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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 23-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/02/21/the-new-orleans-and-bluegrass-mashup-of-bumper-jacksons/\" target=\"_blank\" rel=\"noopener\">Bumper Jacksons mix New Orleans jazz and bluegrass into a lively sound\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 24 and Feb. 26\u003c/strong>:\u003ca href=\"http://www.gogolbordello.com/\" target=\"_blank\" rel=\"noopener\"> The pro-immigration politics and gypsy punk of Gogol Bordello\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13825236\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825236\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-800x418.jpg\" alt=\"On the Do List this week, KQED's Cy Musiker and Nina Thorsen preview the glamour and substance at Cinequest in San Jose, a chance to see five new operas by West Coast Composers, and the gypsy punk of Gogol Bordello\" width=\"800\" height=\"418\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-800x418.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-160x84.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-768x401.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-1020x533.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-1180x616.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-960x501.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-240x125.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-375x196.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479-520x272.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Image-uploaded-from-iOS-e1519263034479.jpg 1587w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On the Do List this week, KQED’s Cy Musiker and Nina Thorsen preview the glamour and substance at Cinequest in San Jose, a chance to see five new operas by West Coast Composers, and the gypsy punk of Gogol Bordello. \u003ccite>(Photo: Nastia Voynovskaya/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cspan style=\"font-weight: 400\">Opera is the greatest art form, or so its advocates will tell you, encompassing theater, song, music and stagecraft. But the big companies are often risk-averse when it comes to new works, locked as they are into producing grand, expensive productions of aging classics.\u003c/span>\u003c/p>\n\u003cp>So here’s your chance to support five brand new operas, or excerpts from them, by\u003cspan style=\"font-weight: 400\"> West Coast composers. The nimble, risk-loving West Edge Opera, and Earplay, a chamber ensemble, is featuring the works in a series called \u003cem>Snapshot. \u003c/em>\u003c/span>\u003c/p>\n\u003cfigure id=\"attachment_13825223\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13825223\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/Snapshot-horizontal-800x388.jpg\" alt=\"Snapshot is a program of excerpts from five new operas by West Coast composers\" width=\"800\" height=\"388\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Snapshot-horizontal-800x388.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Snapshot-horizontal-160x78.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Snapshot-horizontal-768x372.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Snapshot-horizontal-1020x495.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Snapshot-horizontal-1180x572.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Snapshot-horizontal-960x466.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Snapshot-horizontal-240x116.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Snapshot-horizontal-375x182.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Snapshot-horizontal-520x252.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/Snapshot-horizontal.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Snapshot is a program of excerpts from five new operas by West Coast composers \u003ccite>(Photo: Courtesy of West Edge Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The program includes\u003cem> \u003c/em>Brian Rosen’s \u003ci>\u003cspan style=\"font-weight: 400\">Playboy\u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">, about a former Playboy playmate tasked with eulogizing Hugh Hefner, who she’s come to hate; \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">The Last Tycoon \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">by Cyril Deaconoff, based on the F. Scott Fitzgerald novel; and Katherine Saxon’s \u003c/span>\u003ci>\u003cspan style=\"font-weight: 400\">452 Jamestown Place, \u003c/span>\u003c/i>\u003cspan style=\"font-weight: 400\">about a woman with multiple personalities.\u003c/span>\u003c/p>\n\u003cp>“We’re just constantly thinking about where the art form is going,” says West Edge Director Mark Streshinsky, “and where the art form is going includes new pieces. And for us, the art form is going out of the opera house into alternative spaces.” Catch five opera snapshots at the Odd Fellows Hall in Berkeley on Feb. 24, and at the Taube Atrium Theater in San Francisco on Feb. 25. \u003ca href=\"http://www.westedgeopera.org/snapshot/\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>The video for the Bumper Jacksons song “I Never Met a Stranger” shows the band members performing while riding bicycles, but as my co-host Nina Thorsen notes, it isn’t just a gimmick for the cameras. The band’s founders, Jess Myhre (vocals, toy trombone) and Chris Ousley (banjo and guitar), performed their first gig together at what they describe as a radical cycling house in Washington, D.C. What convinced me of this band’s authenticity — mashing up New Orleans jazz, bluegrass and country — was how Myhre invests novelty numbers with real feeling. They play the Napa Valley Performing Arts Center in Yountville on Feb. 23, and then the Bing Studio on the Stanford Campus in Palo Alto on Feb. 24.\u003ca href=\"https://www.bumperjacksons.com/performances\" target=\"_blank\" rel=\"noopener\"> Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mq9Q7uy_51I\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Daniil Trifonov and Sergei Babayan are two pianists with mad skills. Babayan was Trifonov’s piano teacher for a time, but now the student has surpassed the 57-year-old teacher, at least in reputation. At just 27, Trifonov stirs awe from critics and fellow pianists alike for the way he comes at the romantic canon with fresh ears and fingers. “What he does with his hands is technically incredible,” \u003ca href=\"https://ww2.kqed.org/arts/2017/10/27/wunderkind-daniil-trifonov-takes-the-classical-music-world-by-storm/\" target=\"_blank\" rel=\"noopener\">said pianist Martha Argerich\u003c/a> when Trifonov was barely of drinking age, in 2011. “It’s also his touch — he has tenderness and also the demonic element.”\u003c/p>\n\u003cp>Two pianos can really fill a concert hall — even the huge space of Davies Hall, where the two perform a program of Rachmaninoff, Schumann, Arvo Pärt and more on Feb. 27. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2017-18/Daniil-Trifonov-and-Sergei-Babayan-in-Recital.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=W23gEiUwne0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Daniil Trifonov and Sergei Babayan are two pianists with mad skills. Babayan was Trifonov’s piano teacher for a time, but now the student has surpassed the 57-year-old teacher, at least in reputation. At just 27, Trifonov stirs awe from critics and fellow pianists alike for the way he comes at the romantic canon with fresh ears and fingers. “What he does with his hands is technically incredible,” \u003ca href=\"https://ww2.kqed.org/arts/2017/10/27/wunderkind-daniil-trifonov-takes-the-classical-music-world-by-storm/\" target=\"_blank\" rel=\"noopener\">said pianist Martha Argerich\u003c/a> when Trifonov was barely of drinking age, in 2011. “It’s also his touch — he has tenderness and also the demonic element.”\u003c/p>\n\u003cp>Two pianos can really fill a concert hall — even the huge space of Davies Hall, where the two perform a program of Rachmaninoff, Schumann, Arvo Pärt and more on Feb. 27. \u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2017-18/Daniil-Trifonov-and-Sergei-Babayan-in-Recital.aspx\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/W23gEiUwne0'\n title='//www.youtube.com/embed/W23gEiUwne0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On Tuesday, Hayward High School students were in sixth period waiting for the bell to ring when they heard a surprise announcement over the loud speaker: “Hayward High, what’s good! It’s your girl \u003ca href=\"https://mn2s.com/booking-agency/live-roster/kamaiyah/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>! Come out to the quad, I’m giving out tickets for all y’all to see \u003cem>Panther\u003c/em>. Meet me there, right now!”\u003c/p>\n\u003cp>https://twitter.com/KQEDarts/status/966096310653788160\u003c/p>\n\u003cp>It was a prodigal return for the Oakland-raised rapper: \u003ca href=\"https://ww2.kqed.org/arts/2016/11/28/kamaiyah-proves-shes-oakland-reigning-rap-queen-at-the-fox-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a> graduated from this very school, Hayward High, in 2010. After signing with Interscope Records following the release of her 2016 mixtape, \u003cem>A Good Night in the Ghetto\u003c/em>, she relocated to Los Angeles where she’s worked with big-name artists like Drake and YG.\u003c/p>\n\u003cp>But that’s not to say she’s forgotten about her hometown — proven by the visit to her alma mater to give students free tickets to \u003cem>Black Panther\u003c/em>, the new \u003ca href=\"https://ww2.kqed.org/arts/2018/02/19/black-panther-breaks-records-and-barriers-in-debut-weekend/\" target=\"_blank\" rel=\"noopener noreferrer\">box-office smash\u003c/a> directed by fellow Oakland native Ryan Coogler.\u003c/p>\n\u003cp>“When I was growing up, somebody used to take me and my friends to the movies and on adventures and stuff to keep us out of trouble,” said Kamaiyah. “When I thought about the movie coming out, I was like, ‘We should just rent out a theater and take all the kids to see it.’ I feel a great connection because it’s based on Oakland and I’m from Oakland, so, why not?”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[gallery type=\"slideshow\" link=\"file\" ids=\"13825070,13825071,13825072,13825073,13825075,13825076,13825077,13825080,13825089,13825088,13825090,13825092,13825091,13825096,13825116,13825115,13825114,13825113,13825112,13825110,13825108,13825111\"]\u003c/p>\n\u003cp>After Kamaiyah’s announcement, hordes of teenagers rushed to the quad for a chance to meet the rapper and snag a movie ticket. One student DJ blasted West Coast rap on a PA system while Kamaiyah, dressed in gold chains and a lilac jersey emblazoned with a ‘K,’ held court with her fans. Some danced with joy, while others whispered excitedly with their friends.\u003c/p>\n\u003cp>“I’m actually really juiced! I thought they were lying on the speaker,” said a Hayward High sophomore named Pierre, who still seemed incredulous when I caught up with him after he’d gotten his \u003cem>Black Panther\u003c/em> ticket. “They like to mess with us, I thought it was a joke, so I just kind of just walked over here.”\u003c/p>\n\u003cp>https://twitter.com/KQEDarts/status/966097059190210561\u003c/p>\n\u003cp>Even the school administration was energized by Kamaiyah’s surprise visit, which the artist organized earlier that morning. “I’m just so proud of her to have been a student here at our school and now to be famous! I’m just speechless,” said Vice Principal Andrea Hayes.\u003c/p>\n\u003cp>Kamaiyah joins several other rap artists who have bought out entire movie theater auditoriums for kids to see \u003cem>Black Panther\u003c/em> for free, including Kendrick Lamar, Chance the Rapper, and Oakland’s own \u003ca href=\"https://www.instagram.com/p/BfQ7k4ih5yO/?taken-by=fabbydavisjr1\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a> The film, which opened on Feb. 16, broke box office records on opening weekend and is \u003ca href=\"https://ww2.kqed.org/arts/2018/02/16/decoding-black-panthers-technocratic-afrofuturist-utopia/\" target=\"_blank\" rel=\"noopener noreferrer\">being heralded\u003c/a> by fans and critics as a \u003ca href=\"https://ww2.kqed.org/forum/2018/02/15/oaklands-carvell-wallace-on-the-signifance-of-black-panther/\" target=\"_blank\" rel=\"noopener noreferrer\">defining moment in black cinema\u003c/a>.\u003c/p>\n\u003cp>“I feel like everybody needs to see that movie, especially black kids so they can love themselves,” said Kamaiyah.\u003c/p>\n\u003cp>Her former vice principal shares that view. “It’s amazing to have an African-American superhero who our students can relate to and feel like, ‘This is a superhero who looks just like me,'” said Hayes.\u003c/p>\n\u003cp>On the subject of role models, Hayes said that she appreciates Kamaiyah for setting a positive example for young people. “I think the role that she’s setting for young ladies is if you have dreams, go after them, and anything’s possible with hard work.”\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>On Tuesday, Hayward High School students were in sixth period waiting for the bell to ring when they heard a surprise announcement over the loud speaker: “Hayward High, what’s good! It’s your girl \u003ca href=\"https://mn2s.com/booking-agency/live-roster/kamaiyah/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a>! Come out to the quad, I’m giving out tickets for all y’all to see \u003cem>Panther\u003c/em>. Meet me there, right now!”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It was a prodigal return for the Oakland-raised rapper: \u003ca href=\"https://ww2.kqed.org/arts/2016/11/28/kamaiyah-proves-shes-oakland-reigning-rap-queen-at-the-fox-theater/\" target=\"_blank\" rel=\"noopener noreferrer\">Kamaiyah\u003c/a> graduated from this very school, Hayward High, in 2010. After signing with Interscope Records following the release of her 2016 mixtape, \u003cem>A Good Night in the Ghetto\u003c/em>, she relocated to Los Angeles where she’s worked with big-name artists like Drake and YG.\u003c/p>\n\u003cp>But that’s not to say she’s forgotten about her hometown — proven by the visit to her alma mater to give students free tickets to \u003cem>Black Panther\u003c/em>, the new \u003ca href=\"https://ww2.kqed.org/arts/2018/02/19/black-panther-breaks-records-and-barriers-in-debut-weekend/\" target=\"_blank\" rel=\"noopener noreferrer\">box-office smash\u003c/a> directed by fellow Oakland native Ryan Coogler.\u003c/p>\n\u003cp>“When I was growing up, somebody used to take me and my friends to the movies and on adventures and stuff to keep us out of trouble,” said Kamaiyah. “When I thought about the movie coming out, I was like, ‘We should just rent out a theater and take all the kids to see it.’ I feel a great connection because it’s based on Oakland and I’m from Oakland, so, why not?”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After Kamaiyah’s announcement, hordes of teenagers rushed to the quad for a chance to meet the rapper and snag a movie ticket. One student DJ blasted West Coast rap on a PA system while Kamaiyah, dressed in gold chains and a lilac jersey emblazoned with a ‘K,’ held court with her fans. Some danced with joy, while others whispered excitedly with their friends.\u003c/p>\n\u003cp>“I’m actually really juiced! I thought they were lying on the speaker,” said a Hayward High sophomore named Pierre, who still seemed incredulous when I caught up with him after he’d gotten his \u003cem>Black Panther\u003c/em> ticket. “They like to mess with us, I thought it was a joke, so I just kind of just walked over here.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Even the school administration was energized by Kamaiyah’s surprise visit, which the artist organized earlier that morning. “I’m just so proud of her to have been a student here at our school and now to be famous! I’m just speechless,” said Vice Principal Andrea Hayes.\u003c/p>\n\u003cp>Kamaiyah joins several other rap artists who have bought out entire movie theater auditoriums for kids to see \u003cem>Black Panther\u003c/em> for free, including Kendrick Lamar, Chance the Rapper, and Oakland’s own \u003ca href=\"https://www.instagram.com/p/BfQ7k4ih5yO/?taken-by=fabbydavisjr1\" target=\"_blank\" rel=\"noopener noreferrer\">Mistah F.A.B.\u003c/a> The film, which opened on Feb. 16, broke box office records on opening weekend and is \u003ca href=\"https://ww2.kqed.org/arts/2018/02/16/decoding-black-panthers-technocratic-afrofuturist-utopia/\" target=\"_blank\" rel=\"noopener noreferrer\">being heralded\u003c/a> by fans and critics as a \u003ca href=\"https://ww2.kqed.org/forum/2018/02/15/oaklands-carvell-wallace-on-the-signifance-of-black-panther/\" target=\"_blank\" rel=\"noopener noreferrer\">defining moment in black cinema\u003c/a>.\u003c/p>\n\u003cp>“I feel like everybody needs to see that movie, especially black kids so they can love themselves,” said Kamaiyah.\u003c/p>\n\u003cp>Her former vice principal shares that view. “It’s amazing to have an African-American superhero who our students can relate to and feel like, ‘This is a superhero who looks just like me,'” said Hayes.\u003c/p>\n\u003cp>On the subject of role models, Hayes said that she appreciates Kamaiyah for setting a positive example for young people. “I think the role that she’s setting for young ladies is if you have dreams, go after them, and anything’s possible with hard work.”\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": "In Matchup of Jazz Greats, 'The Calm' Meets 'The Storm' Head On",
"headTitle": "In Matchup of Jazz Greats, ‘The Calm’ Meets ‘The Storm’ Head On | KQED",
"content": "\u003cp>Even in death, \u003ca href=\"https://www.nytimes.com/2018/01/23/obituaries/hugh-masekela-dies.html\">Hugh Masekela\u003c/a> is opening new doors. In 2016, for the first time in more than half a century, the trumpet star and pianist/composer Abdullah Ibrahim reunited in \u003ca href=\"https://en.wikipedia.org/wiki/The_Jazz_Epistles\">The Jazz Epistles\u003c/a>, the pioneering South African jazz ensemble they founded in Cape Town in the late 1950s.\u003c/p>\n\u003cp>When it became clear that Masekela’s failing health wouldn’t allow him to participate in the Jazz Epistles tour this year, Ibrahim reached out to several different horn players to join the proceedings in different cities. (Terence Blanchard held down the Epistles’ trumpet chair in Seattle last weekend.) The eight-piece group checks into SFJAZZ’s Miner Auditorium on Thursday for a four-night run with trumpeter and \u003ca href=\"http://www.pulitzer.org/finalists/wadada-leo-smith\">Pulitzer Prize-finalist\u003c/a> composer \u003ca href=\"https://wadadaleosmith.com\">Wadada Leo Smith\u003c/a>.\u003c/p>\n\u003cp>At first glance, it’s a startling pairing, as Ibrahim’s music combines expansive Ellingtonian sonorities with a gentle, spiritually-charged lyricism derived from the hymns, folk themes, and chants he absorbed while growing up in Cape Town’s toughest district.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HB6pVFIwQd8\u003c/p>\n\u003cp>On the other end of the spectrum, the New Haven-based Smith is a lion of the avant-garde, a protean force who gave the Bay Area a wide-angle view of his musical world in December with more than a dozen different configurations at a \u003ca href=\"https://www.sfchronicle.com/music/article/Prolific-trumpeter-Wadada-Leo-Smith-brings-his-12424766.php\">two-day festival\u003c/a> that the trumpeter produced at The Lab with the support of a Doris Duke Foundation fellowship.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Different as they might seem, Smith and Ibrahim both draw direct inspiration from the jazz explorers who introduced new rhythmic and tonal concepts in the late 1950s. At his first Epistles rehearsal last week, Smith tells me in a phone interview, he found that the session covered a lot more than running through tunes. Ibrahim spent part of the time talking about his experiences as a young exile in New York City in the mid-1960s “playing with all the great masters, Cecil Taylor, Ornette Coleman, and Don Cherry,” says Smith, 76.\u003c/p>\n\u003cp>“I knew he and Don were tight, but to watch the gleam in his eye talking about him was wonderful. It inspired me so much that this morning I started working on a composition for trumpet and piano, a psychological portrait of Ibrahim. I left the rehearsal yesterday with beautiful energy and this morning that energy gave me a gift.”\u003c/p>\n\u003cp>A thoughtful and strikingly insightful portraitist, Smith often reveals unexpected facets of his fellow artists, like on last year’s \u003cem>Solo: Reflections and Meditations on Monk\u003c/em> (TUM Records). But over the past decade, he’s enjoyed a late-career burst of activity working on expansive soundscapes that evoke entire geographical regions, like 2014’s \u003cem>The Great Lakes Suite\u003c/em> (TUM Records). His music has also meditated on complex historical events, most notably 2012’s epic Pulitzer Prize finalist \u003cem>Ten Freedom Summers\u003c/em> (Cuneiform), an orchestral four-disc project inspired by the civil rights movement.\u003c/p>\n\u003cp>Like Ibrahim, Smith takes his role as an artist seriously, embracing the idea that “music is not just for entertainment. Music can heal. It creates the conditions for healing, and carries a narrative history and the content of spirituality. The whole idea of music transforming society, and what it does when people listen, those are things that the AACM tapped into reaching back to African music,” Smith said, referring to Chicago’s seminal Association for the Advancement of Creative Musicians, which he joined in 1967.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5P2N8-u3zmA\u003c/p>\n\u003cp>As for Ibrahim, the struggle for freedom has been a central motif in his music since the start, when he was a conspicuously gifted young pianist who performed as Dollar Brand. Joined by Masekela, he launched the Jazz Epistles, which recorded the first jazz album by black South African musicians. They played original arrangements of tunes by Dizzy Gillespie, Thelonious Monk, Duke Ellington and Fats Waller, as well as originals that blended bebop and mbaqanga, a melodically lilting style that grew out of a street-corner Zulu vocal tradition.\u003c/p>\n\u003cp>The group was wildly popular, but the apartheid government’s accelerating crackdown on political dissent in 1960 made the situation untenable for musicians, as any gatherings of more than 10 blacks were banned. Ibrahim and his future wife, jazz vocalist Sathima Bea Benjamin, fled first to Europe. In Switzerland they famously connected with Ellington, who was so taken with the self-possessed young pianist that he flew the group to Paris the next day and produced the album \u003cem>Duke Ellington Presents The Dollar Brand Trio\u003c/em> (Reprise).\u003c/p>\n\u003cp>Ibrahim’s tribute to the Jazz Epistles is built on his longtime band Ekaya, featuring Noah Jackson on bass and cello, drummer Will Terrill, Cleave Guyton Jr. on alto sax, flute and clarinet, tenor saxophonist Lance Bryant, baritone saxophonist Marshall McDonald, and Andrae Murchison on trombone and trumpet. In many ways, Smith’s volatile trumpet is the wild card in a group steeped in the pianist’s serene, lapidary compositions.\u003c/p>\n\u003cp>“There’s always the perception that the music is simple, but it’s very complex, and very, very difficult to play,” Ibrahim told me in an interview several years ago. “We are the first generation of jazz improvisors in the African tradition. In order to do that, you need serenity. It’s not a question of taking bebop lines and adding it on top of our music. We had to develop a vocabulary, and we’re still developing it.”\u003c/p>\n\u003cp>With Wadada Leo Smith in the mix, Ibrahim’s music and the legacy of the Jazz Epistles is poised for another evolutionary leap.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jazz Epistles, with Abdullah Ibrahim and Wadada Leo Smith, perform Feb. 22–Feb. 25 at the SFJAZZ Center in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/jazz-epistles/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even in death, \u003ca href=\"https://www.nytimes.com/2018/01/23/obituaries/hugh-masekela-dies.html\">Hugh Masekela\u003c/a> is opening new doors. In 2016, for the first time in more than half a century, the trumpet star and pianist/composer Abdullah Ibrahim reunited in \u003ca href=\"https://en.wikipedia.org/wiki/The_Jazz_Epistles\">The Jazz Epistles\u003c/a>, the pioneering South African jazz ensemble they founded in Cape Town in the late 1950s.\u003c/p>\n\u003cp>When it became clear that Masekela’s failing health wouldn’t allow him to participate in the Jazz Epistles tour this year, Ibrahim reached out to several different horn players to join the proceedings in different cities. (Terence Blanchard held down the Epistles’ trumpet chair in Seattle last weekend.) The eight-piece group checks into SFJAZZ’s Miner Auditorium on Thursday for a four-night run with trumpeter and \u003ca href=\"http://www.pulitzer.org/finalists/wadada-leo-smith\">Pulitzer Prize-finalist\u003c/a> composer \u003ca href=\"https://wadadaleosmith.com\">Wadada Leo Smith\u003c/a>.\u003c/p>\n\u003cp>At first glance, it’s a startling pairing, as Ibrahim’s music combines expansive Ellingtonian sonorities with a gentle, spiritually-charged lyricism derived from the hymns, folk themes, and chants he absorbed while growing up in Cape Town’s toughest district.\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/HB6pVFIwQd8'\n title='//www.youtube.com/embed/HB6pVFIwQd8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On the other end of the spectrum, the New Haven-based Smith is a lion of the avant-garde, a protean force who gave the Bay Area a wide-angle view of his musical world in December with more than a dozen different configurations at a \u003ca href=\"https://www.sfchronicle.com/music/article/Prolific-trumpeter-Wadada-Leo-Smith-brings-his-12424766.php\">two-day festival\u003c/a> that the trumpeter produced at The Lab with the support of a Doris Duke Foundation fellowship.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Different as they might seem, Smith and Ibrahim both draw direct inspiration from the jazz explorers who introduced new rhythmic and tonal concepts in the late 1950s. At his first Epistles rehearsal last week, Smith tells me in a phone interview, he found that the session covered a lot more than running through tunes. Ibrahim spent part of the time talking about his experiences as a young exile in New York City in the mid-1960s “playing with all the great masters, Cecil Taylor, Ornette Coleman, and Don Cherry,” says Smith, 76.\u003c/p>\n\u003cp>“I knew he and Don were tight, but to watch the gleam in his eye talking about him was wonderful. It inspired me so much that this morning I started working on a composition for trumpet and piano, a psychological portrait of Ibrahim. I left the rehearsal yesterday with beautiful energy and this morning that energy gave me a gift.”\u003c/p>\n\u003cp>A thoughtful and strikingly insightful portraitist, Smith often reveals unexpected facets of his fellow artists, like on last year’s \u003cem>Solo: Reflections and Meditations on Monk\u003c/em> (TUM Records). But over the past decade, he’s enjoyed a late-career burst of activity working on expansive soundscapes that evoke entire geographical regions, like 2014’s \u003cem>The Great Lakes Suite\u003c/em> (TUM Records). His music has also meditated on complex historical events, most notably 2012’s epic Pulitzer Prize finalist \u003cem>Ten Freedom Summers\u003c/em> (Cuneiform), an orchestral four-disc project inspired by the civil rights movement.\u003c/p>\n\u003cp>Like Ibrahim, Smith takes his role as an artist seriously, embracing the idea that “music is not just for entertainment. Music can heal. It creates the conditions for healing, and carries a narrative history and the content of spirituality. The whole idea of music transforming society, and what it does when people listen, those are things that the AACM tapped into reaching back to African music,” Smith said, referring to Chicago’s seminal Association for the Advancement of Creative Musicians, which he joined in 1967.\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/5P2N8-u3zmA'\n title='//www.youtube.com/embed/5P2N8-u3zmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As for Ibrahim, the struggle for freedom has been a central motif in his music since the start, when he was a conspicuously gifted young pianist who performed as Dollar Brand. Joined by Masekela, he launched the Jazz Epistles, which recorded the first jazz album by black South African musicians. They played original arrangements of tunes by Dizzy Gillespie, Thelonious Monk, Duke Ellington and Fats Waller, as well as originals that blended bebop and mbaqanga, a melodically lilting style that grew out of a street-corner Zulu vocal tradition.\u003c/p>\n\u003cp>The group was wildly popular, but the apartheid government’s accelerating crackdown on political dissent in 1960 made the situation untenable for musicians, as any gatherings of more than 10 blacks were banned. Ibrahim and his future wife, jazz vocalist Sathima Bea Benjamin, fled first to Europe. In Switzerland they famously connected with Ellington, who was so taken with the self-possessed young pianist that he flew the group to Paris the next day and produced the album \u003cem>Duke Ellington Presents The Dollar Brand Trio\u003c/em> (Reprise).\u003c/p>\n\u003cp>Ibrahim’s tribute to the Jazz Epistles is built on his longtime band Ekaya, featuring Noah Jackson on bass and cello, drummer Will Terrill, Cleave Guyton Jr. on alto sax, flute and clarinet, tenor saxophonist Lance Bryant, baritone saxophonist Marshall McDonald, and Andrae Murchison on trombone and trumpet. In many ways, Smith’s volatile trumpet is the wild card in a group steeped in the pianist’s serene, lapidary compositions.\u003c/p>\n\u003cp>“There’s always the perception that the music is simple, but it’s very complex, and very, very difficult to play,” Ibrahim told me in an interview several years ago. “We are the first generation of jazz improvisors in the African tradition. In order to do that, you need serenity. It’s not a question of taking bebop lines and adding it on top of our music. We had to develop a vocabulary, and we’re still developing it.”\u003c/p>\n\u003cp>With Wadada Leo Smith in the mix, Ibrahim’s music and the legacy of the Jazz Epistles is poised for another evolutionary leap.\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\u003cp>\u003c/p>\n\u003cp>\u003cem>The Jazz Epistles, with Abdullah Ibrahim and Wadada Leo Smith, perform Feb. 22–Feb. 25 at the SFJAZZ Center in San Francisco. \u003ca href=\"https://www.sfjazz.org/tickets/productions/jazz-epistles/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fergie is apologizing after trying something different with the national anthem at the NBA All-Star Game.\u003c/p>\n\u003cp>“I’ve always been honored and proud to perform the national anthem and last night I wanted to try something special for the NBA,” the Grammy-winning singer said in a statement Monday. “I’m a risk taker artistically, but clearly this rendition didn’t strike the intended tone. I love this country and honestly tried my best.”\u003c/p>\n\u003cp>https://twitter.com/MikeLeslieWFAA/status/965407931821801472?\u003c/p>\n\u003cp>Fergie’s slow, bluesy rendition of “The Star-Spangled Banner” on Sunday night wasn’t particularly well received at Staples Center or on social media before the 67th edition of the NBA’s annual showcase.\u003c/p>\n\u003cp>A low chuckle rumbled through the sold-out arena after she finished the first line of the song with a throaty growl on “the dawn’s early light.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Fans throughout the star-studded crowd reacted with varying levels of bemusement and enthusiasm while her languid, 2 ½-minute version of the song continued. Although Fergie was on pitch, her tempo, musical accompaniment and sexy delivery were not exactly typical for a sporting event or a patriotic song.\u003c/p>\n\u003cp>https://twitter.com/jemelehill/status/965399814228725760\u003c/p>\n\u003cp>Golden State All-Star Draymond Green captured Sunday’s mood — and became an instant GIF — when he was shown open-mouthed on the scoreboard and the television broadcast in apparent confusion over the unique vocal stylings. Green then chuckled to himself after realizing he was on TV.\u003c/p>\n\u003cp>After a forceful finish, Fergie finally got big cheers when she shouted, “Let’s play some basketball!”\u003c/p>\n\u003cp>The Black Eyed Peas singer, born Stacy Ann Ferguson, is from nearby Hacienda Heights, California.\u003c/p>\n\u003cp>Famed basketball commentator Charles Barkley joked that he “needed a cigarette” after Fergie’s performance during the TNT halftime show.\u003c/p>\n\u003cp>Former Lakers star Shaquille O’Neal leaped to Fergie’s defense, saying: “Fergie, I love you. It was different. It was sexy. I liked it. Leave her alone.”\u003c/p>\n\u003cp>Others on social media weren’t as kind, with criticism of the performance outpacing the positive reviews.\u003c/p>\n\u003cp>The Forum in nearby Inglewood, California, was the site of arguably the most famous national anthem in sports history during another NBA All-Star Game 35 years ago.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=QRvVzaQ6i8A\u003c/p>\n\u003cp>Marvin Gaye’s touching rhythm-and-blues version of “The Star-Spangled Banner” at the 1983 game was initially criticized, but has since gained widespread acceptance as a groundbreaking musical performance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Instead, Fergie is more likely to join the long list of curious versions of the anthem, even though she showed far more impressive vocal chops than the likes of Roseanne Barr or Carl Lewis.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Golden State All-Star Draymond Green captured Sunday’s mood — and became an instant GIF — when he was shown open-mouthed on the scoreboard and the television broadcast in apparent confusion over the unique vocal stylings. Green then chuckled to himself after realizing he was on TV.\u003c/p>\n\u003cp>After a forceful finish, Fergie finally got big cheers when she shouted, “Let’s play some basketball!”\u003c/p>\n\u003cp>The Black Eyed Peas singer, born Stacy Ann Ferguson, is from nearby Hacienda Heights, California.\u003c/p>\n\u003cp>Famed basketball commentator Charles Barkley joked that he “needed a cigarette” after Fergie’s performance during the TNT halftime show.\u003c/p>\n\u003cp>Former Lakers star Shaquille O’Neal leaped to Fergie’s defense, saying: “Fergie, I love you. It was different. It was sexy. I liked it. Leave her alone.”\u003c/p>\n\u003cp>Others on social media weren’t as kind, with criticism of the performance outpacing the positive reviews.\u003c/p>\n\u003cp>The Forum in nearby Inglewood, California, was the site of arguably the most famous national anthem in sports history during another NBA All-Star Game 35 years ago.\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/QRvVzaQ6i8A'\n title='//www.youtube.com/embed/QRvVzaQ6i8A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Marvin Gaye’s touching rhythm-and-blues version of “The Star-Spangled Banner” at the 1983 game was initially criticized, but has since gained widespread acceptance as a groundbreaking musical performance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Instead, Fergie is more likely to join the long list of curious versions of the anthem, even though she showed far more impressive vocal chops than the likes of Roseanne Barr or Carl Lewis.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Town in Mexico Sees Guitar Sales Soar Thanks to the Movie 'Coco'",
"headTitle": "A Town in Mexico Sees Guitar Sales Soar Thanks to the Movie ‘Coco’ | KQED",
"content": "\u003cp>Fresh off its Golden Globe award for best animation, the Disney-Pixar movie \u003cem>Coco\u003c/em> is a favorite to win an Oscar next month.\u003c/p>\n\u003cp>It’s a sweet story of a small boy, Miguel, who dreams of becoming a musician despite his parents’ objections. On the way, he finds family, tradition and a magnificent white guitar, encrusted with pearl details and a black skull.\u003c/p>\n\u003cp>Real-life sales of guitars like Miguel’s guitar have soared thanks to the movie. And not just in U.S. stores. A small town in Mexico’s western highlands, famous for its generation of guitar makers, is also enjoying a \u003cem>Coco\u003c/em> boon.\u003c/p>\n\u003cp>Paracho, in the state of Michoacán, is the former home of the very guitar maker who helped design the instrument seen in the film.\u003c/p>\n\u003cfigure id=\"attachment_13824893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg\" alt=\"The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in Coco was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in \u003cem>Coco\u003c/em> was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now living in Los Angeles, 65-year-old German Vazquez worked with Pixar on Miguel’s guitar. Although, he left Paracho back in the 1970s, this small town hasn’t forgotten him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Coco\u003c/em> is a hit in the United States, and has raked in \u003ca href=\"http://www.boxofficemojo.com/news/?id=4348&p=.htm\">more than $700 million\u003c/a> in box offices worldwide. But particularly in Mexico, it became the highest-grossing movie of all time. The town of Paracho is gaining some fame along with it.\u003c/p>\n\u003cp>“It’s impressive, everyone’s gone \u003cem>loco\u003c/em> for \u003cem>Coco,\u003c/em>” says souvenir shopkeeper Claudia Rodríguez de Velásquez. “We have a long list of back orders,” she says, running her fingers over a dozen Post-it notes attached to a wall by the cash register.\u003c/p>\n\u003cp>Ever since \u003cem>Coco\u003c/em> debuted late last year, she can’t keep the famous white guitars on her shelves.\u003c/p>\n\u003cfigure id=\"attachment_13824894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg\" alt='Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to <em>Coco</em>. \"We are all <em>loco</em> for <em>Coco</em>,\" one shopkeeper says.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13824894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to \u003cem>Coco\u003c/em>. “We are all \u003cem>loco\u003c/em> for \u003cem>Coco\u003c/em>,” one shopkeeper says. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her family’s guitar factory down the road is churning out 1,500 instruments a week, she says. Before \u003cem>Coco\u003c/em>, Rodríguez says 90 percent of their exported guitars were tan colored, with just a few painted white. Now it’s totally the opposite: white \u003cem>Coco\u003c/em>-like guitars dominate the orders.\u003c/p>\n\u003cp>There’s been a run on other kinds of instruments made in Paracho too.\u003c/p>\n\u003cp>César Ivan Lemus sits in his dusty workshop above his house, shaving flat the wooden neck of a large guitarrón favored by mariachi bands. He says he’s filling orders as fast as he can, selling mainly to mariachi schools and stores in Texas and California.\u003c/p>\n\u003cfigure id=\"attachment_13824895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg\" alt=\"César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a <em>guitarrón</em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a \u003cem>guitarrón\u003c/em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are so proud that Pixar turned to a Mexican artisan to design \u003cem>Coco\u003c/em>‘s guitar,” he says. “And not just any Mexican — a former Paracho resident,” he adds beaming.\u003c/p>\n\u003cp>This weekend Paracho is paying homage to Vazquez and the movie. Residents decorated several streets to look like the village in \u003cem>Coco\u003c/em> — set in a fictional part of Mexico — and they covered a large bronze guitar statue at the town’s entrance all in white.\u003c/p>\n\u003cp>Jesús Ocampo, who works for the local government, says it’s time one of Paracho’s gifted guitar makers got some overdue credit.\u003c/p>\n\u003cfigure id=\"attachment_13824896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg\" alt=\"Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie <em>Coco</em>.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie \u003cem>Coco\u003c/em>. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are a lot of people here in Paracho who have made guitars for very famous musicians around the world but they are practically anonymous,” he says.\u003c/p>\n\u003cp>He claims that other brands attempt to sell Paracho guitars packaged with their own labels, without recognition.\u003c/p>\n\u003cp>Ocampo says there are no official statistics, but Paracho’s guitar makers are estimated to export as many as a million guitars a year. The town has been in the guitar making business for centuries.\u003c/p>\n\u003cfigure id=\"attachment_13824891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg\" alt=\"Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnulfo Rubio Orozco, a master artisan who says he’s a third cousin of the \u003cem>Coco \u003c/em>guitar maker in California, comes from a line of guitar makers going back to his great grandfather. He tightens the strings on an instrument he’s been working on for a month. With pearl details and wood from southern Mexico, it will fetch about $2,000.\u003c/p>\n\u003cp>“My dad didn’t want me to make guitars,” says Rubio. Instead he was sent to work winters in a Christmas tree farm in North Carolina. “I had to sneak around, ducking into other guitar makers’ workshops to learn,” he says.\u003c/p>\n\u003cp>That’s almost like Miguel in the movie. He hid his dream of being a musician from his family.\u003c/p>\n\u003cp>“I guess the story repeats itself again,” Rubio chuckles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But Rubio hasn’t actually seen \u003cem>Coco\u003c/em>. Paracho is a small town, it doesn’t have a movie theater. \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=A+Town+In+Mexico+Sees+Guitar+Sales+Soar+Thanks+To+The+Movie+%27Coco%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fresh off its Golden Globe award for best animation, the Disney-Pixar movie \u003cem>Coco\u003c/em> is a favorite to win an Oscar next month.\u003c/p>\n\u003cp>It’s a sweet story of a small boy, Miguel, who dreams of becoming a musician despite his parents’ objections. On the way, he finds family, tradition and a magnificent white guitar, encrusted with pearl details and a black skull.\u003c/p>\n\u003cp>Real-life sales of guitars like Miguel’s guitar have soared thanks to the movie. And not just in U.S. stores. A small town in Mexico’s western highlands, famous for its generation of guitar makers, is also enjoying a \u003cem>Coco\u003c/em> boon.\u003c/p>\n\u003cp>Paracho, in the state of Michoacán, is the former home of the very guitar maker who helped design the instrument seen in the film.\u003c/p>\n\u003cfigure id=\"attachment_13824893\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg\" alt=\"The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in Coco was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13824893\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-2_wide-d5b55cb9d9a2e7333493179dfc890288a8d9f210.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The town of Paracho, in the western Mexican state of Michoacán, has a long history of guitar making dating back to the 18th century. The guitar featured in \u003cem>Coco\u003c/em> was designed by a former resident of Paracho. Guitar makers in the town have been enjoying a sales boon ever since the movie debuted late last year \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now living in Los Angeles, 65-year-old German Vazquez worked with Pixar on Miguel’s guitar. Although, he left Paracho back in the 1970s, this small town hasn’t forgotten him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Coco\u003c/em> is a hit in the United States, and has raked in \u003ca href=\"http://www.boxofficemojo.com/news/?id=4348&p=.htm\">more than $700 million\u003c/a> in box offices worldwide. But particularly in Mexico, it became the highest-grossing movie of all time. The town of Paracho is gaining some fame along with it.\u003c/p>\n\u003cp>“It’s impressive, everyone’s gone \u003cem>loco\u003c/em> for \u003cem>Coco,\u003c/em>” says souvenir shopkeeper Claudia Rodríguez de Velásquez. “We have a long list of back orders,” she says, running her fingers over a dozen Post-it notes attached to a wall by the cash register.\u003c/p>\n\u003cp>Ever since \u003cem>Coco\u003c/em> debuted late last year, she can’t keep the famous white guitars on her shelves.\u003c/p>\n\u003cfigure id=\"attachment_13824894\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg\" alt='Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to <em>Coco</em>. \"We are all <em>loco</em> for <em>Coco</em>,\" one shopkeeper says.' width=\"800\" height=\"450\" class=\"size-medium wp-image-13824894\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-3_wide-90e7c32c3cc6f94b0b9447071ce22406a9927744.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitars, especially white-painted ones, in the Mexican town of Paracho are selling fast thanks to \u003cem>Coco\u003c/em>. “We are all \u003cem>loco\u003c/em> for \u003cem>Coco\u003c/em>,” one shopkeeper says. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Her family’s guitar factory down the road is churning out 1,500 instruments a week, she says. Before \u003cem>Coco\u003c/em>, Rodríguez says 90 percent of their exported guitars were tan colored, with just a few painted white. Now it’s totally the opposite: white \u003cem>Coco\u003c/em>-like guitars dominate the orders.\u003c/p>\n\u003cp>There’s been a run on other kinds of instruments made in Paracho too.\u003c/p>\n\u003cp>César Ivan Lemus sits in his dusty workshop above his house, shaving flat the wooden neck of a large guitarrón favored by mariachi bands. He says he’s filling orders as fast as he can, selling mainly to mariachi schools and stores in Texas and California.\u003c/p>\n\u003cfigure id=\"attachment_13824895\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg\" alt=\"César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a <em>guitarrón</em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824895\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-4-70e0f93baf2e3ee09dcee8ae01213a48e7d3771f.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">César Ivan Lemus, a third-generation Paracho artisan, shaves the neck of a \u003cem>guitarrón\u003c/em> he’s making. Lemus sells all types of instruments to mariachi schools and stores in the U.S. He says he’s working as fast as he can to keep up with orders these \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“We are so proud that Pixar turned to a Mexican artisan to design \u003cem>Coco\u003c/em>‘s guitar,” he says. “And not just any Mexican — a former Paracho resident,” he adds beaming.\u003c/p>\n\u003cp>This weekend Paracho is paying homage to Vazquez and the movie. Residents decorated several streets to look like the village in \u003cem>Coco\u003c/em> — set in a fictional part of Mexico — and they covered a large bronze guitar statue at the town’s entrance all in white.\u003c/p>\n\u003cp>Jesús Ocampo, who works for the local government, says it’s time one of Paracho’s gifted guitar makers got some overdue credit.\u003c/p>\n\u003cfigure id=\"attachment_13824896\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg\" alt=\"Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie <em>Coco</em>.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-5-154add3644fe3b3362ac597ba4c5ce22d51308d9.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers cover a large bronze guitar statue in white. The statue sits at the entrance to the town of Paracho. This weekend, the town will pay tribute to German Vazquez, a former resident and master guitar maker from the town. Vazquez designed the white guitar featured in the movie \u003cem>Coco\u003c/em>. \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are a lot of people here in Paracho who have made guitars for very famous musicians around the world but they are practically anonymous,” he says.\u003c/p>\n\u003cp>He claims that other brands attempt to sell Paracho guitars packaged with their own labels, without recognition.\u003c/p>\n\u003cp>Ocampo says there are no official statistics, but Paracho’s guitar makers are estimated to export as many as a million guitars a year. The town has been in the guitar making business for centuries.\u003c/p>\n\u003cfigure id=\"attachment_13824891\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg\" alt=\"Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13824891\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/cocoguitars-0-6-fd98e21c50e9ab641bf2c8eaa9eb6d18a6c40814.jpg 1998w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Master guitar maker Arnulfo Rubio Orozco holds up his latest project. It’s taken him a month to craft this guitar with pearl accents and wood from southern Mexico \u003ccite>(Carrie Kahn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Arnulfo Rubio Orozco, a master artisan who says he’s a third cousin of the \u003cem>Coco \u003c/em>guitar maker in California, comes from a line of guitar makers going back to his great grandfather. He tightens the strings on an instrument he’s been working on for a month. With pearl details and wood from southern Mexico, it will fetch about $2,000.\u003c/p>\n\u003cp>“My dad didn’t want me to make guitars,” says Rubio. Instead he was sent to work winters in a Christmas tree farm in North Carolina. “I had to sneak around, ducking into other guitar makers’ workshops to learn,” he says.\u003c/p>\n\u003cp>That’s almost like Miguel in the movie. He hid his dream of being a musician from his family.\u003c/p>\n\u003cp>“I guess the story repeats itself again,” Rubio chuckles.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But Rubio hasn’t actually seen \u003cem>Coco\u003c/em>. Paracho is a small town, it doesn’t have a movie theater. \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=A+Town+In+Mexico+Sees+Guitar+Sales+Soar+Thanks+To+The+Movie+%27Coco%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Who in the pop world but Janelle Monae could pack dystopian Afro-Futurism, sleek runway style, action sequences, club hotness and tender love into thirty seconds?\u003c/p>\n\u003cp>Today, a teaser-trailer for Monae’s new album and “emotion picture,” \u003cem>Dirty Computer\u003c/em>, was released to the web and select theaters, to air before screenings of – what else? – \u003cem>Black Panther\u003c/em>. That Monae isn’t actually \u003cem>in \u003c/em>Ryan Coogler’s revolutionary Marvel flick is mildly confusing, since she’s been crafting her own version of superheroine-ism since bursting onto the scene more than ten years ago. Of course, she’s been busy crafting her own multiverse; no need to attach to a corporate comics franchise. \u003cem>Dirty Computer \u003c/em>indicates Monae following her vision in intriguing new directions.\u003c/p>\n\u003cp>https://youtu.be/A9k89DYdHKQ\u003c/p>\n\u003cp>All Monae offers in the tantalizing bite above is thirty seconds of images, a fuzzy smear of guitar feedback, a quick monologue and some finger snaps. Yet somehow, through only that, she builds a world. It opens with a \u003cem>Westworld\u003c/em>-style shot of Monae on a floating table, in what’s probably an examination room. Cut to a montage of scenes inside a nightspot not unlike the Matrix’s \u003ca href=\"https://www.youtube.com/watch?v=ZifL6aMjOnE\">Club Hel\u003c/a>, where Monae exchanges moves and glances with male and female partners, including her apparent costar, Tessa Thompson. Before you can blink, Thompson is abducted by mask-wearing thugs in military riot gear. Then there are scenes on a beach that have the flavor of \u003cem>A Wrinkle In Time\u003c/em>, including one of Monae and Thompson engaging in a tender embrace. Monae (we think) intones: “They drained us of our dirt, and all the things that made us special. And then you were lost. Sleeping. And you didn’t remember anything at all.” Monae lays prone on the exam table; someone caresses the tattoo on her arm, an apparent amalgam of the primordial goddess and the \u003ca href=\"https://metrouk2.files.wordpress.com/2013/09/pm_338485.jpg?w=748&h=492&crop=1\">Wicker Man\u003c/a>.\u003c/p>\n\u003cp>Dystopia, baby! The trailer also features some \u003cem>True Detective-\u003c/em>style masks and several high-fashion shots that won’t disappoint acolytes of Monae’s sartorial genius, including a final shot of her in a spooky costume that seems to invent a Black Queen for a new version of \u003cem>Alice Through the Looking Glass\u003c/em>. (Or, snap, in \u003ca href=\"https://www.google.com/search?q=janelle+monae+alice+in+wonderland&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiXvPPjkqjZAhVL0YMKHQVaCMMQ_AUICigB&biw=1211&bih=706\">Wondaland\u003c/a>.) Are we reading into this thing much? Well, why not? The ongoing saga of Cindi Mayweather, the android alter-ego that Monae has developed in previous recordings and visuals, starting with \u003cem>Metropolis Suite 1 (The Chase) \u003c/em>in 2007, has taken her from nascent Fritz Lang fantasies to the beginnings of a whole new language: \u003ca href=\"https://www.youtube.com/watch?v=tEddixS-UoU\">“Q.U.E.E.N.,”\u003c/a> the song and video from her last album, 2013’s \u003cem>Electric Lady\u003c/em>, coined a new term for today’s oppressed: “Queer, Untouchables, Emigrants, Excommunicated and Negroid.” \u003cem>Dirty Computer\u003c/em> will likely place that community within the context of a cyber-nightmare – dressed, of course, in dazzling \u003ca href=\"https://tomandlorenzo.com/2017/06/2017-cfda-fashion-awards-janelle-monae-in-christian-siriano/\">Christian Soriano\u003c/a> couture. We know nothing of the music yet, nor of the lyrical content of the album that is part of this project. However, the warm glances between Thompson and Monae in the trailer suggest there will be some love scenes. And no one will be shocked if the \u003ca href=\"https://www.youtube.com/watch?v=pwnefUaKCbc\">dance sequences\u003c/a> are on point.\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=Janelle+Mon%C3%A1e+Teases+Dystopic%2C+Afro-Futurist+Emotion+Picture+%27Dirty+Computer%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>While some of us were shelling out cash for flowers and chocolates, \u003ca href=\"https://www.npr.org/artists/137108917/frank-ocean\" target=\"_blank\" rel=\"noopener\">Frank Ocean\u003c/a> gifted his listeners with new music in honor of Valentine’s Day. The illusive R&B star released a cover of “Moon River” in the wee hours on his YouTube and Tumblr accounts. The 1961 original, by Henry Mancini with lyrics by Johnny Mercer, was written for Audrey Hepburn to sing in the cult classic \u003cem>Breakfast at Tiffany’s\u003c/em> and has been covered over the years by Jerry Butler, Aretha Franklin, Frank Sinatra and more.\u003c/p>\n\u003cp>For his version, Ocean starts by distorting his voice to resemble an innocent child (a similar tactic he frequently employed on his last album \u003cem>Blonde\u003c/em>) and croons over an achingly slow and beautiful bass line, providing his own supporting vocals and harmonies throughout. It’s far from the first time Ocean has put his own synthy spin on a pop classic; check out his covers of Stevie Wonder’s “\u003ca href=\"https://www.youtube.com/watch?v=Meij0gCWQb8\" target=\"_blank\" rel=\"noopener\">Close To You\u003c/a>” and The Isley Brothers’ “\u003ca href=\"https://www.youtube.com/watch?v=1kIOXNP5Ig0\" target=\"_blank\" rel=\"noopener\">At Your Best (You Are Love)\u003c/a>” for more nostalgia.\u003c/p>\n\u003cp>With a steady stream of releases in 2017 and now this new cover surfacing, it’s apparent the 30-year-old has every intention of making good on his promise that fans will “\u003ca href=\"http://frankocean.tumblr.com/post/169250081706/new-18-99\" target=\"_blank\" rel=\"noopener\">love 2018\u003c/a>.” \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=Frank+Ocean+Gifts+Fans+With+%27Moon+River%27+Cover+On+Valentine%27s+Night&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Jamedra Brown Fleischman is back as co-host this week, with her twins adding to the fun, watching from the control room of the studio. The picks this week are a reminder that we’re deep into Black History Month, but every month should feature such deeply intriguing and emotionally satisfying music and theater. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/what-viewers-didnt-see-changed-everything/\" target=\"_blank\" rel=\"noopener\">A musical performance about the troubling history of blackface, Ben Vereen and the 1981 Reagan Inauguration\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14-17:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/the-effortlessly-hip-comedy-of-zainab-johnson/\" target=\"_blank\" rel=\"noopener\"> The effortlessly funny hipness of Zainab Johnson\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13824549&action=edit\" target=\"_blank\" rel=\"noopener\">The long pauses of funnyman Ron Funches\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22 and 28\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/rapper-caleborate-is-still-a-real-person-despite-his-success/\" target=\"_blank\" rel=\"noopener\"> Rapper Caleborate still a “real person,” despite success\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jamedra Brown Fleischman is back as co-host this week, with her twins adding to the fun, watching from the control room of the studio. The picks this week are a reminder that we’re deep into Black History Month, but every month should feature such deeply intriguing and emotionally satisfying music and theater. Take a listen.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/what-viewers-didnt-see-changed-everything/\" target=\"_blank\" rel=\"noopener\">A musical performance about the troubling history of blackface, Ben Vereen and the 1981 Reagan Inauguration\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 14-17:\u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/the-effortlessly-hip-comedy-of-zainab-johnson/\" target=\"_blank\" rel=\"noopener\"> The effortlessly funny hipness of Zainab Johnson\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22-24:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/wp-admin/post.php?post=13824549&action=edit\" target=\"_blank\" rel=\"noopener\">The long pauses of funnyman Ron Funches\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 22 and 28\u003c/strong>:\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/rapper-caleborate-is-still-a-real-person-despite-his-success/\" target=\"_blank\" rel=\"noopener\"> Rapper Caleborate still a “real person,” despite success\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>Feb. 25: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/all-welcome-at-a-parade-of-black-joy-in-oakland/\" target=\"_blank\" rel=\"noopener\">A parade and street fair promise an afternoon of black joy\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Oct. 17-March 11: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/tales-of-seeking-sanctuary-woven-into-36-rugs-at-fort-mason/\" target=\"_blank\" rel=\"noopener\">For-Site gathers an exhibition of beautiful rugs on the theme of sanctuary for refugees\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 19 and 26: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/02/14/garage-rock-band-the-coathangers-have-plenty-to-be-pissed-off-about/\" target=\"_blank\" rel=\"noopener\">The Coathangers rock out with songs about men and other irritants\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb 19, 22, and 23: \u003c/strong>\u003ca href=\"http://www.leeannwomack.com/p/tour-dates\" target=\"_blank\" rel=\"noopener\">Lee Ann Womack brings her earthy Texas country rock to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 18:\u003c/strong> \u003ca href=\"https://www.belovedoakland.org/\" target=\"_blank\" rel=\"noopener\">Beloved Oakland is a chance to celebrate The Town and some of its civic and artistic leaders at the Paramount\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13824627\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13824627\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg\" alt=\"\" width=\"800\" height=\"601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-800x601.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-768x577.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1020x766.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1920x1442.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-960x721.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1-520x391.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/ForSiteFoundation_Sanctuary_Al-Beik-1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A rug designed by Ammar al-Beik in For-Site’s show ‘Sanctuary’ at the Fort Mason Chapel \u003ccite>(Photo: Robert Divers Herrick/For-Site Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We’re so glad the Coathangers are back in town. This Atlanta-based garage rock band led by guitarist Julia Kugel — with Meredith Franco on bass and Stephanie Luke on drums — likes to write songs about stuff that pisses them off. These days, women have plenty to be pissed about, and the Coathangers make terrifically rocking music about it all. \u003c/p>\n\u003cp>My co-host Jamedra Brown Fleischman notes that the band formed as a joke back in 2006, but since then they’ve developed quite a following. Their name is a reference to the use of coat hangers in the horrifying history self-induced abortions. The band chose the name because they liked the shock value, so if makes you uncomfortable, you’ll just have to deal with it. \u003c/p>\n\u003cp>Details for their shows at The Independent in San Francisco Feb. 19, and at the Catalyst in Santa Cruz Feb. 26 \u003ca href=\"http://thecoathangers.com/tour/\" target=\"_blank\" rel=\"noopener\">are here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J3bqo4tuTYM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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",
"meta": {
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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",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"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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"order": 1
},
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"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": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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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",
"subscribe": {
"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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}
},
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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
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "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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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"spotify": "https://open.spotify.com/show/0OLWoyizopu6tY1XiuX70x",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "One of public radio's most dynamic voices, Sam Sanders helped launch The NPR Politics Podcast and hosted NPR's hit show It's Been A Minute. Now, the award-winning host returns with something brand new, The Sam Sanders Show. Every week, Sam Sanders and friends dig into the culture that shapes our lives: what's driving the biggest trends, how artists really think, and even the memes you can't stop scrolling past. Sam is beloved for his way of unpacking the world and bringing you up close to fresh currents and engaging conversations. The Sam Sanders Show is smart, funny and always a good time.",
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