient lately is the drum set. Similar to the acid-jazz explosion in the 1990s, rhythm is the backbone in jazz’s new sound, but it’s changed; you’re likely to hear influences of hip-hop producer \u003ca href=\"http://www.j-dilla.com/\" rel=\"noopener\" target=\"_blank\">J. Dilla\u003c/a> and electronic visionary \u003ca href=\"https://aphextwin.warp.net/\" rel=\"noopener\" target=\"_blank\">Aphex Twin\u003c/a> underpinning a propulsion that feels half-natural, half-electronic.\u003c/p>\n\u003cfigure id=\"attachment_13854885\" class=\"wp-caption alignright\" style=\"max-width: 160px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/universalbeings-160x160.jpg\" alt=\"'Universal Beings' is the latest album from Makaya McCraven.\" width=\"160\" height=\"160\" class=\"size-thumbnail wp-image-13854885\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/universalbeings.jpg 600w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003cfigcaption class=\"wp-caption-text\">‘Universal Beings’ is the latest album from Makaya McCraven.\u003c/figcaption>\u003c/figure>\n\u003cp>Enter Makaya McCraven, whose excellent 2018 album \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=ChnFBXxzpj4&list=PLbcerJq8u6Idxp3cG7COmJxId9jQ1IuDI\" rel=\"noopener\" target=\"_blank\">Universal Beings\u003c/a>\u003c/em> straddles that divide. Recorded at various jam sessions in four different cities (London, Chicago, New York and Los Angeles), the music from each was then edited into long, cohesive compositions. And while the sessions included some of the new guard’s top stars (including bassist \u003ca href=\"https://stanfordjazz.org/more-info/anna-butterss/\" rel=\"noopener\" target=\"_blank\">Anna Butterss\u003c/a> and British sax phenom \u003ca href=\"https://twitter.com/gmeline/status/1050218325664387072\" rel=\"noopener\" target=\"_blank\">Shabaka Hutchings\u003c/a>), it’s McCraven that gives the music its skittering-but-not-anxious pulse. He calls it “organic beat music.” \u003c/p>\n\u003cp>McCraven settles in with his group for two nights, April 16 and 17, at the \u003ca href=\"https://blackcatsf.com/\" rel=\"noopener\" target=\"_blank\">Black Cat\u003c/a>. A supper-club style joint in the Tenderloin, the Black Cat helpfully offers various tiers of tickets: table seating with an additional $20 per-person food or drink minimum; general admission for those who don’t mind standing; and the broke jazz fan’s option of hanging out in the upstairs lounge and hearing, but not watching, the music for free. However you experience the guy, McCraven is one to watch right now, and the shows are bound to be energy-filled and exciting. \u003ca href=\"https://www.eventbrite.com/o/black-cat-17110170624\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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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.",
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"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"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"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",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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