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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Yet he rose to the occasion. Tarnopolsky was instrumental in staging the exclusive performances of Robert Wilson and Philip Glass’s opera \u003cem>Einstein on the Beach\u003c/em> in 2012. Three years later, Tarnopolsky started Berkeley RADICAL (Research and Development Initiative in Creativity Arts and Learning), which attracted respected artists from all over the world, such as Gustavo Dudamel and the Simon Bolivar Orchestra of Venezuela, and the Vienna Philharmonic Orchestra.\u003c/p>\n\u003cp>Under Tarnopolsky’s direction, Cal Performances also commissioned several notable works, such as pieces from choreographers \u003ca href=\"https://www.alvinailey.org/performances/repertory/awakening\" rel=\"noopener\" target=\"_blank\">Robert Battle\u003c/a> and \u003ca href=\"http://laylaandmajnun.org/\" rel=\"noopener\" target=\"_blank\">Mark Morris\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/m7fDJVMvzW8'\n title='//www.youtube.com/embed/m7fDJVMvzW8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Tarnopolsky told the \u003ca href=\"https://www.sfchronicle.com/music/article/Cal-Performances-Tarnopolsky-to-lead-12782046.php\" rel=\"noopener\" target=\"_blank\">\u003cem>San Francisco Chronicle\u003c/em>\u003c/a> that classical music was always his first area of interest, having worked in administrative positions for the Chicago Symphony and the New York Philharmonic before coming to Cal Performances. Explaining his move to the Philadelphia Orchestra, Tarnopolsky cited his admiration for the organization and its music director, Yannick Nézet-Séguin.\u003c/p>\n\u003cp>“I’m genuinely happy to go back to working with an orchestra,” Tarnopolsky told the Chronicle. “But the range of artists I’ve worked with at Cal Performances has helped put the symphonic world in context for me.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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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"content": "\u003cp>Years ago, the new age composer Robert Rich regularly set up speakers, invited an audience, and performed soft, lilting music specifically meant for slumber. Known as “\u003ca href=\"http://www.factmag.com/2014/10/10/dreamcatching-the-remarkable-story-of-robert-rich-and-the-sleep-concerts/\" rel=\"noopener\" target=\"_blank\">sleep concerts\u003c/a>,” the shows made for an unusual sight: the crowd asleep on the floor in sleeping bags and blankets while Rich performed on stage. \u003c/p>\n\u003cp>If the whole idea sounds like a 1980s relic to you, know this: the “sleep concert” is making a comeback. Rich \u003ca href=\"https://grayarea.org/event/robert-richs-sleep-concert-presented-flow-kana/\" rel=\"noopener\" target=\"_blank\">resurrected the concept\u003c/a> at this year’s Noise Pop festival; he also brought it to the 2013 Unsound festival in Poland.\u003c/p>\n\u003cp>Now, ambient composer William Basinski settles into The Lab in San Francisco for his own version of the sleep concert. On April 20, starting at 10pm and ending at 6am, Basinski performs material from his new album \u003cem>On Time Out of Time\u003c/em> for a crowd curled up on the floor in quilts and pillows. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mjnAE5go9dI\u003c/p>\n\u003cp>But the real attraction here is \u003cem>The Disintegration Loops\u003c/em>, the epic five-hour project Basinski recorded in New York City on the eve of 9/11. An experiment in looping, tape reels, and decay, \u003cem>The Disintegration Loops\u003c/em> has an unusually emotional quality; made from slowly degrading magnetic tapes, it’s a document of loss not just of sound but of body and spirit. Eventually released in box set form, the cycle is \u003ca href=\"https://pitchfork.com/reviews/albums/17064-the-disintegration-loops/\" rel=\"noopener\" target=\"_blank\">widely regarded as a modern masterpiece\u003c/a>. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite its acclaim, \u003cem>The Disintegration Loops\u003c/em> is very rarely performed. That makes it a special treat when Basinksi plays it — bring your sleeping bags — on April 20, from 10pm-6am, at The Lab (part of the Lab’s ’24-Hour Telethon’). \u003ca href=\"http://www.thelab.org/projects/2018/4/20/the-labs-24-hour-telethon\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Years ago, the new age composer Robert Rich regularly set up speakers, invited an audience, and performed soft, lilting music specifically meant for slumber. Known as “\u003ca href=\"http://www.factmag.com/2014/10/10/dreamcatching-the-remarkable-story-of-robert-rich-and-the-sleep-concerts/\" rel=\"noopener\" target=\"_blank\">sleep concerts\u003c/a>,” the shows made for an unusual sight: the crowd asleep on the floor in sleeping bags and blankets while Rich performed on stage. \u003c/p>\n\u003cp>If the whole idea sounds like a 1980s relic to you, know this: the “sleep concert” is making a comeback. Rich \u003ca href=\"https://grayarea.org/event/robert-richs-sleep-concert-presented-flow-kana/\" rel=\"noopener\" target=\"_blank\">resurrected the concept\u003c/a> at this year’s Noise Pop festival; he also brought it to the 2013 Unsound festival in Poland.\u003c/p>\n\u003cp>Now, ambient composer William Basinski settles into The Lab in San Francisco for his own version of the sleep concert. On April 20, starting at 10pm and ending at 6am, Basinski performs material from his new album \u003cem>On Time Out of Time\u003c/em> for a crowd curled up on the floor in quilts and pillows. \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/mjnAE5go9dI'\n title='//www.youtube.com/embed/mjnAE5go9dI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But the real attraction here is \u003cem>The Disintegration Loops\u003c/em>, the epic five-hour project Basinski recorded in New York City on the eve of 9/11. An experiment in looping, tape reels, and decay, \u003cem>The Disintegration Loops\u003c/em> has an unusually emotional quality; made from slowly degrading magnetic tapes, it’s a document of loss not just of sound but of body and spirit. Eventually released in box set form, the cycle is \u003ca href=\"https://pitchfork.com/reviews/albums/17064-the-disintegration-loops/\" rel=\"noopener\" target=\"_blank\">widely regarded as a modern masterpiece\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Despite its acclaim, \u003cem>The Disintegration Loops\u003c/em> is very rarely performed. That makes it a special treat when Basinksi plays it — bring your sleeping bags — on April 20, from 10pm-6am, at The Lab (part of the Lab’s ’24-Hour Telethon’). \u003ca href=\"http://www.thelab.org/projects/2018/4/20/the-labs-24-hour-telethon\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Happens to SOB x RBE Now That Yhung T.O. Has An Interscope Deal?",
"headTitle": "What Happens to SOB x RBE Now That Yhung T.O. Has An Interscope Deal? | KQED",
"content": "\u003cp>When SOB x RBE’s Kendrick Lamar-assisted “Paramedic!” was featured on the \u003ca href=\"https://www.kqed.org/arts/13823286\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em> soundtrack\u003c/a>, it seemed certain that things were about to change for the promising Vallejo rap group — the most talked-about local act of the past year.\u003c/p>\n\u003cp>And change they did. Yhung T.O., the group’s master of melody, revealed on March 23 that he’d \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8257710/yhung-to-signs-to-interscope-sob-x-rbe\" target=\"_blank\" rel=\"noopener noreferrer\">inked a deal with Interscope\u003c/a>. He also dropped his first single with the label, the downcast, autobiographical slapper “Misunderstood,” and promised a solo project of the same name coming later this year.\u003c/p>\n\u003cp>https://youtu.be/V-fRd32FNnI\u003c/p>\n\u003cp>That’s great news for Yhung T.O. — and the Bay Area as a whole. After all, more local artists with major-label deals means more eyes on the regional scene, and T.O. joins Kamaiyah, Saweetie, Kehlani, and G-Eazy as the latest local act to sign with a major.\u003c/p>\n\u003cp>But what does Yhung T.O.’s solo deal spell for the future of SOB x RBE, which earned its avid following on the strength of their explosive group energy?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Much like the other Odd Future members often featured on Tyler, the Creator’s solo work, we’ll likely hear from Daboii, Slimmy B, and Lul G on \u003cem>Misunderstood\u003c/em>. But if one examines the history of promising solo artists leaving the groups they started with — like E-40 signing with RCA while still a member of the Click — it becomes apparent that the first of the group to sign a deal often goes the way of Beyoncé, and the others of Kelly and Michelle.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hQt2R9Rp24w\u003c/p>\n\u003cp>The question then becomes, is Yhung T.O. really a Beyoncé? Will he shine brighter on his own than with SOB x RBE? Interscope is betting its money that the answer is yes. But although T.O.’s 2017 solo mixtape, \u003cem>On My Momma\u003c/em>, gave us the catchy “Don’t Blame ‘Em,” his solo work hasn’t generated nearly as much organic hype as SOB x RBE’s most memorable tracks. On “Paramedic!,” “Lane Changin,” and “Anti,” T.O.’s silky voice provides a momentary, groovy respite from DaBoii, Slimmy B, and Lul G’s scathing bars, and that carefully-balanced chemistry is what makes the group so entertaining.\u003c/p>\n\u003cp>https://youtu.be/W2_A89qTgwM\u003c/p>\n\u003cp>The other question is whether Interscope will do Yhung T.O. justice in marketing him to a mainstream audience. The Bay Area has an idiosyncratic and hyper-local rap culture, and regional favorites haven’t always translated to mainstream audiences. Keak Da Sneak’s group 3XKrazy, for instance, didn’t take off nationally despite a deal with Virgin.\u003c/p>\n\u003cp>There’s also the question of whether a label like Interscope — which is home to dozens of Platinum-selling artists — will invest enough resources into an upstart like T.O. One recent case study gives enough reason to be skeptical. In a 2017 \u003ca href=\"https://www.gq.com/story/kamaiyah-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em> interview\u003c/a>, Kamaiyah complained that Interscope fumbled the rollout of her debut album because of sample clearance issues, adding that she felt like her album wasn’t a priority for the label. Vocal about her frustration, she self-released her latest mixtape \u003cem>Before I Wake\u003c/em>. Her debut studio album is still pending.\u003c/p>\n\u003cp>It could be a boon for Yhung T.O., however, that his sound seems to be in the lineage of some of Interscope’s most successful rap signees — namely Dr. Dre’s Death Row Records, which Interscope acquired in the ’90s. Nate Dogg, the original crooner with gangster lyrics, was on Interscope when he and Warren G released the smash “\u003ca href=\"https://www.youtube.com/watch?v=1plPyJdXKIY\" target=\"_blank\" rel=\"noopener noreferrer\">Regulate\u003c/a>” — an early predecessor to SOB x RBE’s mix of streetwise raps and soulful melodies.\u003c/p>\n\u003cp>Only time will tell how Yhung T.O. and Interscope will handle the young artist’s new-found success, but one thing’s for certain: SOB x RBE won’t be the same.\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>When SOB x RBE’s Kendrick Lamar-assisted “Paramedic!” was featured on the \u003ca href=\"https://www.kqed.org/arts/13823286\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Black Panther\u003c/em> soundtrack\u003c/a>, it seemed certain that things were about to change for the promising Vallejo rap group — the most talked-about local act of the past year.\u003c/p>\n\u003cp>And change they did. Yhung T.O., the group’s master of melody, revealed on March 23 that he’d \u003ca href=\"https://www.billboard.com/articles/columns/hip-hop/8257710/yhung-to-signs-to-interscope-sob-x-rbe\" target=\"_blank\" rel=\"noopener noreferrer\">inked a deal with Interscope\u003c/a>. He also dropped his first single with the label, the downcast, autobiographical slapper “Misunderstood,” and promised a solo project of the same name coming later this year.\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/V-fRd32FNnI'\n title='//www.youtube.com/embed/V-fRd32FNnI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s great news for Yhung T.O. — and the Bay Area as a whole. After all, more local artists with major-label deals means more eyes on the regional scene, and T.O. joins Kamaiyah, Saweetie, Kehlani, and G-Eazy as the latest local act to sign with a major.\u003c/p>\n\u003cp>But what does Yhung T.O.’s solo deal spell for the future of SOB x RBE, which earned its avid following on the strength of their explosive group energy?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Much like the other Odd Future members often featured on Tyler, the Creator’s solo work, we’ll likely hear from Daboii, Slimmy B, and Lul G on \u003cem>Misunderstood\u003c/em>. But if one examines the history of promising solo artists leaving the groups they started with — like E-40 signing with RCA while still a member of the Click — it becomes apparent that the first of the group to sign a deal often goes the way of Beyoncé, and the others of Kelly and Michelle.\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/hQt2R9Rp24w'\n title='//www.youtube.com/embed/hQt2R9Rp24w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The question then becomes, is Yhung T.O. really a Beyoncé? Will he shine brighter on his own than with SOB x RBE? Interscope is betting its money that the answer is yes. But although T.O.’s 2017 solo mixtape, \u003cem>On My Momma\u003c/em>, gave us the catchy “Don’t Blame ‘Em,” his solo work hasn’t generated nearly as much organic hype as SOB x RBE’s most memorable tracks. On “Paramedic!,” “Lane Changin,” and “Anti,” T.O.’s silky voice provides a momentary, groovy respite from DaBoii, Slimmy B, and Lul G’s scathing bars, and that carefully-balanced chemistry is what makes the group so entertaining.\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/W2_A89qTgwM'\n title='//www.youtube.com/embed/W2_A89qTgwM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The other question is whether Interscope will do Yhung T.O. justice in marketing him to a mainstream audience. The Bay Area has an idiosyncratic and hyper-local rap culture, and regional favorites haven’t always translated to mainstream audiences. Keak Da Sneak’s group 3XKrazy, for instance, didn’t take off nationally despite a deal with Virgin.\u003c/p>\n\u003cp>There’s also the question of whether a label like Interscope — which is home to dozens of Platinum-selling artists — will invest enough resources into an upstart like T.O. One recent case study gives enough reason to be skeptical. In a 2017 \u003ca href=\"https://www.gq.com/story/kamaiyah-interview\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>GQ\u003c/em> interview\u003c/a>, Kamaiyah complained that Interscope fumbled the rollout of her debut album because of sample clearance issues, adding that she felt like her album wasn’t a priority for the label. Vocal about her frustration, she self-released her latest mixtape \u003cem>Before I Wake\u003c/em>. Her debut studio album is still pending.\u003c/p>\n\u003cp>It could be a boon for Yhung T.O., however, that his sound seems to be in the lineage of some of Interscope’s most successful rap signees — namely Dr. Dre’s Death Row Records, which Interscope acquired in the ’90s. Nate Dogg, the original crooner with gangster lyrics, was on Interscope when he and Warren G released the smash “\u003ca href=\"https://www.youtube.com/watch?v=1plPyJdXKIY\" target=\"_blank\" rel=\"noopener noreferrer\">Regulate\u003c/a>” — an early predecessor to SOB x RBE’s mix of streetwise raps and soulful melodies.\u003c/p>\n\u003cp>Only time will tell how Yhung T.O. and Interscope will handle the young artist’s new-found success, but one thing’s for certain: SOB x RBE won’t be the same.\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": "Prince Died With 'Exceedingly High' Level Of Fentanyl, Report States",
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"content": "\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\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=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\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=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Mixtape: Standout Local Hip-Hop and R&B Producers",
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"content": "\u003cp>The Bay Area’s vibrant hip-hop and R&B scenes include a wealth of talented MCs and singers, but it’s often easy to forget the important, behind-the-scenes role that music producers play. A skilled producer doesn’t just provide a instrumental backdrop for an artist to showcase their craft; instead, the best producers elevate their artists, adding depth that demands repeat listens.\u003c/p>\n\u003cp>This mixtape showcases a dozen songs from local hip-hop and R&B artists working with local producers. Some of the MCs in this set — including \u003ca href=\"https://www.facebook.com/ElujayMusic/\" target=\"_blank\" rel=\"noopener\">Elujay\u003c/a>, \u003ca href=\"https://www.versoulmusic.com/\" target=\"_blank\" rel=\"noopener\">Versoul (fka Babii Cris)\u003c/a>, and \u003ca href=\"http://www.shyangmusic.com/\" target=\"_blank\" rel=\"noopener\">Shy’An G\u003c/a> — are impressively pulling double-duty as producers themselves. And increasingly, talented producers like \u003ca href=\"https://soundcloud.com/ianmckeemusic\" target=\"_blank\" rel=\"noopener\">Ian McKee\u003c/a>, \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a>, \u003ca target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, and \u003ca href=\"http://mikosdagawd.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a> are establishing identities as solo artists, not just skilled sonic craftspeople behind the boards.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 12 producers spotlighted in this mix.\u003c/p>\n\u003cp>\u003cstrong>Track Listing\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/ianmckeemusic\" target=\"_blank\" rel=\"noopener\">Ian McKee\u003c/a>, “Plans (feat. Beejus, Mani Draper & Turk)”\u003cbr>\n\u003cem>Produced by Ian McKee\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"http://www.legendvrymusic.com/\" target=\"_blank\" rel=\"noopener\">LEGENDVRY\u003c/a>, “Slow Down”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/spencerxstevens\" target=\"_blank\" rel=\"noopener\">Spencer Stevens\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.rayanajay.com/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>, “One More Time”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/KevChoice\" target=\"_blank\" rel=\"noopener\">Kev Choice\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, “Potential (feat. Rexx Life Raj, Ciscero & Mikos Da Gawd)”\u003cbr>\n\u003cem>Produced by JULiA LEWiS and Mikos Da Gawd\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener\">Rexx Life Raj\u003c/a> & \u003ca href=\"http://www.ymtk.me/\" target=\"_blank\" rel=\"noopener\">ymtk\u003c/a>, “What’s Up”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/siribo510\" target=\"_blank\" rel=\"noopener\">Siri\u003c/a>, “All of You”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/aarumi\" target=\"_blank\" rel=\"noopener\">Arumi\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://zionicrew.com/\" target=\"_blank\" rel=\"noopener\">Zion I\u003c/a>, “Us”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/djfreshdjfreshdjfresh\" target=\"_blank\" rel=\"noopener\">DJ Fresh\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://mikosdagawd.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a>, “Angels (feat. Bruh From Last Night & Tia Nomore)”\u003cbr>\n\u003cem>Produced by Mikos Da Gawd\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.astumusic.com/\" target=\"_blank\" rel=\"noopener\">ASTU\u003c/a>, “Staycation/Runaway”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/daoudmakesmusic\" target=\"_blank\" rel=\"noopener\">Daoud Anthony\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://the-watershed-415.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The Watershed\u003c/a>, “Real Dope (feat. Equipto, Monk HTS & Professa Gabel)”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://brycon.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Brycon\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.versoulmusic.com/\" target=\"_blank\" rel=\"noopener\">Versoul (fka Babii Cris)\u003c/a> & \u003ca href=\"http://www.shyangmusic.com/\" target=\"_blank\" rel=\"noopener\">Shy’An G\u003c/a>, “No Reason”\u003cbr>\n\u003cem>Produced by Versoul and Shy’An G\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ElujayMusic/\" target=\"_blank\" rel=\"noopener\">Elujay\u003c/a>, “Worth It (feat. Joyce Wrice)”\u003cbr>\n\u003cem>Produced by Elujay\u003c/em>\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>The Bay Area’s vibrant hip-hop and R&B scenes include a wealth of talented MCs and singers, but it’s often easy to forget the important, behind-the-scenes role that music producers play. A skilled producer doesn’t just provide a instrumental backdrop for an artist to showcase their craft; instead, the best producers elevate their artists, adding depth that demands repeat listens.\u003c/p>\n\u003cp>This mixtape showcases a dozen songs from local hip-hop and R&B artists working with local producers. Some of the MCs in this set — including \u003ca href=\"https://www.facebook.com/ElujayMusic/\" target=\"_blank\" rel=\"noopener\">Elujay\u003c/a>, \u003ca href=\"https://www.versoulmusic.com/\" target=\"_blank\" rel=\"noopener\">Versoul (fka Babii Cris)\u003c/a>, and \u003ca href=\"http://www.shyangmusic.com/\" target=\"_blank\" rel=\"noopener\">Shy’An G\u003c/a> — are impressively pulling double-duty as producers themselves. And increasingly, talented producers like \u003ca href=\"https://soundcloud.com/ianmckeemusic\" target=\"_blank\" rel=\"noopener\">Ian McKee\u003c/a>, \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a>, \u003ca target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, and \u003ca href=\"http://mikosdagawd.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a> are establishing identities as solo artists, not just skilled sonic craftspeople behind the boards.\u003c/p>\n\u003cp>Listen to the mixtape to learn more about all 12 producers spotlighted in this mix.\u003c/p>\n\u003cp>\u003cstrong>Track Listing\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/ianmckeemusic\" target=\"_blank\" rel=\"noopener\">Ian McKee\u003c/a>, “Plans (feat. Beejus, Mani Draper & Turk)”\u003cbr>\n\u003cem>Produced by Ian McKee\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.legendvrymusic.com/\" target=\"_blank\" rel=\"noopener\">LEGENDVRY\u003c/a>, “Slow Down”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/spencerxstevens\" target=\"_blank\" rel=\"noopener\">Spencer Stevens\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.rayanajay.com/\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>, “One More Time”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/KevChoice\" target=\"_blank\" rel=\"noopener\">Kev Choice\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca target=\"_blank\" rel=\"noopener\">JULiA LEWiS\u003c/a>, “Potential (feat. Rexx Life Raj, Ciscero & Mikos Da Gawd)”\u003cbr>\n\u003cem>Produced by JULiA LEWiS and Mikos Da Gawd\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://www.rexxliferaj.com/\" target=\"_blank\" rel=\"noopener\">Rexx Life Raj\u003c/a> & \u003ca href=\"http://www.ymtk.me/\" target=\"_blank\" rel=\"noopener\">ymtk\u003c/a>, “What’s Up”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/drewbanga\" target=\"_blank\" rel=\"noopener\">Drew Banga\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://soundcloud.com/siribo510\" target=\"_blank\" rel=\"noopener\">Siri\u003c/a>, “All of You”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/aarumi\" target=\"_blank\" rel=\"noopener\">Arumi\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://zionicrew.com/\" target=\"_blank\" rel=\"noopener\">Zion I\u003c/a>, “Us”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/djfreshdjfreshdjfresh\" target=\"_blank\" rel=\"noopener\">DJ Fresh\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://mikosdagawd.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Mikos Da Gawd\u003c/a>, “Angels (feat. Bruh From Last Night & Tia Nomore)”\u003cbr>\n\u003cem>Produced by Mikos Da Gawd\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.astumusic.com/\" target=\"_blank\" rel=\"noopener\">ASTU\u003c/a>, “Staycation/Runaway”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://soundcloud.com/daoudmakesmusic\" target=\"_blank\" rel=\"noopener\">Daoud Anthony\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"http://the-watershed-415.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">The Watershed\u003c/a>, “Real Dope (feat. Equipto, Monk HTS & Professa Gabel)”\u003cbr>\n\u003cem>Produced by \u003ca href=\"https://brycon.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Brycon\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.versoulmusic.com/\" target=\"_blank\" rel=\"noopener\">Versoul (fka Babii Cris)\u003c/a> & \u003ca href=\"http://www.shyangmusic.com/\" target=\"_blank\" rel=\"noopener\">Shy’An G\u003c/a>, “No Reason”\u003cbr>\n\u003cem>Produced by Versoul and Shy’An G\u003c/em>\u003c/p>\n\u003cp>\u003ca href=\"https://www.facebook.com/ElujayMusic/\" target=\"_blank\" rel=\"noopener\">Elujay\u003c/a>, “Worth It (feat. Joyce Wrice)”\u003cbr>\n\u003cem>Produced by Elujay\u003c/em>\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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"content": "\u003cp>Olly Wilson, an esteemed musicologist and composer who experimented with African styles and electronic instruments within traditional western classical works, has died. He was 80.\u003c/p>\n\u003cp>A longtime professor at UC Berkeley — and, previously, Oberlin College in Ohio — Wilson was an acclaimed composer who won several awards, including two Guggenheim Fellowships and the Rome Prize. Besides a notable scholar of African music, Wilson was also an early adopter of electronic music. He opened a studio focused on the burgeoning genre at Oberlin’s Conservatory of Music in the 1960s. It would become the Technology in Music and Related Arts program, or TIMARA, the first program of its kind at a conservatory. \u003c/p>\n\u003cp>“Olly was very important for the department, for the campus, and for the study of African American music more broadly, in addition to his significant impact as a composer and professor of composition,” UC Berkeley music professor Ben Brinner told the school’s \u003ca href=\"http://news.berkeley.edu/story_jump/campus-mourns-olly-wilson-musician-composer-and-teacher/\" rel=\"noopener\" target=\"_blank\">public affairs department\u003c/a>. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lU0so6juiE0\u003c/p>\n\u003cp>Born in St. Louis in 1937, Wilson started his music career as pianist, playing jazz and other genres in bars around town as a teenager. At one early gig, Wilson and his bandmates backed a then-unknown Chuck Berry, who was on his way to changing the musical landscape with songs like “Johnny B. Goode.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We considered that silly music because we were jazz aficionados,” Wilson later \u003ca href=\"https://www.nytimes.com/2018/03/23/obituaries/olly-wilson-80-dies-composer-meshed-african-and-western-music.html\" rel=\"noopener\" target=\"_blank\">said about the show\u003c/a>.\u003c/p>\n\u003cp>Wilson went on to attend several universities, finally earning his Ph.D. from University of Iowa in 1964. Three years later, Wilson composed “Cetus” while he was studying at the University of Illinois Studio for Experimental Music. The work would win a prize at the first International Electronic Music Competition.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=coHCvItAUN8\u003c/p>\n\u003cp>A prolific composer, Wilson received commissions from the New York Philharmonic, the Black Music Repertory Ensemble, and the Chicago Symphony for his work. His most notable pieces include “Of Visions and Truth,” “Sinfonia,” and “In Memoriam Martin Luther King, Jr.”\u003c/p>\n\u003cp>Wilson joined the music department at UC Berkeley in 1970 and stayed there over 30 years, retiring as a professor emeritus in 2002. He was head of the department from 1993 and 1997, and early in his tenure he served in the chancellor’s office, leading administrative efforts to address equity. Colleagues later credited Wilson for expanding the music department’s curriculum.\u003c/p>\n\u003cp>“He was one of the most important African American composers of what we would loosely call classical music, as opposed to jazz or pop music,” UC Berkeley’s John Roberts told \u003ca href=\"http://www.dailycal.org/2018/03/19/uc-berkeley-music-professor-emeritus-olly-wilson-dies-80-remembered-integrity/\" rel=\"noopener\" target=\"_blank\">the Daily Cal\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wilson’s daughter Dawn Wilson says her father died on March 12 due to complications from dementia. A memorial to Wilson is scheduled for March 30 at the Claremont Hotel.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Olly Wilson, an esteemed musicologist and composer who experimented with African styles and electronic instruments within traditional western classical works, has died. He was 80.\u003c/p>\n\u003cp>A longtime professor at UC Berkeley — and, previously, Oberlin College in Ohio — Wilson was an acclaimed composer who won several awards, including two Guggenheim Fellowships and the Rome Prize. Besides a notable scholar of African music, Wilson was also an early adopter of electronic music. He opened a studio focused on the burgeoning genre at Oberlin’s Conservatory of Music in the 1960s. It would become the Technology in Music and Related Arts program, or TIMARA, the first program of its kind at a conservatory. \u003c/p>\n\u003cp>“Olly was very important for the department, for the campus, and for the study of African American music more broadly, in addition to his significant impact as a composer and professor of composition,” UC Berkeley music professor Ben Brinner told the school’s \u003ca href=\"http://news.berkeley.edu/story_jump/campus-mourns-olly-wilson-musician-composer-and-teacher/\" rel=\"noopener\" target=\"_blank\">public affairs department\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/lU0so6juiE0'\n title='//www.youtube.com/embed/lU0so6juiE0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Born in St. Louis in 1937, Wilson started his music career as pianist, playing jazz and other genres in bars around town as a teenager. At one early gig, Wilson and his bandmates backed a then-unknown Chuck Berry, who was on his way to changing the musical landscape with songs like “Johnny B. Goode.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We considered that silly music because we were jazz aficionados,” Wilson later \u003ca href=\"https://www.nytimes.com/2018/03/23/obituaries/olly-wilson-80-dies-composer-meshed-african-and-western-music.html\" rel=\"noopener\" target=\"_blank\">said about the show\u003c/a>.\u003c/p>\n\u003cp>Wilson went on to attend several universities, finally earning his Ph.D. from University of Iowa in 1964. Three years later, Wilson composed “Cetus” while he was studying at the University of Illinois Studio for Experimental Music. The work would win a prize at the first International Electronic Music Competition.\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/coHCvItAUN8'\n title='//www.youtube.com/embed/coHCvItAUN8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>A prolific composer, Wilson received commissions from the New York Philharmonic, the Black Music Repertory Ensemble, and the Chicago Symphony for his work. His most notable pieces include “Of Visions and Truth,” “Sinfonia,” and “In Memoriam Martin Luther King, Jr.”\u003c/p>\n\u003cp>Wilson joined the music department at UC Berkeley in 1970 and stayed there over 30 years, retiring as a professor emeritus in 2002. He was head of the department from 1993 and 1997, and early in his tenure he served in the chancellor’s office, leading administrative efforts to address equity. Colleagues later credited Wilson for expanding the music department’s curriculum.\u003c/p>\n\u003cp>“He was one of the most important African American composers of what we would loosely call classical music, as opposed to jazz or pop music,” UC Berkeley’s John Roberts told \u003ca href=\"http://www.dailycal.org/2018/03/19/uc-berkeley-music-professor-emeritus-olly-wilson-dies-80-remembered-integrity/\" rel=\"noopener\" target=\"_blank\">the Daily Cal\u003c/a>. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wilson’s daughter Dawn Wilson says her father died on March 12 due to complications from dementia. A memorial to Wilson is scheduled for March 30 at the Claremont Hotel.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Killer Mike Apologizes for Interview with NRA, Claims It was Misused",
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"content": "\u003cp>As artists like Paul McCartney, Lin-Manuel Miranda, Demi Lovato and Andra Day made appearances during March for Our Lives demonstrations for gun control this past Saturday, the rapper Killer Mike was on the Internet, explaining his support of gun ownership in an interview with NRATV, the broadcasting arm of the pro-gun lobbying and advocacy organization.\u003c/p>\n\u003cp>NRA host Colion Noir opens the video by addressing the protesters directly. “What are you really marching for? Because from where I’m standing, it looks like a march to burn the Constitution and rewrite the parts you don’t like in crayon,” he says. Noir goes on to add that “no one can point this out better than Killer Mike.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZXtpUE1b2NY\u003c/p>\n\u003cp>“My daughter goes to Savannah State University,” Mike later tells Noir, referencing the fatal shooting last summer of Christopher Starks, a junior at the school. “There was also a shooting on that campus. Talked to my wife and daughter after that, the decision was we’re gonna go to Savannah, she’s gonna get a gun and train more.” (In its \u003ca href=\"https://www.savannahstate.edu/news/article.shtml?id=547&type=news\">statement\u003c/a> on Starks’ shooting, Savannah State requested students with knowledge of anyone possessing a firearm to alert school authorities.)\u003c/p>\n\u003cp>But by Sunday evening, following an online outcry from fans and gun control advocates, Killer Mike issued \u003ca href=\"https://twitter.com/KillerMike/status/978053530689847296\">an apology\u003c/a> for his appearance on the show and said the NRA misused it “as a weapon” against Saturday’s marches. Mike added that his appearance was intended to focus on gun ownership by black Americans. “I did an interview about black gun ownership in this era,” Mike said in his statement. “That interview was used a week later to disparage a very noble campaign that I actually support … I want to say first I’m sorry guys. I do support the March — \u003cem>and \u003c/em>I support black people owning guns. It’s possible to do both.” The position isn’t new for the rapper — a year ago, he \u003ca href=\"https://www.youtube.com/watch?v=HaxQINDun_Q\">appeared\u003c/a> on the Tavis Smiley show to say the NRA has “had a value to me my entire life,” and that he is a member of the organization. “I think that one million black men should go online and just get a year’s membership, and see how you like it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Killer Mike’s partner in the duo Run The Jewels, El-P (otherwise known as Jaime Meline), initially commented on the NRA’s stance against the marches, tweeting “they didn’t want to be known, they wanted to be kids. And they’ve earned being heard in one of the hardest ways possible. No matter what you believe we all have to listen in a real way.”\u003c/p>\n\u003cp>Meline didn’t \u003ca href=\"https://twitter.com/therealelp/status/978120723548995584\">respond\u003c/a> to the controversy engulfing his artistic partner until last night, when he wrote that he wouldn’t cut ties with Mike over the dustup. However, “I wanna f****** strangle him ’cause it’s so stressful to watch when it could have been avoided.” He added that “while I’m bummed at the way this unfolded, I will always f*** with him.”\u003c/p>\n\u003cp>Since the release of his 2012 breakout solo album \u003cem>R.A.P. Music\u003c/em> — for which Meline produced the majority of beats, the beginning of their successful collaboration — Killer Mike has become known for his political engagement, including vociferous support of Bernie Sanders in the last presidential election and fairly nuanced dissections of institutionalized racism in his work. But the rapper, born Michael Render, has never been one to turn his cheek away from an unpopular opinion, equating Presidents Bush and Obama to talking heads “telling lies on teleprompters” in his song “\u003ca href=\"https://genius.com/Killer-mike-reagan-lyrics\">Reagan\u003c/a>.”\u003c/p>\n\u003cp>John Oliver recently dedicated a \u003ca href=\"https://www.youtube.com/watch?v=LEcbagW4O-s\">lengthy segment\u003c/a> to NRATV, framing the network as being primarily for the advertising of guns and, obviously, the support of viewpoints that encourage gun ownership.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s interview with Noir was sponsored by gun manufacturer Mossberg. \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=Killer+Mike+Apologizes+For+Interview+With+NRA%2C+Claims+It+Was+Misused&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As artists like Paul McCartney, Lin-Manuel Miranda, Demi Lovato and Andra Day made appearances during March for Our Lives demonstrations for gun control this past Saturday, the rapper Killer Mike was on the Internet, explaining his support of gun ownership in an interview with NRATV, the broadcasting arm of the pro-gun lobbying and advocacy organization.\u003c/p>\n\u003cp>NRA host Colion Noir opens the video by addressing the protesters directly. “What are you really marching for? Because from where I’m standing, it looks like a march to burn the Constitution and rewrite the parts you don’t like in crayon,” he says. Noir goes on to add that “no one can point this out better than Killer Mike.”\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/ZXtpUE1b2NY'\n title='//www.youtube.com/embed/ZXtpUE1b2NY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“My daughter goes to Savannah State University,” Mike later tells Noir, referencing the fatal shooting last summer of Christopher Starks, a junior at the school. “There was also a shooting on that campus. Talked to my wife and daughter after that, the decision was we’re gonna go to Savannah, she’s gonna get a gun and train more.” (In its \u003ca href=\"https://www.savannahstate.edu/news/article.shtml?id=547&type=news\">statement\u003c/a> on Starks’ shooting, Savannah State requested students with knowledge of anyone possessing a firearm to alert school authorities.)\u003c/p>\n\u003cp>But by Sunday evening, following an online outcry from fans and gun control advocates, Killer Mike issued \u003ca href=\"https://twitter.com/KillerMike/status/978053530689847296\">an apology\u003c/a> for his appearance on the show and said the NRA misused it “as a weapon” against Saturday’s marches. Mike added that his appearance was intended to focus on gun ownership by black Americans. “I did an interview about black gun ownership in this era,” Mike said in his statement. “That interview was used a week later to disparage a very noble campaign that I actually support … I want to say first I’m sorry guys. I do support the March — \u003cem>and \u003c/em>I support black people owning guns. It’s possible to do both.” The position isn’t new for the rapper — a year ago, he \u003ca href=\"https://www.youtube.com/watch?v=HaxQINDun_Q\">appeared\u003c/a> on the Tavis Smiley show to say the NRA has “had a value to me my entire life,” and that he is a member of the organization. “I think that one million black men should go online and just get a year’s membership, and see how you like it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Killer Mike’s partner in the duo Run The Jewels, El-P (otherwise known as Jaime Meline), initially commented on the NRA’s stance against the marches, tweeting “they didn’t want to be known, they wanted to be kids. And they’ve earned being heard in one of the hardest ways possible. No matter what you believe we all have to listen in a real way.”\u003c/p>\n\u003cp>Meline didn’t \u003ca href=\"https://twitter.com/therealelp/status/978120723548995584\">respond\u003c/a> to the controversy engulfing his artistic partner until last night, when he wrote that he wouldn’t cut ties with Mike over the dustup. However, “I wanna f****** strangle him ’cause it’s so stressful to watch when it could have been avoided.” He added that “while I’m bummed at the way this unfolded, I will always f*** with him.”\u003c/p>\n\u003cp>Since the release of his 2012 breakout solo album \u003cem>R.A.P. Music\u003c/em> — for which Meline produced the majority of beats, the beginning of their successful collaboration — Killer Mike has become known for his political engagement, including vociferous support of Bernie Sanders in the last presidential election and fairly nuanced dissections of institutionalized racism in his work. But the rapper, born Michael Render, has never been one to turn his cheek away from an unpopular opinion, equating Presidents Bush and Obama to talking heads “telling lies on teleprompters” in his song “\u003ca href=\"https://genius.com/Killer-mike-reagan-lyrics\">Reagan\u003c/a>.”\u003c/p>\n\u003cp>John Oliver recently dedicated a \u003ca href=\"https://www.youtube.com/watch?v=LEcbagW4O-s\">lengthy segment\u003c/a> to NRATV, framing the network as being primarily for the advertising of guns and, obviously, the support of viewpoints that encourage gun ownership.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s interview with Noir was sponsored by gun manufacturer Mossberg. \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=Killer+Mike+Apologizes+For+Interview+With+NRA%2C+Claims+It+Was+Misused&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Are Kanye West and Michael Scott from 'The Office' The Same Person? Yes.",
"headTitle": "Are Kanye West and Michael Scott from ‘The Office’ The Same Person? Yes. | KQED",
"content": "\u003cp>An enterprising YouTube user, MrBroks00, took the time to make a primer on Kanye West’s sonically disparate discography by using a selection of timeless scenes from \u003cem>The Office \u003c/em>as conceptual analogues.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PZBWI5vz2Hg\u003c/p>\n\u003cp>There’s a profound discovery to be made when these strange bedfellows link up — Michael Scott and Kanye West, it turns out, are two peas in an idiosyncratic pod. Michael’s need to be respected turns out to be an fitting descriptor of \u003cem>My Beautiful Dark Twisted Fantasy \u003c/em>and Kanye West’s overall public persona. \u003c/p>\n\u003cp>Still lost? If you need a quick brushing up on your \u003cem>Office \u003c/em>and/or Yeezy knowledge\u003cem>,\u003c/em> here’s here’s how to decipher the meaning between the corresponding scenes and albums. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>The College Dropout, \u003c/strong>\u003c/em> \u003cstrong>Season 4, Episode 7 and 8: “Money”\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kanye West’s Grammy-winning debut album, \u003cem>The College Dropout\u003c/em>, chronicles a young black man skipping Chi-town to make beats and abandoning the hopes of his mother in the process. In “Money,” Michael Scott hops a train because the dude can’t budget responsibly. Ergo, “blow and dodge.” \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Late Registration\u003c/strong>\u003c/em>, \u003cstrong>Season 1, Episode 5: “Basketball”\u003c/strong>\u003c/p>\n\u003cp>On \u003cem>Late Registration\u003c/em>, West broadens his sonic palette beyond nostalgia-heavy sampling to incorporate jazz lines, funk staples and a wealth of stunning classical flourishes in his productions with the help of legendary producer and composer Jon Brion. It’s not quite like jazz, but then again, neither is basketball. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graduation, \u003c/strong>\u003c/em>\u003cstrong>Season 9, Episode 8: “The Target”\u003c/strong>\u003c/p>\n\u003cp>Kanye scraps the lush, jazzy soundscapes in \u003cem>Late Registration\u003c/em> for \u003cem>Graduation’s \u003c/em>extravagant, stadium-trotting pop-rap, \u003ca href=\"https://www.rollingstone.com/music/news/kanye-vs-50-cent-20070906\">squashing beefs\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=YQYslaA1Lus\">setting trends\u003c/a> once it dropped. It was a hit, selling 957,000 copies in its first week alone. But West’s abandonment of the warmth and introspection that came to define his early sound alienated \u003ca href=\"http://www.nytimes.com/2007/09/05/arts/music/05west.html\">a select faction of fans and critics alike\u003c/a>. (Besides, Angela likely enjoys Kanye West about as much as she does jazz musicianship, which is to say not very.) \u003c/p>\n\u003cfigure id=\"attachment_13827928\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg\" alt=\"Steve Carrell as Michael Scott on the set of 'The Office' in 2008.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Carrell as Michael Scott on the set of ‘The Office’ in 2008. \u003ccite>(NBC/NBC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>808s & Heartbreak, \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episode 4: “Local Ad”\u003c/strong>\u003c/p>\n\u003cp>Dropping the subdued, ballad-heavy \u003cem>808s & Heartbreak\u003c/em> only a year after the celebratory, party-rap fest Graduation ended in whiplash for plenty of Yeezy’s devotees. It made sense for Kanye: \u003cem>808s\u003c/em> was an emotional bloodletting after a much-publicized split with his fianceé, designer Alexis Phifer and the death of his mother, Donda West. But, Michael’s protestation wasn’t wrong: “I was under the impression that this was gonna be a rap.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Beautiful Dark Twisted Fantasy, \u003c/strong>\u003c/em>\u003cstrong>Season 4, Episode 1: “Fun Run” \u003c/strong>\u003c/p>\n\u003cp>Michael’s indelible monologue is the perfect thesis for \u003cem>My Beautiful Dark Twisted Fantasy\u003c/em>, West’s critically revered opus. They both cast themselves as the villain in their own stories, West after a public excommunication from the general public’s good graces after the 2009 MTV Video Music Awards, Scott after running Meredith over in the Dunder Mifflin parking lot. Indeed, no one man should have all that power. \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch The Throne\u003c/em>\u003c/strong>\u003cstrong>, Season 3, Episode 8: “The Merger”\u003c/strong>\u003c/p>\n\u003cp>In the canon of seminal rap duos, there’s Eric B. and Rakim, Mos Def and Talib Kweli, Bun B and Pimp C, Prodigy and Havoc, Big Boi and 3000, Pusha and Malice, Jay and Ye and…Dwight and Michael. (“Lazy Scranton” is low-key a banger.) \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Yeezus\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=Shoej-GlMbw\">Listen to the first thirty seconds of “On Sight,” the opening number to \u003cem>Yeezus\u003c/em>\u003c/a>\u003cem>. \u003c/em>Now, watch Dwight’s impromptu fire drill.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Life of Pablo\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Life of Pablo \u003c/em>was a living, breathing work broadcast in real time, \u003ca href=\"http://www.xxlmag.com/news/2016/06/kanye-west-the-life-of-pablo-changes/\">as West released version after version of the album as he saw necessary.\u003c/a> Did he know what to do? Probably. Did Michael know what to do after Stanley suffered a heart attack after the nightmarish fire drill? (See above.) Definitely not. \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=Are+Kanye+West+And+Michael+Scott+From+%27The+Office%27+The+Same+Person%3F+Yes.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>An enterprising YouTube user, MrBroks00, took the time to make a primer on Kanye West’s sonically disparate discography by using a selection of timeless scenes from \u003cem>The Office \u003c/em>as conceptual analogues.\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/PZBWI5vz2Hg'\n title='//www.youtube.com/embed/PZBWI5vz2Hg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a profound discovery to be made when these strange bedfellows link up — Michael Scott and Kanye West, it turns out, are two peas in an idiosyncratic pod. Michael’s need to be respected turns out to be an fitting descriptor of \u003cem>My Beautiful Dark Twisted Fantasy \u003c/em>and Kanye West’s overall public persona. \u003c/p>\n\u003cp>Still lost? If you need a quick brushing up on your \u003cem>Office \u003c/em>and/or Yeezy knowledge\u003cem>,\u003c/em> here’s here’s how to decipher the meaning between the corresponding scenes and albums. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>The College Dropout, \u003c/strong>\u003c/em> \u003cstrong>Season 4, Episode 7 and 8: “Money”\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kanye West’s Grammy-winning debut album, \u003cem>The College Dropout\u003c/em>, chronicles a young black man skipping Chi-town to make beats and abandoning the hopes of his mother in the process. In “Money,” Michael Scott hops a train because the dude can’t budget responsibly. Ergo, “blow and dodge.” \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Late Registration\u003c/strong>\u003c/em>, \u003cstrong>Season 1, Episode 5: “Basketball”\u003c/strong>\u003c/p>\n\u003cp>On \u003cem>Late Registration\u003c/em>, West broadens his sonic palette beyond nostalgia-heavy sampling to incorporate jazz lines, funk staples and a wealth of stunning classical flourishes in his productions with the help of legendary producer and composer Jon Brion. It’s not quite like jazz, but then again, neither is basketball. \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Graduation, \u003c/strong>\u003c/em>\u003cstrong>Season 9, Episode 8: “The Target”\u003c/strong>\u003c/p>\n\u003cp>Kanye scraps the lush, jazzy soundscapes in \u003cem>Late Registration\u003c/em> for \u003cem>Graduation’s \u003c/em>extravagant, stadium-trotting pop-rap, \u003ca href=\"https://www.rollingstone.com/music/news/kanye-vs-50-cent-20070906\">squashing beefs\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=YQYslaA1Lus\">setting trends\u003c/a> once it dropped. It was a hit, selling 957,000 copies in its first week alone. But West’s abandonment of the warmth and introspection that came to define his early sound alienated \u003ca href=\"http://www.nytimes.com/2007/09/05/arts/music/05west.html\">a select faction of fans and critics alike\u003c/a>. (Besides, Angela likely enjoys Kanye West about as much as she does jazz musicianship, which is to say not very.) \u003c/p>\n\u003cfigure id=\"attachment_13827928\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg\" alt=\"Steve Carrell as Michael Scott on the set of 'The Office' in 2008.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13827928\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/gettyimages-138461032_wide-64fa9766c5ad989e83964e85077ed4c1e3be7b24.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Carrell as Michael Scott on the set of ‘The Office’ in 2008. \u003ccite>(NBC/NBC via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003cstrong>808s & Heartbreak, \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episode 4: “Local Ad”\u003c/strong>\u003c/p>\n\u003cp>Dropping the subdued, ballad-heavy \u003cem>808s & Heartbreak\u003c/em> only a year after the celebratory, party-rap fest Graduation ended in whiplash for plenty of Yeezy’s devotees. It made sense for Kanye: \u003cem>808s\u003c/em> was an emotional bloodletting after a much-publicized split with his fianceé, designer Alexis Phifer and the death of his mother, Donda West. But, Michael’s protestation wasn’t wrong: “I was under the impression that this was gonna be a rap.”\u003c/p>\n\u003cp>\u003cem>\u003cstrong>My Beautiful Dark Twisted Fantasy, \u003c/strong>\u003c/em>\u003cstrong>Season 4, Episode 1: “Fun Run” \u003c/strong>\u003c/p>\n\u003cp>Michael’s indelible monologue is the perfect thesis for \u003cem>My Beautiful Dark Twisted Fantasy\u003c/em>, West’s critically revered opus. They both cast themselves as the villain in their own stories, West after a public excommunication from the general public’s good graces after the 2009 MTV Video Music Awards, Scott after running Meredith over in the Dunder Mifflin parking lot. Indeed, no one man should have all that power. \u003c/p>\n\u003cp>\u003cstrong>\u003cem>Watch The Throne\u003c/em>\u003c/strong>\u003cstrong>, Season 3, Episode 8: “The Merger”\u003c/strong>\u003c/p>\n\u003cp>In the canon of seminal rap duos, there’s Eric B. and Rakim, Mos Def and Talib Kweli, Bun B and Pimp C, Prodigy and Havoc, Big Boi and 3000, Pusha and Malice, Jay and Ye and…Dwight and Michael. (“Lazy Scranton” is low-key a banger.) \u003c/p>\n\u003cp>\u003cem>\u003cstrong>Yeezus\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=Shoej-GlMbw\">Listen to the first thirty seconds of “On Sight,” the opening number to \u003cem>Yeezus\u003c/em>\u003c/a>\u003cem>. \u003c/em>Now, watch Dwight’s impromptu fire drill.\u003c/p>\n\u003cp>\u003cem>\u003cstrong>The Life of Pablo\u003c/strong>\u003c/em>\u003cstrong>,\u003c/strong>\u003cem>\u003cstrong> \u003c/strong>\u003c/em>\u003cstrong>Season 5, Episodes 14 and 15: “Stress Relief”\u003c/strong> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Life of Pablo \u003c/em>was a living, breathing work broadcast in real time, \u003ca href=\"http://www.xxlmag.com/news/2016/06/kanye-west-the-life-of-pablo-changes/\">as West released version after version of the album as he saw necessary.\u003c/a> Did he know what to do? Probably. Did Michael know what to do after Stanley suffered a heart attack after the nightmarish fire drill? (See above.) Definitely not. \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=Are+Kanye+West+And+Michael+Scott+From+%27The+Office%27+The+Same+Person%3F+Yes.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Our favorite arts administrator Tomás Riley (formerly with CounterPulse) is back as co-host, and the show is music heavy (a good thing), with electro-pop from Emily Afton, a new song cycle about being black in America by Lawrence Brownlee, and the ugly pop of Skating Polly. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 23 and 24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Emily Afton’s wary but positive songs deserve a wider audience\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 23:\u003c/strong> \u003ca href=\"https://bampfa.org/event/fanny-and-alexander-4\" target=\"_blank\" rel=\"noopener\">Ingmar Bergman’s warmest film, \u003cem>Fanny and Alexander,\u003c/em> plays at the Pacific Film Archive in Berkeley\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27:\u003c/strong> \u003ca href=\"https://sfpl.org/index.php?pg=1027497701\" target=\"_blank\" rel=\"noopener\">The San Francisco Public Library screens \u003cem>Ferlinghetti – A Rebirth of Wonder\u003c/em>, Christopher Felver’s film about the founder of City Lights Books \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827700/a-black-opera-singer-broadens-the-repertory-for-art-songs\" target=\"_blank\" rel=\"noopener\">Tenor Lawrence Brownlee’s updates the classical repertory with a new song cycle about Black Lives Matter.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">The Living Earth Show presents \u003cem>Affirmative Action\u003c/em> a \u003c/a>\u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">concert by five composers of color\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 15-July 8:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827570/celebrating-rube-goldbergs-dada-like-cartoon-inventions\" target=\"_blank\" rel=\"noopener\">An exhibition celebrates Rube Goldberg’s slapstick inventions and serious editorial cartoons\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 24 and May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Diana Gameros makes traditional songs fresh again\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827721/skating-pollys-family-friendly-grunge\" target=\"_blank\" rel=\"noopener\">Skating Polly makes ugly pop that is so beautiful\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 29-April 1: \u003c/strong>\u003ca href=\"http://www.zspace.org/birthdaylottery\" target=\"_blank\" rel=\"noopener\">Richard Fouts play about how the Vietnam era draft changed the lives of a generation \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 14:\u003c/strong> \u003ca href=\"http://youthspeaks.org/youth-speaks-teen-poetry-slam/\" target=\"_blank\" rel=\"noopener\">The Teen Poetry Slam returns to Youth Speaks\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomas Riley and Cy Musiker of KQED \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our favorite arts administrator Tomás Riley (formerly with CounterPulse) is back as co-host, and the show is music heavy (a good thing), with electro-pop from Emily Afton, a new song cycle about being black in America by Lawrence Brownlee, and the ugly pop of Skating Polly. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>March 23 and 24: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Emily Afton’s wary but positive songs deserve a wider audience\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 23:\u003c/strong> \u003ca href=\"https://bampfa.org/event/fanny-and-alexander-4\" target=\"_blank\" rel=\"noopener\">Ingmar Bergman’s warmest film, \u003cem>Fanny and Alexander,\u003c/em> plays at the Pacific Film Archive in Berkeley\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27:\u003c/strong> \u003ca href=\"https://sfpl.org/index.php?pg=1027497701\" target=\"_blank\" rel=\"noopener\">The San Francisco Public Library screens \u003cem>Ferlinghetti – A Rebirth of Wonder\u003c/em>, Christopher Felver’s film about the founder of City Lights Books \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827700/a-black-opera-singer-broadens-the-repertory-for-art-songs\" target=\"_blank\" rel=\"noopener\">Tenor Lawrence Brownlee’s updates the classical repertory with a new song cycle about Black Lives Matter.\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>March 31:\u003c/strong> \u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">The Living Earth Show presents \u003cem>Affirmative Action\u003c/em> a \u003c/a>\u003ca href=\"https://proartsgallery.org/event/affirmative-action/\" target=\"_blank\" rel=\"noopener\">concert by five composers of color\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 15-July 8:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13827570/celebrating-rube-goldbergs-dada-like-cartoon-inventions\" target=\"_blank\" rel=\"noopener\">An exhibition celebrates Rube Goldberg’s slapstick inventions and serious editorial cartoons\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 24 and May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827711/diana-gameros-gentle-songs-of-protest\" target=\"_blank\" rel=\"noopener\">Diana Gameros makes traditional songs fresh again\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 27: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13827721/skating-pollys-family-friendly-grunge\" target=\"_blank\" rel=\"noopener\">Skating Polly makes ugly pop that is so beautiful\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>March 29-April 1: \u003c/strong>\u003ca href=\"http://www.zspace.org/birthdaylottery\" target=\"_blank\" rel=\"noopener\">Richard Fouts play about how the Vietnam era draft changed the lives of a generation \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 14:\u003c/strong> \u003ca href=\"http://youthspeaks.org/youth-speaks-teen-poetry-slam/\" target=\"_blank\" rel=\"noopener\">The Teen Poetry Slam returns to Youth Speaks\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_13812638\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13812638\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg\" alt=\"\" width=\"800\" height=\"558\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-800x558.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-768x535.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1020x711.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1920x1339.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-1180x823.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-960x669.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-240x167.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-375x261.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Tomas-and-Cyrus-10-24-e1508962762294-520x363.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tomas Riley and Cy Musiker of KQED \u003ccite>(Photo: Chloe Veltman/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tenor Lawrence Brownlee was the International Opera Awards “Male Singer of the Year” in 2017. The honor was a tribute to his reputation as an actor and singer at opera houses around the world, but also to his commitment to broadening the classical repertory. He’s commissioned a new song cycle (which premiered at in February in Philadelphia) about being a black man in the age of Black Lives Matter, with music by the African American composer Tyshawn Sorey and lyrics by the poet Terence Hayes — both black men.\u003c/p>\n\u003cp>“The first song,” he told me by phone from a concert hall in Munich, Germany, “is called ‘Inhale. Exhale.’ And the question we pose in the lyrics: ‘America, do you love the air in me as we love the air in you.’\u003c/p>\n\u003cfigure id=\"attachment_13827534\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13827534\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Cycles-01-800x533.jpg\" alt=\"For the Philadelphia premiere of 'Cycles of My Being', Brownlee was joined by Violinist Randall Mitsuo Goosby, pianist Kevin Miller, cellist Khari Joyner, clarinetist Alexander Laing, and composer Tyshawn Sorey \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Cycles-01-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Cycles-01-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Cycles-01-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Cycles-01-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Cycles-01-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Cycles-01-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Cycles-01-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Cycles-01-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Cycles-01-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Cycles-01-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Cycles-01.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For the Philadelphia premiere of ‘Cycles of My Being’, Brownlee was joined by Violinist Randall Mitsuo Goosby, pianist Kevin Miller, cellist Khari Joyner, clarinetist Alexander Laing, and composer Tyshawn Sorey \u003ccite>(Courtesy of Opera Philadelphia)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Myself, I am very patriotic,” Brownlee continued. “My father served in the military. I have an uncle who died in the Vietnam war, but the fact is we are treated very differently than other Americans. When the Constitution and the Bill of Rights was written, it didn’t have people like me in mind. And when someone like me is pulled over by a police officer, I will be treated differently than a person with blue eyes and blond hair.“\u003c/p>\n\u003cp>San Francisco Performances presents Lawrence Brownlee in a recital with pianist Myra Huang, singing the new piece \u003cem>Cycles of My Being,\u003c/em> and Schumann’s \u003cem>Dichterliebe\u003c/em> on March 31 at Herbst Theatre in San Francisco. \u003ca href=\"https://sfperformances.org/performances/1718/LawrenceBrownlee.html\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HNY2u53wUbU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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},
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"filters": [
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]
},
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"restaurantDataById": {},
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"userAgentReducer": {
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"isBot": true
},
"requestOutcomesReducer": {
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}
}
