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"title": "DJ Platurn Reveals Iceland's Groovy Side with 'Breaking the Ice'",
"headTitle": "DJ Platurn Reveals Iceland’s Groovy Side with ‘Breaking the Ice’ | KQED",
"content": "\u003cp>On a recent evening in a warm, wood-paneled auditorium at the Oakland Museum of California, \u003ca href=\"https://djplaturn.com/\" target=\"_blank\" rel=\"noopener\">DJ Platurn\u003c/a> maintains a surprisingly low-key demeanor as he prepares to unveil his new LP, \u003cem>Breaking the Ice.\u003c/em> The collection of rare, Icelandic music took Platurn 12 years to collect and mix; it’s his most ambitious and personal project to date.\u003c/p>\n\u003cp>“There’s gonna be familiar stuff, but just enjoy the fact that you’ve never heard any of this music,” he says, pressing play on the 87-minute-long sonic tapestry he stitched together from roughly 70 songs spanning the mid-’60s through the mid’-80s. In a world that grants near-instant access to the previously unfamiliar, his invitation to simply get lost in the music feels romantically nostalgic.\u003c/p>\n\u003cp>As Platurn notes at the release party, familiar reference points pop up periodically throughout \u003cem>Breaking the Ice,\u003c/em> released last month via San Jose’s \u003ca href=\"https://needletothegroove.net/\" target=\"_blank\" rel=\"noopener\">Needle to the Groove Records\u003c/a>. There’s an Aretha Franklin cover, a “Jingle Bells” rendition that sounds like it was retouched by ’70s-era Herbie Hancock, and a short segment of a cover of the Mamas & the Papas’ “California Dreaming.” During the post-mix Q&A, Platurn reveals that the Icelandic lyrics of the latter re-frame the tune as “Farm Boy’s Dream,” a tale of city kids’ summertime excursions to the countryside, a rite of passage in Iceland.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/378598712″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>This reimagining explains \u003cem>Breaking the Ice\u003c/em> quite well — curiously familiar, yet oddly distant. The project can be compared to the immersive yet dissociative pastiche of \u003cem>Since I Left You\u003c/em> by the Avalanches, or perhaps Madlib’s \u003cem>Shades of Blue\u003c/em>, the famed producer’s curated, embellished glance through the Blue Note Records archives. Platurn’s eclectic mix visits psych, soul, hard rock, folk, folk rock, and elements of R&B. Soft melodies crash into heavy drum freakouts. Children’s songs sit in the mix with proto-rap.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With these eclectic pairings, \u003cem>Breaking the Ice\u003c/em> pieces together a groovier side of Iceland, one that often recalls American funk and soul music. It’s a fascinating exploration of the musical history of a formerly-isolated island country best known for rock — or in recent years, the eccentric artistry of Björk and Sigur Rós.\u003c/p>\n\u003cp>The project is also deeply personal for Platurn. “I wanted to do something that meant something for our little family that traveled here 35 years ago and brought all our records with us,” he says.\u003c/p>\n\u003ch3>Unique Upbringing, Boundary-Pushing Musical Taste\u003c/h3>\n\u003cp>A few fans at the listening party comment that Platurn may well be the only person on the planet who could’ve conceived \u003cem>Breaking the Ice.\u003c/em> Indeed, his family’s extensive record collection provided him with the perfect archives to source these rare Icelandic tunes. In the ’70s, a time in Iceland the liner notes describe as “painfully unadventurous,” his father, Magnus Thordarson, was a highly influential promoter and radio DJ that broke new sounds on the airwaves. (The stage name “Platurn” comes from \u003cem>p\u003c/em>\u003cem>lötusnúður\u003c/em>, the Icelandic word for DJ or “plate turner.”)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=noKkrWo-2WE\u003c/p>\n\u003cp>Platurn grew up an avid hip-hop fan in the East Bay in the ’90s, and digging for drum breaks to sample inevitably prepared him for the decade-plus saga of “groove excavation” he refers to in the project’s mini-doc. As the mix reveals, his 20-plus years in the game have helped him develop a keen ear for a good groove.\u003c/p>\n\u003cp>Platurn spent his first seven years in the small fishing village of Stykkisólmur. That explains his culture shock when he first landed at JFK International Airport with his family in 1983.\u003c/p>\n\u003cp>“The juxtaposition from where we came from to coming here was massive,” he recalls. “I’d barely seen any movies, didn’t watch TV, anything like that. Everything was just massively new to me. All this culture is just swimming at you.”\u003c/p>\n\u003cp>Though Platurn didn’t have TV in Iceland, music was always important and apparent. There’s perhaps no better way to illustrate that than with his father’s decision to haul his 1000-plus record collection across the Atlantic to their new home in California.\u003c/p>\n\u003cp>“When I was old enough to stand on my feet, I was dancing around to Stevie Wonder’s \u003cem>Songs in the Key of Life \u003c/em>in my living room,” he adds. A recent photo on Instagram shows Platurn, bowl cut and all, sitting on a speaker with headphones on, blues legend Leadbelly spinning on the turntable.\u003c/p>\n\u003cp>https://www.instagram.com/p/BhO0BiVhxgM/\u003c/p>\n\u003cp>Growing up immersed in hip-hop culture, inspired by the likes of Ice Cube, NWA, and the Native Tongues crew, Platurn’s interests eventually led him to DJing. At 18, he purchased his own mixer and turntables through an ad in \u003cem>The Source \u003c/em>magazine with money he saved from his summer job at the YMCA. As he began collecting vinyl more regularly, digging for samples naturally led him to the dirty drums in funk and soul music.\u003c/p>\n\u003cp>Platurn first gained notoriety as a founding member of East Bay DJ crew the Oakland Faders, which also includes Joe Quixx, the former host of \u003cem>The Wake Up Show\u003c/em> on hip-hop station 106.1 KMEL. In 2010, during the rise of digital DJing, Platurn started the 45 Sessions, a recurring night at various Oakland clubs that had only one rule: no matter what the DJs played, it had to be on a seven-inch, 45 RPM record.\u003c/p>\n\u003cp>Now, at 42 years old, Platurn has been behind the decks for 24 years. That means he’s been chipping away at \u003cem>Breaking the Ice\u003c/em> for half of his professional career, a labor of love that started as an extended musical conversation with his older cousin Sveimhugi, a former DJ who resides in Reykjavik. Their shared hobby turned into an obsession, and a funkier side of Iceland’s music scene began to reveal itself.\u003c/p>\n\u003ch3>A Record Collection Tells a Personal Story\u003c/h3>\n\u003cp>Platurn first teased the music in \u003cem>Breaking the Ice\u003c/em> at a record swap in San Jose called Dig Dug, and the records instantly caught the attention of music writer David Ma, now an affiliate of Needle to the Groove Records and the author of the \u003cem>Breaking the Ice\u003c/em> liner notes.\u003c/p>\n\u003cp>“It just kind of blew us away,” Ma recalls of the crowd reaction that night. The two emailed about the possibility of releasing the music, and they even previewed the \u003cem>Breaking the Ice\u003c/em> concept in a three-part series on Ma’s music blog \u003ca href=\"https://nerdtorious.com/2009/12/21/breaking-the-ice/\">Nerdtorious\u003c/a> starting in 2009. Back then, Platurn conceived of the project as a compilation; after encountering multiple roadblocks, they settled on releasing it as a mix to better to showcase Platurn’s DJing abilities and familiarity with his source material.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/378600302″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>When conceptualizing the liner notes, both Ma and Platurn wanted to tie the story back to Platurn’s father. They sat with him one evening to hear him share at length about his time as an influential promoter and DJ. “His dad’s hilarious — very forthcoming and very analytical, so it was easy to extract the importance of Iceland’s musical heyday back then,” says Ma. “I think what we did was just try to understand the shortcomings of Icelandic [music] at the time.”\u003c/p>\n\u003cp>Although \u003cem>Breaking the Ice\u003c/em> has informative, contextualizing liner notes, it does not have a tracklist, and that’s strictly by design. In similar cases, when compilations or mixes of ultra-rare music have gained traction, second-hand record prices have skyrocketed as a result, a phenomenon Platurn says he’d rather not contribute to.\u003c/p>\n\u003cp>Platurn’s protectiveness also stems from the fact that tracklists are often seen as trade secrets in the DJ world. He doesn’t leave the house with any of the records featured on the mix, and for good reason: at one point, he thought he lost several of them forever.\u003c/p>\n\u003cfigure id=\"attachment_13829481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DJ Platurn keeps the crowd engaged at the 45 Sessions Winter Sessions 2017, Nov. 17, 2017 \u003ccite>(Jose Lim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years ago, after a gig at 1015 Folsom, around 20 of the records featured on \u003cem>Breaking the Ice\u003c/em> were stolen during a car break-in. Platurn put out a call on social media and even cruised the venue’s neighborhood for weeks after the incident, offering cash to whomever might have a lead. Ten months later, a tip from a friend of a friend led him to a hard rock record shop in the Mission. Thanks to his father’s meticulous cataloging system, Platurn was able to verify that they were indeed his stolen records. Though he was prepared to pay anything, the owner only wanted what he’d paid for the stack: 100 bucks. Platurn gave him 300, thanked him profusely, and parted ways feeling much better about the state of kindness in the world.\u003c/p>\n\u003cp>“The uniqueness of all this is really high, because soul music is not supposed to come from a small island in the North Atlantic,” says Platurn. “None of it is actually 100 percent funk music or hip-hop or anything. It’s just vaguely reminiscent of it, and that’s what makes it so interesting and charming.”\u003c/p>\n\u003cp>Though he made the mix with the idea to showcase a funkier side of Icelandic music, Platurn warns that the collection of songs shouldn’t be considered any sort of definitive cultural statement. “This was my personality at play much more so than me trying to be some thorough archivist for a specific scene back then,” he notes.\u003c/p>\n\u003cp>Asked why he still chooses to collect analog records in an ever-more-digital world, he points to the nostalgia and narrative inevitably tied to one’s record collection. “Every record has a story, and that’s rad,” he says. “Not just a story of the actual release itself, but \u003cem>you\u003c/em> have a story — I have a ton of records I acquired traveling the planet, and that’s dope to me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>[ad floatright]\u003c/p>\n\u003cp>\u003cem>DJ Platurn performs as part of the Souls of Mischief Birthday Bash Friday, April 27, at the Uptown in Oakland. More info \u003ca href=\"http://www.uptownnightclub.com/event/souls-mischief-birthday-bash/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent evening in a warm, wood-paneled auditorium at the Oakland Museum of California, \u003ca href=\"https://djplaturn.com/\" target=\"_blank\" rel=\"noopener\">DJ Platurn\u003c/a> maintains a surprisingly low-key demeanor as he prepares to unveil his new LP, \u003cem>Breaking the Ice.\u003c/em> The collection of rare, Icelandic music took Platurn 12 years to collect and mix; it’s his most ambitious and personal project to date.\u003c/p>\n\u003cp>“There’s gonna be familiar stuff, but just enjoy the fact that you’ve never heard any of this music,” he says, pressing play on the 87-minute-long sonic tapestry he stitched together from roughly 70 songs spanning the mid-’60s through the mid’-80s. In a world that grants near-instant access to the previously unfamiliar, his invitation to simply get lost in the music feels romantically nostalgic.\u003c/p>\n\u003cp>As Platurn notes at the release party, familiar reference points pop up periodically throughout \u003cem>Breaking the Ice,\u003c/em> released last month via San Jose’s \u003ca href=\"https://needletothegroove.net/\" target=\"_blank\" rel=\"noopener\">Needle to the Groove Records\u003c/a>. There’s an Aretha Franklin cover, a “Jingle Bells” rendition that sounds like it was retouched by ’70s-era Herbie Hancock, and a short segment of a cover of the Mamas & the Papas’ “California Dreaming.” During the post-mix Q&A, Platurn reveals that the Icelandic lyrics of the latter re-frame the tune as “Farm Boy’s Dream,” a tale of city kids’ summertime excursions to the countryside, a rite of passage in Iceland.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/378598712″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/378598712″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This reimagining explains \u003cem>Breaking the Ice\u003c/em> quite well — curiously familiar, yet oddly distant. The project can be compared to the immersive yet dissociative pastiche of \u003cem>Since I Left You\u003c/em> by the Avalanches, or perhaps Madlib’s \u003cem>Shades of Blue\u003c/em>, the famed producer’s curated, embellished glance through the Blue Note Records archives. Platurn’s eclectic mix visits psych, soul, hard rock, folk, folk rock, and elements of R&B. Soft melodies crash into heavy drum freakouts. Children’s songs sit in the mix with proto-rap.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With these eclectic pairings, \u003cem>Breaking the Ice\u003c/em> pieces together a groovier side of Iceland, one that often recalls American funk and soul music. It’s a fascinating exploration of the musical history of a formerly-isolated island country best known for rock — or in recent years, the eccentric artistry of Björk and Sigur Rós.\u003c/p>\n\u003cp>The project is also deeply personal for Platurn. “I wanted to do something that meant something for our little family that traveled here 35 years ago and brought all our records with us,” he says.\u003c/p>\n\u003ch3>Unique Upbringing, Boundary-Pushing Musical Taste\u003c/h3>\n\u003cp>A few fans at the listening party comment that Platurn may well be the only person on the planet who could’ve conceived \u003cem>Breaking the Ice.\u003c/em> Indeed, his family’s extensive record collection provided him with the perfect archives to source these rare Icelandic tunes. In the ’70s, a time in Iceland the liner notes describe as “painfully unadventurous,” his father, Magnus Thordarson, was a highly influential promoter and radio DJ that broke new sounds on the airwaves. (The stage name “Platurn” comes from \u003cem>p\u003c/em>\u003cem>lötusnúður\u003c/em>, the Icelandic word for DJ or “plate turner.”)\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/noKkrWo-2WE'\n title='//www.youtube.com/embed/noKkrWo-2WE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Platurn grew up an avid hip-hop fan in the East Bay in the ’90s, and digging for drum breaks to sample inevitably prepared him for the decade-plus saga of “groove excavation” he refers to in the project’s mini-doc. As the mix reveals, his 20-plus years in the game have helped him develop a keen ear for a good groove.\u003c/p>\n\u003cp>Platurn spent his first seven years in the small fishing village of Stykkisólmur. That explains his culture shock when he first landed at JFK International Airport with his family in 1983.\u003c/p>\n\u003cp>“The juxtaposition from where we came from to coming here was massive,” he recalls. “I’d barely seen any movies, didn’t watch TV, anything like that. Everything was just massively new to me. All this culture is just swimming at you.”\u003c/p>\n\u003cp>Though Platurn didn’t have TV in Iceland, music was always important and apparent. There’s perhaps no better way to illustrate that than with his father’s decision to haul his 1000-plus record collection across the Atlantic to their new home in California.\u003c/p>\n\u003cp>“When I was old enough to stand on my feet, I was dancing around to Stevie Wonder’s \u003cem>Songs in the Key of Life \u003c/em>in my living room,” he adds. A recent photo on Instagram shows Platurn, bowl cut and all, sitting on a speaker with headphones on, blues legend Leadbelly spinning on the turntable.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up immersed in hip-hop culture, inspired by the likes of Ice Cube, NWA, and the Native Tongues crew, Platurn’s interests eventually led him to DJing. At 18, he purchased his own mixer and turntables through an ad in \u003cem>The Source \u003c/em>magazine with money he saved from his summer job at the YMCA. As he began collecting vinyl more regularly, digging for samples naturally led him to the dirty drums in funk and soul music.\u003c/p>\n\u003cp>Platurn first gained notoriety as a founding member of East Bay DJ crew the Oakland Faders, which also includes Joe Quixx, the former host of \u003cem>The Wake Up Show\u003c/em> on hip-hop station 106.1 KMEL. In 2010, during the rise of digital DJing, Platurn started the 45 Sessions, a recurring night at various Oakland clubs that had only one rule: no matter what the DJs played, it had to be on a seven-inch, 45 RPM record.\u003c/p>\n\u003cp>Now, at 42 years old, Platurn has been behind the decks for 24 years. That means he’s been chipping away at \u003cem>Breaking the Ice\u003c/em> for half of his professional career, a labor of love that started as an extended musical conversation with his older cousin Sveimhugi, a former DJ who resides in Reykjavik. Their shared hobby turned into an obsession, and a funkier side of Iceland’s music scene began to reveal itself.\u003c/p>\n\u003ch3>A Record Collection Tells a Personal Story\u003c/h3>\n\u003cp>Platurn first teased the music in \u003cem>Breaking the Ice\u003c/em> at a record swap in San Jose called Dig Dug, and the records instantly caught the attention of music writer David Ma, now an affiliate of Needle to the Groove Records and the author of the \u003cem>Breaking the Ice\u003c/em> liner notes.\u003c/p>\n\u003cp>“It just kind of blew us away,” Ma recalls of the crowd reaction that night. The two emailed about the possibility of releasing the music, and they even previewed the \u003cem>Breaking the Ice\u003c/em> concept in a three-part series on Ma’s music blog \u003ca href=\"https://nerdtorious.com/2009/12/21/breaking-the-ice/\">Nerdtorious\u003c/a> starting in 2009. Back then, Platurn conceived of the project as a compilation; after encountering multiple roadblocks, they settled on releasing it as a mix to better to showcase Platurn’s DJing abilities and familiarity with his source material.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/378600302″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/378600302″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>When conceptualizing the liner notes, both Ma and Platurn wanted to tie the story back to Platurn’s father. They sat with him one evening to hear him share at length about his time as an influential promoter and DJ. “His dad’s hilarious — very forthcoming and very analytical, so it was easy to extract the importance of Iceland’s musical heyday back then,” says Ma. “I think what we did was just try to understand the shortcomings of Icelandic [music] at the time.”\u003c/p>\n\u003cp>Although \u003cem>Breaking the Ice\u003c/em> has informative, contextualizing liner notes, it does not have a tracklist, and that’s strictly by design. In similar cases, when compilations or mixes of ultra-rare music have gained traction, second-hand record prices have skyrocketed as a result, a phenomenon Platurn says he’d rather not contribute to.\u003c/p>\n\u003cp>Platurn’s protectiveness also stems from the fact that tracklists are often seen as trade secrets in the DJ world. He doesn’t leave the house with any of the records featured on the mix, and for good reason: at one point, he thought he lost several of them forever.\u003c/p>\n\u003cfigure id=\"attachment_13829481\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13829481\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg\" alt=\"\" width=\"1920\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/DJ-Platurn-Header-03-1920x1080-credit-Jose-Lim-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">DJ Platurn keeps the crowd engaged at the 45 Sessions Winter Sessions 2017, Nov. 17, 2017 \u003ccite>(Jose Lim)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Five years ago, after a gig at 1015 Folsom, around 20 of the records featured on \u003cem>Breaking the Ice\u003c/em> were stolen during a car break-in. Platurn put out a call on social media and even cruised the venue’s neighborhood for weeks after the incident, offering cash to whomever might have a lead. Ten months later, a tip from a friend of a friend led him to a hard rock record shop in the Mission. Thanks to his father’s meticulous cataloging system, Platurn was able to verify that they were indeed his stolen records. Though he was prepared to pay anything, the owner only wanted what he’d paid for the stack: 100 bucks. Platurn gave him 300, thanked him profusely, and parted ways feeling much better about the state of kindness in the world.\u003c/p>\n\u003cp>“The uniqueness of all this is really high, because soul music is not supposed to come from a small island in the North Atlantic,” says Platurn. “None of it is actually 100 percent funk music or hip-hop or anything. It’s just vaguely reminiscent of it, and that’s what makes it so interesting and charming.”\u003c/p>\n\u003cp>Though he made the mix with the idea to showcase a funkier side of Icelandic music, Platurn warns that the collection of songs shouldn’t be considered any sort of definitive cultural statement. “This was my personality at play much more so than me trying to be some thorough archivist for a specific scene back then,” he notes.\u003c/p>\n\u003cp>Asked why he still chooses to collect analog records in an ever-more-digital world, he points to the nostalgia and narrative inevitably tied to one’s record collection. “Every record has a story, and that’s rad,” he says. “Not just a story of the actual release itself, but \u003cem>you\u003c/em> have a story — I have a ton of records I acquired traveling the planet, and that’s dope to me.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>DJ Platurn performs as part of the Souls of Mischief Birthday Bash Friday, April 27, at the Uptown in Oakland. More info \u003ca href=\"http://www.uptownnightclub.com/event/souls-mischief-birthday-bash/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "From the Vaults, a Showstopper: Hear Prince Perform 'Nothing Compares 2 U'",
"headTitle": "From the Vaults, a Showstopper: Hear Prince Perform ‘Nothing Compares 2 U’ | KQED",
"content": "\u003cp>It’s already been a busy day for \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> news, as prosecutors announced that \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/19/603934002/no-criminal-charges-to-be-brought-in-princes-death\" target=\"_blank\" rel=\"noopener\">no criminal charges would be brought\u003c/a> against Prince associates over the star’s accidental death in 2016. In a bit of curious timing, Prince’s estate has just released a long-lost 1984 studio recording of the singer performing his classic composition “Nothing Compares 2 U.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cpGA0azFdCs\u003c/p>\n\u003cp>As a find, it’s significant: Prince originally wrote the track for a band he’d assembled called the Family, but it didn’t become a hit until 1990, when it became a sensation for \u003ca href=\"https://www.npr.org/artists/15773342/sinead-o-connor\" target=\"_blank\" rel=\"noopener\">Sinéad O’Connor\u003c/a>. Prince would go on to perform his own take on the song in concert; a live version even appeared on his three-disc \u003cem>The Hits/The B-Sides\u003c/em> collection 25 years ago. But the recording released today has never been heard until now.\u003c/p>\n\u003cp>It’s remarkable how seamlessly this “Nothing Compares 2 U” fits alongside Prince’s classic mid-’80s works. It’s no bare-bones demo: Prince recorded it with engineer Susan Rogers, Eric Leeds on saxophone, and backing vocalists Susannah Melvoin and Paul “St. Paul” Peterson. Its video is a treat, too, as it pairs the song with a charming assortment of previously unseen Prince & The Revolution rehearsal footage.\u003c/p>\n\u003cp>The release of “Nothing Compares 2 U” arrives as debate continues over how to handle Prince’s estate and unreleased material. The star left behind no will, and his presumed heirs are in dispute over the handling of his archives. Last year, \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/20/524886598/deliverance-denied-release-of-posthumous-prince-record-stopped-by-judge\" target=\"_blank\" rel=\"noopener\">a judge blocked the release of a Prince EP\u003c/a> called \u003cem>Deliverance, \u003c/em>which George Ian Boxill, a recording engineer who worked with Prince around 2006, had hoped to sell.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>“Nothing Compares 2 U” is out now via \u003c/em>\u003ca href=\"http://store.warnermusic.com/warner-bros-records/artists/prince.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Warner Music\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:44 p.m., Apr. 18 with new information on criminal charges over Prince’s death.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+The+Vaults%2C+A+Showstopper%3A+Hear+Prince+Perform+%27Nothing+Compares+2+U%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "As news swirls about culpability for Prince's death, his estate has released a major find: a long-lost 1984 recording of his classic composition, along with rare video footage from his rehearsals.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s already been a busy day for \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> news, as prosecutors announced that \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/19/603934002/no-criminal-charges-to-be-brought-in-princes-death\" target=\"_blank\" rel=\"noopener\">no criminal charges would be brought\u003c/a> against Prince associates over the star’s accidental death in 2016. In a bit of curious timing, Prince’s estate has just released a long-lost 1984 studio recording of the singer performing his classic composition “Nothing Compares 2 U.”\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/cpGA0azFdCs'\n title='//www.youtube.com/embed/cpGA0azFdCs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a find, it’s significant: Prince originally wrote the track for a band he’d assembled called the Family, but it didn’t become a hit until 1990, when it became a sensation for \u003ca href=\"https://www.npr.org/artists/15773342/sinead-o-connor\" target=\"_blank\" rel=\"noopener\">Sinéad O’Connor\u003c/a>. Prince would go on to perform his own take on the song in concert; a live version even appeared on his three-disc \u003cem>The Hits/The B-Sides\u003c/em> collection 25 years ago. But the recording released today has never been heard until now.\u003c/p>\n\u003cp>It’s remarkable how seamlessly this “Nothing Compares 2 U” fits alongside Prince’s classic mid-’80s works. It’s no bare-bones demo: Prince recorded it with engineer Susan Rogers, Eric Leeds on saxophone, and backing vocalists Susannah Melvoin and Paul “St. Paul” Peterson. Its video is a treat, too, as it pairs the song with a charming assortment of previously unseen Prince & The Revolution rehearsal footage.\u003c/p>\n\u003cp>The release of “Nothing Compares 2 U” arrives as debate continues over how to handle Prince’s estate and unreleased material. The star left behind no will, and his presumed heirs are in dispute over the handling of his archives. Last year, \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/20/524886598/deliverance-denied-release-of-posthumous-prince-record-stopped-by-judge\" target=\"_blank\" rel=\"noopener\">a judge blocked the release of a Prince EP\u003c/a> called \u003cem>Deliverance, \u003c/em>which George Ian Boxill, a recording engineer who worked with Prince around 2006, had hoped to sell.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>“Nothing Compares 2 U” is out now via \u003c/em>\u003ca href=\"http://store.warnermusic.com/warner-bros-records/artists/prince.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Warner Music\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:44 p.m., Apr. 18 with new information on criminal charges over Prince’s death.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+The+Vaults%2C+A+Showstopper%3A+Hear+Prince+Perform+%27Nothing+Compares+2+U%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "50 Years After Johnny Cash, Los Tigres Del Norte Perform at Folsom Prison",
"headTitle": "50 Years After Johnny Cash, Los Tigres Del Norte Perform at Folsom Prison | KQED",
"content": "\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> performed at Folsom State Prison in Folsom, Calif. The January 1968 concert and live album it produced, \u003ca href=\"https://www.npr.org/sections/monkeysee/2008/12/i_said_i_shot_a_man_in_reno_he.html\" target=\"_blank\" rel=\"noopener\">\u003cem>At Folsom Prison\u003c/em>\u003c/a>\u003cem>,\u003c/em> helped revitalize Cash’s career, inspiring him to testify for prison reform and cementing his reputation as a voice for the downtrodden. Earlier this week, the Mexican norteño band \u003ca href=\"https://www.npr.org/artists/15872025/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Los Tigres del Norte\u003c/a> followed in Cash’s footsteps and became the first major live act to play at Folsom since the rock and roll star’s historic concert five decades ago.\u003c/p>\n\u003cp>The spirit of Johnny Cash is everywhere at the prison-yard gig. Los Tigres and crew walk through the same massive security gates that Cash and his musicians did on that cloudy, winter morning. The musicians’ green room is in the prison’s Greystone Chapel — the same chapel \u003ca href=\"https://www.youtube.com/watch?v=fGMVRoXelNs\" target=\"_blank\" rel=\"noopener\">immortalized in song on Cash’s 1968 album\u003c/a>. But somethings have changed with time. When Cash played his prison show in ’68, the inmate population at Folsom was most white. Today, it’s mostly black and Latino.\u003c/p>\n\u003cp>The magic number of 50 hangs in the air for Los Tigres. It’s been 50 years since Cash’s performance and 50 years since the Mexican band played its first gig in the United States, which, ironically, was also at a prison.\u003c/p>\n\u003cp>“When we came to this country, the first performance that we did was in a prison in Soledad, California,” Jorge Hernández, the band’s vocalist and accordionist, says. “It reminds us it’s a blessing that we can be here at Folsom playing and celebrating our coming to this country, performing in a prison, but also performing now at Folsom Prison.”\u003c/p>\n\u003cfigure id=\"attachment_13829933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg\" alt=\"Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Tigres del Norte have sold over 30 million albums and the band’s fans span generations of Mexicans. The band’s songs like \u003ca href=\"https://www.youtube.com/watch?v=K9rABzUY86w\" target=\"_blank\" rel=\"noopener\">“La Jaula de Oro,”\u003c/a> a lament about struggling to protect one’s undocumented family in the United States, set immigrants’ stories to music. Two years ago, Los Tigres submitted a request to play at Folsom. A few months ago, the band finally got the blessing of the California Department of Corrections and Rehabilitation to have a performance at the prison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When Johnny Cash first came in, it probably wasn’t real popular with the staff or the warden at the time,” Ralph Diaz, the Department’s \u003ca href=\"https://www.cdcr.ca.gov/About_CDCR/Executive_Staff.html\" target=\"_blank\" rel=\"noopener\">Undersecretary of Operations\u003c/a>, says. “But in the end, he wanted to let the population know, ‘There is a voice out there for you. I’m that voice.'”\u003c/p>\n\u003cfigure id=\"attachment_13829934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg\" alt=\"Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel. \u003ccite>(Lance Dawes/Courtesy of Los Tigres Del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diaz, on the other hand, is most definitely a Los Tigres fan. “I grew up listening to Los Tigres at grandma’s kitchen table to the time I got my own stereo,” he says.\u003c/p>\n\u003cp>Manuel Mena is a Los Tigres fan, too. Born in Tijuana, Mexico, Mena says Los Tigres inspired him to start his own band. One night after a show, Mena had an altercation with a fan who threatened him. Mena killed the man. That landed him in Folsom for 36 years to life.\u003c/p>\n\u003cp>“We are the forgotten of society,” Mena says in Spanish. “And to have the privilege of experiencing something like this? Well, it means we haven’t been completely forgotten. It means there’s someone who remembers us, someone who gives us the strength to keep going, the strength to keep moving forward.”\u003c/p>\n\u003cp>About 800 denim-clad men stand in the main prison yard under wispy clouds and a bright blue sky for the performance, as well as the watchful eyes of correctional officers on the ground and in five gun towers surrounding the yard. Many of the men sing along. Others shout out requests. A few more dance alone, seemingly lost in a moment of nostalgia.\u003c/p>\n\u003cp>Before it became famous by way of Cash’s performance, “Greystone Chapel” was written by Glen Sherley, a Folsom inmate serving time for armed robbery. In the same tradition, Los Tigres del Norte invite Mena to play accordion on their norteño rendition of “Folsom Prison Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13829935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg\" alt=\"Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Univision is recording the performance for a documentary. It’s being produced by Grammy- and Oscar-winning musician \u003ca href=\"SelectStoryEditorRouting.action?routingAction=LoadFeature&selEditFeature=603304745#GustavoSantaolalla\" target=\"_blank\" rel=\"noopener\">Gustavo Santaolalla\u003c/a>, who echoes Cash’s belief in the power of music to give inmates a voice.\u003c/p>\n\u003cp>“It’s a way actually of not only entertaining themselves, but also to open their souls, and to open their minds to the possibility of a better world,” Santaolalla says.\u003c/p>\n\u003cp>After the show, band member Luis Hernández stands on the steps of the chapel, reflecting on what just happened.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was just so emotional to see these people here singing our songs and transporting themselves back to maybe how their lives could be, or maybe the mistakes they made,” he says. “It’s impressive, when you come here and sing in front of these people, how you can bring them happiness, and how you can bring them their life back.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+Years+After+Johnny+Cash%2C+Los+Tigres+Del+Norte+Perform+At+Folsom+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> performed at Folsom State Prison in Folsom, Calif. The January 1968 concert and live album it produced, \u003ca href=\"https://www.npr.org/sections/monkeysee/2008/12/i_said_i_shot_a_man_in_reno_he.html\" target=\"_blank\" rel=\"noopener\">\u003cem>At Folsom Prison\u003c/em>\u003c/a>\u003cem>,\u003c/em> helped revitalize Cash’s career, inspiring him to testify for prison reform and cementing his reputation as a voice for the downtrodden. Earlier this week, the Mexican norteño band \u003ca href=\"https://www.npr.org/artists/15872025/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Los Tigres del Norte\u003c/a> followed in Cash’s footsteps and became the first major live act to play at Folsom since the rock and roll star’s historic concert five decades ago.\u003c/p>\n\u003cp>The spirit of Johnny Cash is everywhere at the prison-yard gig. Los Tigres and crew walk through the same massive security gates that Cash and his musicians did on that cloudy, winter morning. The musicians’ green room is in the prison’s Greystone Chapel — the same chapel \u003ca href=\"https://www.youtube.com/watch?v=fGMVRoXelNs\" target=\"_blank\" rel=\"noopener\">immortalized in song on Cash’s 1968 album\u003c/a>. But somethings have changed with time. When Cash played his prison show in ’68, the inmate population at Folsom was most white. Today, it’s mostly black and Latino.\u003c/p>\n\u003cp>The magic number of 50 hangs in the air for Los Tigres. It’s been 50 years since Cash’s performance and 50 years since the Mexican band played its first gig in the United States, which, ironically, was also at a prison.\u003c/p>\n\u003cp>“When we came to this country, the first performance that we did was in a prison in Soledad, California,” Jorge Hernández, the band’s vocalist and accordionist, says. “It reminds us it’s a blessing that we can be here at Folsom playing and celebrating our coming to this country, performing in a prison, but also performing now at Folsom Prison.”\u003c/p>\n\u003cfigure id=\"attachment_13829933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg\" alt=\"Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Tigres del Norte have sold over 30 million albums and the band’s fans span generations of Mexicans. The band’s songs like \u003ca href=\"https://www.youtube.com/watch?v=K9rABzUY86w\" target=\"_blank\" rel=\"noopener\">“La Jaula de Oro,”\u003c/a> a lament about struggling to protect one’s undocumented family in the United States, set immigrants’ stories to music. Two years ago, Los Tigres submitted a request to play at Folsom. A few months ago, the band finally got the blessing of the California Department of Corrections and Rehabilitation to have a performance at the prison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When Johnny Cash first came in, it probably wasn’t real popular with the staff or the warden at the time,” Ralph Diaz, the Department’s \u003ca href=\"https://www.cdcr.ca.gov/About_CDCR/Executive_Staff.html\" target=\"_blank\" rel=\"noopener\">Undersecretary of Operations\u003c/a>, says. “But in the end, he wanted to let the population know, ‘There is a voice out there for you. I’m that voice.'”\u003c/p>\n\u003cfigure id=\"attachment_13829934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg\" alt=\"Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel. \u003ccite>(Lance Dawes/Courtesy of Los Tigres Del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diaz, on the other hand, is most definitely a Los Tigres fan. “I grew up listening to Los Tigres at grandma’s kitchen table to the time I got my own stereo,” he says.\u003c/p>\n\u003cp>Manuel Mena is a Los Tigres fan, too. Born in Tijuana, Mexico, Mena says Los Tigres inspired him to start his own band. One night after a show, Mena had an altercation with a fan who threatened him. Mena killed the man. That landed him in Folsom for 36 years to life.\u003c/p>\n\u003cp>“We are the forgotten of society,” Mena says in Spanish. “And to have the privilege of experiencing something like this? Well, it means we haven’t been completely forgotten. It means there’s someone who remembers us, someone who gives us the strength to keep going, the strength to keep moving forward.”\u003c/p>\n\u003cp>About 800 denim-clad men stand in the main prison yard under wispy clouds and a bright blue sky for the performance, as well as the watchful eyes of correctional officers on the ground and in five gun towers surrounding the yard. Many of the men sing along. Others shout out requests. A few more dance alone, seemingly lost in a moment of nostalgia.\u003c/p>\n\u003cp>Before it became famous by way of Cash’s performance, “Greystone Chapel” was written by Glen Sherley, a Folsom inmate serving time for armed robbery. In the same tradition, Los Tigres del Norte invite Mena to play accordion on their norteño rendition of “Folsom Prison Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13829935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg\" alt=\"Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Univision is recording the performance for a documentary. It’s being produced by Grammy- and Oscar-winning musician \u003ca href=\"SelectStoryEditorRouting.action?routingAction=LoadFeature&selEditFeature=603304745#GustavoSantaolalla\" target=\"_blank\" rel=\"noopener\">Gustavo Santaolalla\u003c/a>, who echoes Cash’s belief in the power of music to give inmates a voice.\u003c/p>\n\u003cp>“It’s a way actually of not only entertaining themselves, but also to open their souls, and to open their minds to the possibility of a better world,” Santaolalla says.\u003c/p>\n\u003cp>After the show, band member Luis Hernández stands on the steps of the chapel, reflecting on what just happened.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was just so emotional to see these people here singing our songs and transporting themselves back to maybe how their lives could be, or maybe the mistakes they made,” he says. “It’s impressive, when you come here and sing in front of these people, how you can bring them happiness, and how you can bring them their life back.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=50+Years+After+Johnny+Cash%2C+Los+Tigres+Del+Norte+Perform+At+Folsom+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On The Do List this week, we’re welcoming the return to the Bay Area of Tony Kushner’s mind-bogglingly brilliant play \u003cem>Angels in America, \u003c/em>plus an art exhibition in San Jose on the meaning of the house, and two nights with Meshell Ndgeocello, my co-host, KQED Youth Media Manager Ariana Proehl’s favorite artist. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>May 3-4:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829821/meshell-ndegeocello-finds-healing-in-her-favorite-songs\" target=\"_blank\" rel=\"noopener\">Meshell Ndgeocello finds healing in song with shows at the Freight and Salvage, and we all feel better\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20-Aug. 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13829836/the-meaning-of-the-elusive-single-family-home-at-the-san-jose-museum-of-art\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Art presents an exhibition examining the meaning of the single family home\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20, 21 and 27:\u003c/strong> \u003ca href=\"http://poormanswhiskey.com/\" target=\"_blank\" rel=\"noopener\">Bay Area country band Poor Man’s Whiskey celebrates a new album with shows at Hopmonk in Sebastopol and The Great American Music Hall, and join an all star lineup for a North Bay fires fundraiser\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 17-July 22:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">Tony Kushner’s play Angels in America returns to the Bay Area, where it was born.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829749/a-young-jorja-smith-poised-for-stardom\" target=\"_blank\" rel=\"noopener\">Reveling in the slow jams of young British singer Jorja Smith\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13829757&action=edit\" target=\"_blank\" rel=\"noopener\">Young artists, storytellers and reporters take over KQED News and present a show at the Brava Theatre\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-29:\u003c/strong> \u003ca href=\"https://philharmonia.org/2017-2018-season/beethoven-unleashed/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Ochestra wraps up its season with a double dose of Beethoven\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13748662 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg\" alt=\"Ariana Proehl and Cy Musiker out at a gallery\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker out at a gallery \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On The Do List this week, we’re welcoming the return to the Bay Area of Tony Kushner’s mind-bogglingly brilliant play \u003cem>Angels in America, \u003c/em>plus an art exhibition in San Jose on the meaning of the house, and two nights with Meshell Ndgeocello, my co-host, KQED Youth Media Manager Ariana Proehl’s favorite artist. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>May 3-4:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829821/meshell-ndegeocello-finds-healing-in-her-favorite-songs\" target=\"_blank\" rel=\"noopener\">Meshell Ndgeocello finds healing in song with shows at the Freight and Salvage, and we all feel better\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20-Aug. 19: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13829836/the-meaning-of-the-elusive-single-family-home-at-the-san-jose-museum-of-art\" target=\"_blank\" rel=\"noopener\">The San Jose Museum of Art presents an exhibition examining the meaning of the single family home\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 20, 21 and 27:\u003c/strong> \u003ca href=\"http://poormanswhiskey.com/\" target=\"_blank\" rel=\"noopener\">Bay Area country band Poor Man’s Whiskey celebrates a new album with shows at Hopmonk in Sebastopol and The Great American Music Hall, and join an all star lineup for a North Bay fires fundraiser\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 17-July 22:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829770/angels-in-america-returns-to-its-bay-area-birthplace\" target=\"_blank\" rel=\"noopener\">Tony Kushner’s play Angels in America returns to the Bay Area, where it was born.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 24:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13829749/a-young-jorja-smith-poised-for-stardom\" target=\"_blank\" rel=\"noopener\">Reveling in the slow jams of young British singer Jorja Smith\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 27:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13829757&action=edit\" target=\"_blank\" rel=\"noopener\">Young artists, storytellers and reporters take over KQED News and present a show at the Brava Theatre\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 25-29:\u003c/strong> \u003ca href=\"https://philharmonia.org/2017-2018-season/beethoven-unleashed/\" target=\"_blank\" rel=\"noopener\">The Philharmonia Baroque Ochestra wraps up its season with a double dose of Beethoven\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13748662\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13748662 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg\" alt=\"Ariana Proehl and Cy Musiker out at a gallery\" width=\"800\" height=\"458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-800x458.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-160x92.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-768x439.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1020x583.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1920x1098.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1180x675.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-960x549.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-240x137.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-375x214.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-520x297.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204-1200x686.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1-2-e1524013165204.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ariana Proehl and Cy Musiker out at a gallery \u003ccite>(Photo: Courtesy of Chandran Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bassist, singer-songwriter and iconoclast Meshell Ndegeocello has had a rough couple of years. She lost one of her parents to leukemia and another to dementia. So, according to interviews, Ndegeocello found herself listening to old songs — favorites from the ’80s and ’90s that made her feel whole again. Those songs formed the basis for her new album, \u003cem>Ventriloquism\u003c/em>. \u003c/p>\n\u003cp>My co-host Ariana Proehl says Ndegeocello is one of her favorite artists of all time. Personally, I’m always amazed by Ndegeocello’s versatility. On the new album she does everything from love ballads like Ralph Tresvant’s “Sensitivity” to George Clinton’s funk masterpiece “Atomic Dog.” Expect Ndegeocello to do those songs and old favorites as she settles in for two nights in the intimate Freight and Salvage in Berkeley May 3 and 4. TIckets are pricey, but worth it. \u003ca href=\"https://www.thefreight.org/shows\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R2MHkGmzt-Y\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bassist, singer-songwriter and iconoclast Meshell Ndegeocello has had a rough couple of years. She lost one of her parents to leukemia and another to dementia. So, according to interviews, Ndegeocello found herself listening to old songs — favorites from the ’80s and ’90s that made her feel whole again. Those songs formed the basis for her new album, \u003cem>Ventriloquism\u003c/em>. \u003c/p>\n\u003cp>My co-host Ariana Proehl says Ndegeocello is one of her favorite artists of all time. Personally, I’m always amazed by Ndegeocello’s versatility. On the new album she does everything from love ballads like Ralph Tresvant’s “Sensitivity” to George Clinton’s funk masterpiece “Atomic Dog.” Expect Ndegeocello to do those songs and old favorites as she settles in for two nights in the intimate Freight and Salvage in Berkeley May 3 and 4. TIckets are pricey, but worth it. \u003ca href=\"https://www.thefreight.org/shows\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\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/R2MHkGmzt-Y'\n title='//www.youtube.com/embed/R2MHkGmzt-Y'\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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"title": "A Saxophonist and an Ecologist Team Up to Save the Yosemite Toad",
"headTitle": "A Saxophonist and an Ecologist Team Up to Save the Yosemite Toad | KQED",
"content": "\u003cp>Instead of meeting at his studio or a cafe, saxophonist Patrick Cress suggests our interview take place at Huckleberry Botanic Regional Preserve, a wooded area of the Oakland hills where hiking trails snake through ferns and oak trees, giving way to impressive views of green, rolling hills.\u003c/p>\n\u003cp>When Cress, who now resides in a different part of Oakland, lived in this neighborhood, he used to hike in Huckleberry three times a week to stimulate his creative process and get some exercise. Music and nature have long gone hand-in-hand for the artist, who is a member of nearly a dozen Bay Area ensembles, including funk band the Humidors.\u003c/p>\n\u003cfigure id=\"attachment_13829813\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-800x1067.jpg\" alt=\"Patrick Cress' improvisation and field recordings in the High Sierras informed his composition for 'Yosemite Soundscapes.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Cress’ improvisation and field recordings in the High Sierras informed his composition for ‘Yosemite Soundscapes.’ \u003ccite>(Nico Rizzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cress’s latest project is a series of lectures and concerts with ecologist and TED Fellow \u003ca href=\"http://ericlberlow.net/\" target=\"_blank\" rel=\"noopener\">Eric Berlow\u003c/a> about the ecosystem in Yosemite National Park, and particularly, one of its endangered species: the Yosemite toad. The duo comes to City College of San Francisco on Apr. 19 as part of a \u003ca href=\"https://twitter.com/OfficialCCSF/status/984946855707471872\" target=\"_blank\" rel=\"noopener\">campus Earth Day celebration\u003c/a>, where Berlow will present some of his research, followed by a performance by Cress that infuses saxophone improvisation with live looping and field recordings from Yosemite.\u003c/p>\n\u003cp>The unusual collaboration came about when Berlow previously served as the director of the University of California’s first science institute inside Yosemite, where his research focused on creating data-driven approaches to the park’s conservation efforts. In the late 2000s, he ran an artist residency program there, where he invited artists to create work that spoke to the richness of Yosemite’s ecology in a way that science alone couldn’t.\u003c/p>\n\u003cp>That was when Berlow and Cress, a longtime friend, began to collaborate. In 2008, they hiked up to 10,000 feet with Cress’ saxophone and a boom mic to make music and observe the Yosemite toad for Berlow’s research. From his recordings there and, later, in the studio, Cress created his meditative, instrumental 2017 album \u003ca href=\"https://yosemitesoundscapes.bandcamp.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Yosemite Soundscapes\u003c/em>\u003c/a>, which serves as the basis for his and Berlow’s lecture-performance series.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cress says that, at first, he felt unprepared for the undertaking of hiking through the woods with an experienced ecologist and outdoorsman like Berlow. “I distinctly remember getting — I don’t know if you’ve ever had altitude sickness before,” says Cress. “By the end of the day, [Eric] was carrying my saxophone and microphone for me. But we finally got there and it was this amazing spot. Snow-capped mountains all around.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1849202358/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Once they arrived, Cress improvised on his saxophone in the “theater of the mountains,” with its reverberant acoustics, and recorded Yosemite toads breeding, streams burbling, fish jumping, birds squawking, and planes flying overhead. He paired those sounds with the rich tones of his alto and baritone saxophones and bass clarinet, creating a whimsical, melodic tapestry that conjures the sense of wonder Cress felt during the unpredictable journey through the mountains.\u003c/p>\n\u003cp>“The part that I convey is the really raw human connection to nature that we all have,” Cress says.\u003c/p>\n\u003cp>So why devote an entire album — and years of research — to an obscure species like the Yosemite toad? When I reach Berlow by phone, he explains that its genetics could shed light on how organisms evolve to survive brutal conditions. “It’s a cold-blooded species that burrows in the mud and sits out winters under 30-feet of snow, that is traveling across rugged terrain to populate different meadows,” he says. “The DNA of this species holds the keys to how to do that. If they disappear off the face of the earth, we’ve lost that information forever.”\u003c/p>\n\u003cp>He also adds that the Yosemite toad’s population levels are an indicator of whether California’s water supply is healthy. “Those meadows are at the headwaters of the water supply of all of California — at least in the Central Valley and San Francisco. And most of that farmland that feeds most of the nation relies on those alpine ecosystems to slow the trickle of snowmelt so they have water in August when it hasn’t rained since May or April.”\u003c/p>\n\u003cp>That explanation might sound technical to a casual nature enthusiast, which is precisely why Berlow recruited a musician for amplify his research. “To have an artist work with us could help communicate the emotional side of why we do what we do,” he says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Cress put it, “My idea is to either A, attract people to [Yosemite] for the first time or B, remind people how amazing Yosemite is through the sound of music and those field recordings, which have a certain tonic to them.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>Patrick Cress and Eric Berlow’s ‘Yosemite Soundscapes’ comes to City College of San Francisco for an Earth Day celebration on Apr. 19. More information \u003ca href=\"https://www.ccsf.edu/en/about-city-college/news-and-events/cls_home/Calendar.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Instead of meeting at his studio or a cafe, saxophonist Patrick Cress suggests our interview take place at Huckleberry Botanic Regional Preserve, a wooded area of the Oakland hills where hiking trails snake through ferns and oak trees, giving way to impressive views of green, rolling hills.\u003c/p>\n\u003cp>When Cress, who now resides in a different part of Oakland, lived in this neighborhood, he used to hike in Huckleberry three times a week to stimulate his creative process and get some exercise. Music and nature have long gone hand-in-hand for the artist, who is a member of nearly a dozen Bay Area ensembles, including funk band the Humidors.\u003c/p>\n\u003cfigure id=\"attachment_13829813\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829813\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-800x1067.jpg\" alt=\"Patrick Cress' improvisation and field recordings in the High Sierras informed his composition for 'Yosemite Soundscapes.'\" width=\"800\" height=\"1067\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-900x1200.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Patrick_Sax_02.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Patrick Cress’ improvisation and field recordings in the High Sierras informed his composition for ‘Yosemite Soundscapes.’ \u003ccite>(Nico Rizzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Cress’s latest project is a series of lectures and concerts with ecologist and TED Fellow \u003ca href=\"http://ericlberlow.net/\" target=\"_blank\" rel=\"noopener\">Eric Berlow\u003c/a> about the ecosystem in Yosemite National Park, and particularly, one of its endangered species: the Yosemite toad. The duo comes to City College of San Francisco on Apr. 19 as part of a \u003ca href=\"https://twitter.com/OfficialCCSF/status/984946855707471872\" target=\"_blank\" rel=\"noopener\">campus Earth Day celebration\u003c/a>, where Berlow will present some of his research, followed by a performance by Cress that infuses saxophone improvisation with live looping and field recordings from Yosemite.\u003c/p>\n\u003cp>The unusual collaboration came about when Berlow previously served as the director of the University of California’s first science institute inside Yosemite, where his research focused on creating data-driven approaches to the park’s conservation efforts. In the late 2000s, he ran an artist residency program there, where he invited artists to create work that spoke to the richness of Yosemite’s ecology in a way that science alone couldn’t.\u003c/p>\n\u003cp>That was when Berlow and Cress, a longtime friend, began to collaborate. In 2008, they hiked up to 10,000 feet with Cress’ saxophone and a boom mic to make music and observe the Yosemite toad for Berlow’s research. From his recordings there and, later, in the studio, Cress created his meditative, instrumental 2017 album \u003ca href=\"https://yosemitesoundscapes.bandcamp.com\" target=\"_blank\" rel=\"noopener\">\u003cem>Yosemite Soundscapes\u003c/em>\u003c/a>, which serves as the basis for his and Berlow’s lecture-performance series.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cress says that, at first, he felt unprepared for the undertaking of hiking through the woods with an experienced ecologist and outdoorsman like Berlow. “I distinctly remember getting — I don’t know if you’ve ever had altitude sickness before,” says Cress. “By the end of the day, [Eric] was carrying my saxophone and microphone for me. But we finally got there and it was this amazing spot. Snow-capped mountains all around.”\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1849202358/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Once they arrived, Cress improvised on his saxophone in the “theater of the mountains,” with its reverberant acoustics, and recorded Yosemite toads breeding, streams burbling, fish jumping, birds squawking, and planes flying overhead. He paired those sounds with the rich tones of his alto and baritone saxophones and bass clarinet, creating a whimsical, melodic tapestry that conjures the sense of wonder Cress felt during the unpredictable journey through the mountains.\u003c/p>\n\u003cp>“The part that I convey is the really raw human connection to nature that we all have,” Cress says.\u003c/p>\n\u003cp>So why devote an entire album — and years of research — to an obscure species like the Yosemite toad? When I reach Berlow by phone, he explains that its genetics could shed light on how organisms evolve to survive brutal conditions. “It’s a cold-blooded species that burrows in the mud and sits out winters under 30-feet of snow, that is traveling across rugged terrain to populate different meadows,” he says. “The DNA of this species holds the keys to how to do that. If they disappear off the face of the earth, we’ve lost that information forever.”\u003c/p>\n\u003cp>He also adds that the Yosemite toad’s population levels are an indicator of whether California’s water supply is healthy. “Those meadows are at the headwaters of the water supply of all of California — at least in the Central Valley and San Francisco. And most of that farmland that feeds most of the nation relies on those alpine ecosystems to slow the trickle of snowmelt so they have water in August when it hasn’t rained since May or April.”\u003c/p>\n\u003cp>That explanation might sound technical to a casual nature enthusiast, which is precisely why Berlow recruited a musician for amplify his research. “To have an artist work with us could help communicate the emotional side of why we do what we do,” he says.\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">As Cress put it, “My idea is to either A, attract people to [Yosemite] for the first time or B, remind people how amazing Yosemite is through the sound of music and those field recordings, which have a certain tonic to them.” \u003c/span>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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>Patrick Cress and Eric Berlow’s ‘Yosemite Soundscapes’ comes to City College of San Francisco for an Earth Day celebration on Apr. 19. More information \u003ca href=\"https://www.ccsf.edu/en/about-city-college/news-and-events/cls_home/Calendar.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>British singer Jorja Smith is such a fresh face in the music scene that she’s touring without a full album to support. She’s also just 20 years old. But she played Coachella this year and arrives in San Francisco with a growing reputation as a thoughtful soul stylist. It doesn’t hurt that she collaborated with Pulitzer Prize winner Kendrick Lamar for a song on the \u003cem>Black Panther\u003c/em> soundtrack. \u003c/p>\n\u003cp>My co-host Ariana Proehl and I love Smith’s classically-trained and supple voice, as well as her mastery of the slow jam — a perfect salve for healing a broken heart. I also admire anyone who cites Curtis Mayfield as an inspiration. She plays the Regency Ballroom April 24 with Ama Lou, another voice from the younger generation of British pop stars. \u003ca href=\"http://www.theregencyballroom.com/events/all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dyiM1y7MAPE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>British singer Jorja Smith is such a fresh face in the music scene that she’s touring without a full album to support. She’s also just 20 years old. But she played Coachella this year and arrives in San Francisco with a growing reputation as a thoughtful soul stylist. It doesn’t hurt that she collaborated with Pulitzer Prize winner Kendrick Lamar for a song on the \u003cem>Black Panther\u003c/em> soundtrack. \u003c/p>\n\u003cp>My co-host Ariana Proehl and I love Smith’s classically-trained and supple voice, as well as her mastery of the slow jam — a perfect salve for healing a broken heart. I also admire anyone who cites Curtis Mayfield as an inspiration. She plays the Regency Ballroom April 24 with Ama Lou, another voice from the younger generation of British pop stars. \u003ca href=\"http://www.theregencyballroom.com/events/all\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\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/dyiM1y7MAPE'\n title='//www.youtube.com/embed/dyiM1y7MAPE'\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": "\u003cp>To go by public testimony, millions of people across the world already recognize Beyoncé Giselle Knowles-Carter is a goddess incarnate. Now, San Franciscans have a chance to formally worship the reigning queen of pop when Grace Cathedral hosts a \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Beyoncé mass\u003c/a> on Wednesday, Apr. 25.\u003c/p>\n\u003cp>\u003ca href=\"https://sfts.edu/academics/faculty/yolanda-norton/\" target=\"_blank\" rel=\"noopener\">Reverend Yolanda Norton\u003c/a>, a professor at the San Francisco Theological Seminary, will lead the service as part of Grace Cathedral’s the Vine, a series that infuses worship with pop music and progressive messaging.\u003c/p>\n\u003cfigure id=\"attachment_13830150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg\" alt=\"Reverend Yolanda Norton.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reverend Yolanda Norton. \u003ccite>(Photo: Courtesy Yolanda Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norton, who teaches a class called Beyoncé and the Hebrew Bible at the Theological Seminary, says that the mass was already in the works before Beyoncé’s historic Coachella performance, which broke YouTube streaming records as the most-watched festival performance of all time. “Even in class today, there was this great energy about continuing this conversation in the wake of Coachella, and what it means to do this worship service that taps into what I think is the essence of who Beyoncé is and how that relates to black women, how we relate to God, and how we are seen in community,” she says.\u003c/p>\n\u003cp>Norton adds, “In the wake of the \u003cem>Lemonade\u003c/em> album, these questions about how black women find their voice, how they represent the image of god, and how we as black women provide space for liberation — not only of ourselves, but of all people. I think you find that in songs like ‘Freedom’ and ‘Formation.'”\u003c/p>\n\u003cp>Religious services that pay homage to black musical icons are somewhat of a San Francisco tradition: The Saint John Coltrane Church has existed in various incarnations since the jazz legend’s passing in 1967, and the Jimi Hendrix Electric Church Foundation worshiped the rock great in the ’80s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Grace Cathedral, the site of \u003ca href=\"https://www.youtube.com/watch?v=so8kSH8IwIA\" target=\"_blank\" rel=\"noopener\">Martin Luther King, Jr.’s historic 1965 sermon\u003c/a>, is a fitting location of the Beyoncé mass. The focus of Norton’s service will be to “discover how [Beyoncé’s] art opens a window into the lives of the marginalized and forgotten — particularly black females,” according to Grace Cathedral’s website.\u003c/p>\n\u003cfigure id=\"attachment_13829595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829595\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg\" alt=\"Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \u003ccite>(Larry Busacca/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This theme was certainly evident in Beyoncé’s viral Coachella performance this past Saturday, Apr. 14, where she performed an epic two-hour set steeped in centuries of black history, musicology, and culture. Dressed as Queen Nefertiti, then the leader of her own fictional HBCU sorority, Beyoncé commanded a brass band, drum line, and legions of dancers in a comprehensive reinterpretation of her catalog, weaving in homages to “Lift Every Voice and Sing,” also known as the black national anthem; Nigerian Afrobeat pioneer and protest leader Fela Kuti; civil rights-era singer Nina Simone; and New Orleans rapper Juvenile. Throughout her set, she drew a thread through eras of African diasporic art as expressions of joy and resistance, connecting her own discography to a potent legacy.\u003c/p>\n\u003cp>“No other living pop star is as aware of her origin, or of the truth that any origin is porous and multiple,” \u003ca href=\"https://www.newyorker.com/culture/culture-desk/beyonces-triumphant-homecoming-at-coachella\" target=\"_blank\" rel=\"noopener\">wrote critic Doreen St. Felix\u003c/a> in the \u003cem>New Yorker\u003c/em> after the performance.\u003c/p>\n\u003cp>The Apr. 25 sermon at Grace Cathedral is free, at 6:30pm, with seating on a first-come first-serve basis. \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>To go by public testimony, millions of people across the world already recognize Beyoncé Giselle Knowles-Carter is a goddess incarnate. Now, San Franciscans have a chance to formally worship the reigning queen of pop when Grace Cathedral hosts a \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Beyoncé mass\u003c/a> on Wednesday, Apr. 25.\u003c/p>\n\u003cp>\u003ca href=\"https://sfts.edu/academics/faculty/yolanda-norton/\" target=\"_blank\" rel=\"noopener\">Reverend Yolanda Norton\u003c/a>, a professor at the San Francisco Theological Seminary, will lead the service as part of Grace Cathedral’s the Vine, a series that infuses worship with pop music and progressive messaging.\u003c/p>\n\u003cfigure id=\"attachment_13830150\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13830150\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg\" alt=\"Reverend Yolanda Norton.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/YMN2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Reverend Yolanda Norton. \u003ccite>(Photo: Courtesy Yolanda Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Norton, who teaches a class called Beyoncé and the Hebrew Bible at the Theological Seminary, says that the mass was already in the works before Beyoncé’s historic Coachella performance, which broke YouTube streaming records as the most-watched festival performance of all time. “Even in class today, there was this great energy about continuing this conversation in the wake of Coachella, and what it means to do this worship service that taps into what I think is the essence of who Beyoncé is and how that relates to black women, how we relate to God, and how we are seen in community,” she says.\u003c/p>\n\u003cp>Norton adds, “In the wake of the \u003cem>Lemonade\u003c/em> album, these questions about how black women find their voice, how they represent the image of god, and how we as black women provide space for liberation — not only of ourselves, but of all people. I think you find that in songs like ‘Freedom’ and ‘Formation.'”\u003c/p>\n\u003cp>Religious services that pay homage to black musical icons are somewhat of a San Francisco tradition: The Saint John Coltrane Church has existed in various incarnations since the jazz legend’s passing in 1967, and the Jimi Hendrix Electric Church Foundation worshiped the rock great in the ’80s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Grace Cathedral, the site of \u003ca href=\"https://www.youtube.com/watch?v=so8kSH8IwIA\" target=\"_blank\" rel=\"noopener\">Martin Luther King, Jr.’s historic 1965 sermon\u003c/a>, is a fitting location of the Beyoncé mass. The focus of Norton’s service will be to “discover how [Beyoncé’s] art opens a window into the lives of the marginalized and forgotten — particularly black females,” according to Grace Cathedral’s website.\u003c/p>\n\u003cfigure id=\"attachment_13829595\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13829595\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg\" alt=\"Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-768x518.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/GettyImages-946418208-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyonce Knowles performs onstage during 2018 Coachella Valley Music And Arts Festival Weekend 1 at the Empire Polo Field on April 14, 2018 in Indio, California. \u003ccite>(Larry Busacca/Getty Images for Coachella)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This theme was certainly evident in Beyoncé’s viral Coachella performance this past Saturday, Apr. 14, where she performed an epic two-hour set steeped in centuries of black history, musicology, and culture. Dressed as Queen Nefertiti, then the leader of her own fictional HBCU sorority, Beyoncé commanded a brass band, drum line, and legions of dancers in a comprehensive reinterpretation of her catalog, weaving in homages to “Lift Every Voice and Sing,” also known as the black national anthem; Nigerian Afrobeat pioneer and protest leader Fela Kuti; civil rights-era singer Nina Simone; and New Orleans rapper Juvenile. Throughout her set, she drew a thread through eras of African diasporic art as expressions of joy and resistance, connecting her own discography to a potent legacy.\u003c/p>\n\u003cp>“No other living pop star is as aware of her origin, or of the truth that any origin is porous and multiple,” \u003ca href=\"https://www.newyorker.com/culture/culture-desk/beyonces-triumphant-homecoming-at-coachella\" target=\"_blank\" rel=\"noopener\">wrote critic Doreen St. Felix\u003c/a> in the \u003cem>New Yorker\u003c/em> after the performance.\u003c/p>\n\u003cp>The Apr. 25 sermon at Grace Cathedral is free, at 6:30pm, with seating on a first-come first-serve basis. \u003ca href=\"https://www.gracecathedral.org/main_events/beyonce-mass/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.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\n\u003c/div>\u003c/p>",
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"title": "Kendrick Lamar, 'Press Democrat' Claim Pulitzers. Here's the Full List of Winners",
"headTitle": "Kendrick Lamar, ‘Press Democrat’ Claim Pulitzers. Here’s the Full List of Winners | KQED",
"content": "\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kendrick+Lamar%2C+%27Press+Democrat%27+Claim+Pulitzers.+Here%27s+The+Full+List+Of+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Lamar joins the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post\u003c/em> as this year's prize winners. See the list of winners and watch Monday's announcement ceremony here.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kendrick+Lamar%2C+%27Press+Democrat%27+Claim+Pulitzers.+Here%27s+The+Full+List+Of+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "PHOTOS: Beyoncé Turns Coachella into 'Beychella'",
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"content": "\u003cp>Beyoncé was supposed to headline last year’s Coachella Valley Music and Arts Festival, but had to reschedule for this year because she was pregnant with her twins, Sir and Rumi.\u003c/p>\n\u003cp>It was worth the wait.\u003c/p>\n\u003cp>In her rousing two-hour set, Beyoncé paid tribute to historically black colleges and universities, performed with her husband Jay-Z and reunited with her old group Destiny’s Child.\u003c/p>\n\u003cfigure id=\"attachment_11662458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11662458\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-800x522.jpg\" alt=\"Beyonce's entrance as the headliner at Coachella 2018's first weekend. Her performance had been delayed for a year because of pregnancy.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1200x784.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1920x1254.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-960x627.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-520x340.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé’s entrance as the headliner at Coachella 2018’s first weekend. Her performance had been delayed for a year because of pregnancy. \u003ccite>(Larry Busacca/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She spent most of her time on stage being backed by marching bands, dance troupes and step teams at HBCUs. She also performed “Lift Every Voice and Sing,” known as the national black anthem.\u003c/p>\n\u003cp>https://twitter.com/FredTJoseph/status/985499978855534592\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/MatthewACherry/status/985576333794099200\u003c/p>\n\u003cfigure id=\"attachment_11662457\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11662457\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-800x533.jpg\" alt=\"Beyoncé Knowles performs onstage during 2018 Coachella.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417950-520x347.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé Knowles performs onstage during 2018 Coachella.\u003c/figcaption>\u003c/figure>\n\u003cp>Jon Caramanica wrote in his \u003ca href=\"https://www.nytimes.com/2018/04/15/arts/music/beyonce-coachella-review.html\" target=\"_blank\" rel=\"noopener\">New York Times review\u003c/a> of the performance that, “There’s not likely to be a more meaningful, absorbing, forceful and radical performance by an American musician this year, or any year soon,” than Beyoncé’s turn as the first black woman to headline Coachella.\u003c/p>\n\u003cblockquote>\u003cp>It was rich with history, potently political and visually grand. By turns uproarious, rowdy, and lush. A gobsmacking marvel of choreography and musical direction.\u003c/p>\n\u003cp>And not unimportantly, it obliterated the ideology of the relaxed festival, the idea that musicians exist to perform in service of a greater vibe. That is one of the more tragic side effects of the spread of festival culture over the last two decades. Beyoncé was having none of it. The Coachella main stage, on the grounds of the Empire Polo Club here, was her platform, yes, but her show was in countless ways a rebuke.\u003c/p>\u003c/blockquote>\n\u003cp>Kelly Rowland and Michelle Williams brought back Destiny’s Child for one night as the trio sang their smash “Say My Name,” and husband Jay-Z also came out for a collaboration.\u003c/p>\n\u003cp>https://twitter.com/Phil_Lewis_/status/985479101388677120\u003c/p>\n\u003cp>Beyoncé is due to return for her second performance as Coachella returns for its second run next weekend.\u003c/p>\n\u003cp>Beyoncé’s fans took to social media to express their love for the performance, with many renaming the event “Beychella” and discussing admission to the “HBeyCU.”\u003c/p>\n\u003cp>https://twitter.com/mtfarnsworth/status/985592354227732480\u003c/p>\n\u003cp>https://twitter.com/KarenCivil/status/985519690276454400\u003c/p>\n\u003cp>If you want to watch the performance, the official Coachella feed is below. Fast-forward to 3 hours and 50 minutes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/9TUBf6l7FBg?t=3h50m55s\u003c/p>\n\n",
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"title": "PHOTOS: Beyoncé Turns Coachella into 'Beychella' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé was supposed to headline last year’s Coachella Valley Music and Arts Festival, but had to reschedule for this year because she was pregnant with her twins, Sir and Rumi.\u003c/p>\n\u003cp>It was worth the wait.\u003c/p>\n\u003cp>In her rousing two-hour set, Beyoncé paid tribute to historically black colleges and universities, performed with her husband Jay-Z and reunited with her old group Destiny’s Child.\u003c/p>\n\u003cfigure id=\"attachment_11662458\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11662458\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-800x522.jpg\" alt=\"Beyonce's entrance as the headliner at Coachella 2018's first weekend. Her performance had been delayed for a year because of pregnancy.\" width=\"800\" height=\"522\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-800x522.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1020x666.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1200x784.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1920x1254.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-1180x771.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-960x627.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-375x245.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/04/GettyImages-946417964-520x340.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé’s entrance as the headliner at Coachella 2018’s first weekend. Her performance had been delayed for a year because of pregnancy. \u003ccite>(Larry Busacca/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She spent most of her time on stage being backed by marching bands, dance troupes and step teams at HBCUs. She also performed “Lift Every Voice and Sing,” known as the national black anthem.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Huey Lewis and the News have cancelled all their upcoming concerts, including their appearance at this year’s Outside Lands festival in San Francisco. The reason, Lewis says, is the loss much of his hearing earlier this year.\u003c/p>\n\u003cp>Lewis, 67, announced \u003ca href=\"https://www.facebook.com/hueylewisandthenews/posts/1871258712884546\" rel=\"noopener\" target=\"_blank\">on Facebook\u003c/a> Friday morning that the hearing loss struck him over two months ago, just before a show in Dallas. \u003c/p>\n\u003cp>“Although I can still hear a little, one on one, and on the phone, I can’t hear music well enough to sing,” Lewis wrote. “The lower frequencies distort violently making it impossible to find pitch.”\u003c/p>\n\u003cp>According to the post, Lewis visited hearing specialists at the House Ear Institute and the Stanford Ear Institute, who believe Lewis suffers from \u003ca href=\"http://www.entnet.org/content/menieres-disease\" rel=\"noopener\" target=\"_blank\">Ménière’s disease\u003c/a>, a chronic condition that can also cause vertigo. He’s been advised to stop performing altogether until his condition improves. According to \u003ca href=\"https://www.mayoclinic.org/diseases-conditions/menieres-disease/symptoms-causes/syc-20374910\" rel=\"noopener\" target=\"_blank\">the Mayo Clinic\u003c/a>, while the hearing loss is typically intermittent initially, it can become permanent. \u003c/p>\n\u003cp>This year was supposed to the year that Huey Lewis and the News had their comeback. The band, who ruled ’80s radio with hits like “I Want A New Drug” and “If This Is It,” announced in February that a jukebox musical inspired by their music \u003ca href=\"https://www.kqed.org/arts/13824047/musical-inspired-by-huey-lewis-the-news-in-the-works\" rel=\"noopener\" target=\"_blank\">was in the works\u003c/a>. The band booked several concerts \u003ca href=\"https://www.songkick.com/artists/363648-huey-lewis-and-the-news/calendar\" rel=\"noopener\" target=\"_blank\">for this summer,\u003c/a> including a headlining slot at this year’s Outside Lands, and even planned to release \u003ca href=\"http://www.chicagotribune.com/suburbs/lake-county-news-sun/lifestyles/ct-lns-huey-lewis-st-0908-20170823-story.html\" rel=\"noopener\" target=\"_blank\">a new album.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite his troubles, Lewis says he’s not going down without a fight. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Needless to say, I feel horrible about this, and wish to sincerely apologize to all the fans who’ve already bought tickets and were planning to come see us. I’m going to concentrate on getting better, and hope that one day soon I’ll be able to perform again,” Lewis wrote.\u003c/p>\n\n",
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"excerpt": "This year was supposed to be a comeback year for the group, as they had a nationwide tour planned to help promote a musical inspired by their music.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Huey Lewis and the News have cancelled all their upcoming concerts, including their appearance at this year’s Outside Lands festival in San Francisco. The reason, Lewis says, is the loss much of his hearing earlier this year.\u003c/p>\n\u003cp>Lewis, 67, announced \u003ca href=\"https://www.facebook.com/hueylewisandthenews/posts/1871258712884546\" rel=\"noopener\" target=\"_blank\">on Facebook\u003c/a> Friday morning that the hearing loss struck him over two months ago, just before a show in Dallas. \u003c/p>\n\u003cp>“Although I can still hear a little, one on one, and on the phone, I can’t hear music well enough to sing,” Lewis wrote. “The lower frequencies distort violently making it impossible to find pitch.”\u003c/p>\n\u003cp>According to the post, Lewis visited hearing specialists at the House Ear Institute and the Stanford Ear Institute, who believe Lewis suffers from \u003ca href=\"http://www.entnet.org/content/menieres-disease\" rel=\"noopener\" target=\"_blank\">Ménière’s disease\u003c/a>, a chronic condition that can also cause vertigo. He’s been advised to stop performing altogether until his condition improves. According to \u003ca href=\"https://www.mayoclinic.org/diseases-conditions/menieres-disease/symptoms-causes/syc-20374910\" rel=\"noopener\" target=\"_blank\">the Mayo Clinic\u003c/a>, while the hearing loss is typically intermittent initially, it can become permanent. \u003c/p>\n\u003cp>This year was supposed to the year that Huey Lewis and the News had their comeback. The band, who ruled ’80s radio with hits like “I Want A New Drug” and “If This Is It,” announced in February that a jukebox musical inspired by their music \u003ca href=\"https://www.kqed.org/arts/13824047/musical-inspired-by-huey-lewis-the-news-in-the-works\" rel=\"noopener\" target=\"_blank\">was in the works\u003c/a>. The band booked several concerts \u003ca href=\"https://www.songkick.com/artists/363648-huey-lewis-and-the-news/calendar\" rel=\"noopener\" target=\"_blank\">for this summer,\u003c/a> including a headlining slot at this year’s Outside Lands, and even planned to release \u003ca href=\"http://www.chicagotribune.com/suburbs/lake-county-news-sun/lifestyles/ct-lns-huey-lewis-st-0908-20170823-story.html\" rel=\"noopener\" target=\"_blank\">a new album.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sister Rosetta Tharpe Gets Her Day in the Rock & Roll Hall of Fame",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a>‘s electric gospel sound was crucial in paving the way for rock and roll, and the late singer and guitarist is finally getting her day at the Rock & Roll Hall of Fame in Cleveland. She joins this a class of inductees that includes big-name rock bands like Bon Jovi, Dire Straits and The Cars.\u003c/p>\n\u003cp>Rosetta Tharpe was a huge star in her time. Born in a small town in Arkansas in 1915, she was raised in the Pentecostal church. Tharpe honed her musical talent at tent revivals and churches, but found fame after moving to New York City in the 1930s. Her electric sanctified sound was an overnight sensation in the city’s nightclubs, and secular audiences fell in love with her ecstatic guitar playing.\u003c/p>\n\u003cp>Her fame faded by the 1960s as a new generation of musicians began to expand upon her style. She found new audiences in Europe, but otherwise settled into a quiet life in Philadelphia. Tharpe died in 1973 at the age of 58. Although her name fell into the shadows of history for decades, her influence did not.\u003c/p>\n\u003cp>“She influenced \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/131002081/johnny-cash\">Johnny Cash\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/460345202/little-richard\">Little Richard\u003c/a>,” says Tharpe’s biographer Gayle Wald. “She influenced innumerable other people who we recognize as foundational figures in rock and roll.”\u003c/p>\n\u003cp>Sister Rosetta Tharpe is set to be posthumously inducted into the Rock & Roll Hall of fame on May 5. Gayle Wald says the musician would be tickled by the honor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When people would ask her about her music,” Wald says, “she would say, ‘Oh, these kids and rock and roll — this is just sped up rhythm and blues. I’ve been doing that forever.’ ”\u003c/p>\n\u003cp>Listen to World Cafe’s tribute to Sister Rosetta Tharpe, produced by Alex Lewis for \u003ca href=\"http://xpngospelroots.org/\">WXPN’s Gospel Roots of Rock and Soul project. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gospel Roots of Rock and Soul has been supported by \u003c/em>\u003ca href=\"https://www.pcah.us/\">\u003cem>The Pew Center for Arts & Heritage\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 XPN. To see more, visit \u003ca href=\"http://www.xpn.org/\">XPN\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sister+Rosetta+Tharpe+Gets+Her+Day+In+The+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"id": "commonwealth-club",
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"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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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"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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"order": 18
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"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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"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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},
"mindshift": {
"id": "mindshift",
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"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>",
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"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",
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"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.",
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"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?",
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"order": 11
},
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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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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