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"content": "\u003cp>Opera Parallèle and SFJAZZ are teaming up to present a concert celebrating Leonard Bernstein’s 100th birthday — one of dozens of Bernstein birthday concerts we’ve enjoyed in the Bay Area since last fall. The two companies are presenting the one act opera \u003cem>Trouble in Tahiti from 1952,\u003c/em> for which Bernstein wrote both the score and libretto. Centered on the allure and despair of suburban life, \u003ci>Trouble\u003c/i> also features orchestrations and motifs that would come to life years later in \u003cem>West Side Story\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13823290\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13823290\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg\" alt=\"Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ\" width=\"800\" height=\"956\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-800x956.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-160x191.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-768x918.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-240x287.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-375x448.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696-520x621.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/At-the-Statue-of-Venus-e1517429776696.jpg 801w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rene Rapier in ‘At the Statue of Venus‘ a new production from Opera Parallèle and SFJAZZ \u003ccite>(Photo: Steve Di Bartolomeo/Westside Studio Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bernstein began composing it on his honeymoon, yet the musical opens with a married couple bickering. It’s likely based on the the marriage of Bernstein’s parents, but it also foreshadowed the trouble to come \u003ca href=\"http://www.interlude.hk/front/leonard-bernstein-felicia-montealegrea-divided-life/\" rel=\"noopener\" target=\"_blank\">in his marriage\u003c/a> to Chilean actress Felicia Montealegre. \u003c/p>\n\u003cp>The companies are pairing \u003cem>Trouble \u003c/em>with \u003cem>At the Statue of Venus\u003c/em>, by San Francisco composer Jake Heggie and his \u003cem>Dead Man Walking\u003c/em> librettist and playwright Terence McNally. \u003ci>Venus\u003c/i> features a really long scene for piano and soprano in which an attractive, middle-aged woman waits in a museum by a statue of the Goddess of Love for a blind date. Opera Parallèle’s Creative Director Brian Staufenbiel says he sees a narrative that connects both works in which the woman from \u003cem>At the Statue of Venus \u003c/em>becomes the wife, Dinah, in \u003cem>Trouble in Tahiti\u003c/em>. \u003c/p>\n\u003cp>Don’t look for happy endings, but do expect terrific music. Details on these concerts at SFJAZZ’s Miner Hall Feb. 14-18 are \u003ca href=\"https://www.sfjazz.org/tickets/productions/celebrating-bernsteins-100th/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5OjT3uHN6PU}\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>If hip-hop fans were wondering if Kendrick Lamar and Sacramento rapper Mozzy had a collaboration in the works after K.Dot \u003ca href=\"http://www.sacbee.com/news/local/article197178319.html\" target=\"_blank\" rel=\"noopener\">quoted Mozzy\u003c/a> during his Grammys acceptance speech, we now have our answer. Earlier today, Lamar tweeted the highly anticipated tracklist for \u003cem>Black Panther\u003c/em>, the reportedly groundbreaking Marvel film directed by Ryan Coogler.\u003c/p>\n\u003cp>Coogler, who also directed \u003cem>Fruitvale Station\u003c/em> and \u003cem>Creed\u003c/em>, is originally from Oakland, so it makes sense that \u003cem>Black Panther’s\u003c/em> soundtrack shows Northern California some love. In addition to “Seasons” by Mozzy (also featuring South African artists Sjava and Reason), it includes a new song by Vallejo upstarts SOBxRBE called “Paramedic!”\u003c/p>\n\u003cp>The rest of the soundtrack, curated by Lamar, features heavy-hitters like Future, Swae Lee, the Weeknd, Travis Scott, SZA, and James Blake. Ab-Soul and Jay Rock from Lamar’s Top Dawg Entertainment also make appearances and notable newcomers like Jorja Smith, Zacari, and Khalid are on the soundtrack as well.\u003c/p>\n\u003cp>https://twitter.com/kendricklamar/status/958788331420069888\u003c/p>\n\u003cp>\u003cstrong>Tracklist\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Black Panther,” Kendrick Lamar\u003cbr>\n“All The Stars,” Kendrick Lamar, SZA\u003cbr>\n“X,” ScHoolboy Q, 2 Chainz, Saudi\u003cbr>\n“The Ways,” Khalid, Swae Lee\u003cbr>\n“Opps,” Vince Staples, Yugen Blakrok\u003cbr>\n“I Am,” Jorja Smith\u003cbr>\n“Paramedic!” SOB X RBE\u003cbr>\n“Bloody Waters,” Ab-Soul, Anderson .Paak, James Blake\u003cbr>\n“King’s Dead,” Jay Rock, Kendrick Lamar, Future, James Blake\u003cbr>\n“Redemption Interlude”\u003cbr>\n“Redemption,” Zacari, Babes Wodumo\u003cbr>\n“Seasons,” Mozzy, Sjava, Reason\u003cbr>\n“Big Shot,” Kendrick Lamar, Travis Scott\u003cbr>\n“Pray For Me,” The Weeknd, Kendrick Lamar\u003c/p>\n\u003cp>So far, only the rap scorcher “\u003ca href=\"https://soundcloud.com/topdawgent/kings-dead\" target=\"_blank\" rel=\"noopener\">King’s Dead\u003c/a>” and soaring electro-R&B track “\u003ca href=\"https://youtu.be/GfCqMv--ncA\" target=\"_blank\" rel=\"noopener\">All the Stars\u003c/a>” are out; we’ll have to wait ’til the soundtrack’s Feb. 9 release to hear more. \u003cem>Black Panther\u003c/em> hits theaters on Feb. 16.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/382202108″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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>If hip-hop fans were wondering if Kendrick Lamar and Sacramento rapper Mozzy had a collaboration in the works after K.Dot \u003ca href=\"http://www.sacbee.com/news/local/article197178319.html\" target=\"_blank\" rel=\"noopener\">quoted Mozzy\u003c/a> during his Grammys acceptance speech, we now have our answer. Earlier today, Lamar tweeted the highly anticipated tracklist for \u003cem>Black Panther\u003c/em>, the reportedly groundbreaking Marvel film directed by Ryan Coogler.\u003c/p>\n\u003cp>Coogler, who also directed \u003cem>Fruitvale Station\u003c/em> and \u003cem>Creed\u003c/em>, is originally from Oakland, so it makes sense that \u003cem>Black Panther’s\u003c/em> soundtrack shows Northern California some love. In addition to “Seasons” by Mozzy (also featuring South African artists Sjava and Reason), it includes a new song by Vallejo upstarts SOBxRBE called “Paramedic!”\u003c/p>\n\u003cp>The rest of the soundtrack, curated by Lamar, features heavy-hitters like Future, Swae Lee, the Weeknd, Travis Scott, SZA, and James Blake. Ab-Soul and Jay Rock from Lamar’s Top Dawg Entertainment also make appearances and notable newcomers like Jorja Smith, Zacari, and Khalid are on the soundtrack as well.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Black Panther,” Kendrick Lamar\u003cbr>\n“All The Stars,” Kendrick Lamar, SZA\u003cbr>\n“X,” ScHoolboy Q, 2 Chainz, Saudi\u003cbr>\n“The Ways,” Khalid, Swae Lee\u003cbr>\n“Opps,” Vince Staples, Yugen Blakrok\u003cbr>\n“I Am,” Jorja Smith\u003cbr>\n“Paramedic!” SOB X RBE\u003cbr>\n“Bloody Waters,” Ab-Soul, Anderson .Paak, James Blake\u003cbr>\n“King’s Dead,” Jay Rock, Kendrick Lamar, Future, James Blake\u003cbr>\n“Redemption Interlude”\u003cbr>\n“Redemption,” Zacari, Babes Wodumo\u003cbr>\n“Seasons,” Mozzy, Sjava, Reason\u003cbr>\n“Big Shot,” Kendrick Lamar, Travis Scott\u003cbr>\n“Pray For Me,” The Weeknd, Kendrick Lamar\u003c/p>\n\u003cp>So far, only the rap scorcher “\u003ca href=\"https://soundcloud.com/topdawgent/kings-dead\" target=\"_blank\" rel=\"noopener\">King’s Dead\u003c/a>” and soaring electro-R&B track “\u003ca href=\"https://youtu.be/GfCqMv--ncA\" target=\"_blank\" rel=\"noopener\">All the Stars\u003c/a>” are out; we’ll have to wait ’til the soundtrack’s Feb. 9 release to hear more. \u003cem>Black Panther\u003c/em> hits theaters on Feb. 16.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/382202108″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true”'\n title='”https://api.soundcloud.com/tracks/382202108″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright 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": "The Man Behind 'Left Shark' Explains His Viral Super Bowl Moment",
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"content": "\u003cp>The Super Bowl halftime show is arguably as big a spectacle as the actual game. And back in 2015, it launched an unwitting star.\u003c/p>\n\u003cp>Katy Perry was the halftime artist, but one of her dancers stole the spotlight. During her performance of the song “Teenage Dream,” she was flanked onstage by two dancers dressed in enormous blue shark costumes. The one on the right seemed to dance in sync; \u003ca href=\"https://www.youtube.com/watch?v=WmcWZ2Bzoho\">the one on the other side\u003c/a> flailed as if he’d been encased in that costume against his will.\u003c/p>\n\u003cp>“Left Shark” became an instant sensation. \u003c/p>\n\u003cp>Everyone wanted to know: Could he not hear the music? Could he not see his cues from inside that costume? What happened? \u003c/p>\n\u003cp>At the time, the man inside Left Shark refused to talk to news outlets. That’s since changed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Left Shark’s real name is Bryan Gaw. He’d been a dancer with Katy Perry’s touring ensemble for five years. He left the road about a year ago, and today he’s a hair stylist at Mare Salon in West Hollywood. That’s where NPR’s David Greene caught up with him.\u003c/p>\n\u003cfigure id=\"attachment_13823252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg\" alt=\"Bryan Gaw: dancer with Katy Perry's touring ensemble, hair stylist, Left Shark.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Gaw: dancer with Katy Perry’s touring ensemble, hair stylist, Left Shark. \u003ccite>(Danny Hajek/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaw explained that the role of Left Shark involved some freedom of expression. “So there’s a set choreography,” he said. “There’s also what’s called free-style choreography, or, like, you get to move around or play your character as a dancer. … I’m in a 7-foot blue shark costume. There’s no cool in that. So what’s the other option? Well, I’m gonna play a different character.”\u003c/p>\n\u003cp>And that character, he claims, was an underdog. An everyday person. Someone imperfect.\u003c/p>\n\u003cp>Gaw rehearsed his improvisational moment thinking he’d be a little goofy, but when he reached midfield at the Super Bowl, his movements became maximum goofy.\u003c/p>\n\u003cp> “Totally,” Gaw says with a laugh. “I’m on a maximum stage!” \u003c/p>\n\u003cp>https://twitter.com/katyperry/status/562539448588435456\u003c/p>\n\u003cp>https://twitter.com/desusnice/status/562065864149966850\u003c/p>\n\u003cp>https://twitter.com/James_Dator/status/562291770751733760\u003c/p>\n\u003cp>It took Gaw a while to get used to his newfound fame. In the immediate aftermath, the media had a field day with what was perceived as a botched performance. Social media was especially cutting. Gaw didn’t talk about it publicly at first — he said he didn’t want to draw attention away from Katy Perry. But he’s since found a lot of love for Left Shark. \u003c/p>\n\u003cp>“Actually I don’t get any negative feedback from it. If anything, people are, like, ‘Whoa, that’s so cool!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, Gaw even lists Left Shark on his resume. \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=The+Man+Behind+%27Left+Shark%27+Explains+His+Viral+Super+Bowl+Moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Left Shark’s real name is Bryan Gaw. He’d been a dancer with Katy Perry’s touring ensemble for five years. He left the road about a year ago, and today he’s a hair stylist at Mare Salon in West Hollywood. That’s where NPR’s David Greene caught up with him.\u003c/p>\n\u003cfigure id=\"attachment_13823252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg\" alt=\"Bryan Gaw: dancer with Katy Perry's touring ensemble, hair stylist, Left Shark.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Gaw: dancer with Katy Perry’s touring ensemble, hair stylist, Left Shark. \u003ccite>(Danny Hajek/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaw explained that the role of Left Shark involved some freedom of expression. “So there’s a set choreography,” he said. “There’s also what’s called free-style choreography, or, like, you get to move around or play your character as a dancer. … I’m in a 7-foot blue shark costume. There’s no cool in that. So what’s the other option? Well, I’m gonna play a different character.”\u003c/p>\n\u003cp>And that character, he claims, was an underdog. An everyday person. Someone imperfect.\u003c/p>\n\u003cp>Gaw rehearsed his improvisational moment thinking he’d be a little goofy, but when he reached midfield at the Super Bowl, his movements became maximum goofy.\u003c/p>\n\u003cp> “Totally,” Gaw says with a laugh. “I’m on a maximum stage!” \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It took Gaw a while to get used to his newfound fame. In the immediate aftermath, the media had a field day with what was perceived as a botched performance. Social media was especially cutting. Gaw didn’t talk about it publicly at first — he said he didn’t want to draw attention away from Katy Perry. But he’s since found a lot of love for Left Shark. \u003c/p>\n\u003cp>“Actually I don’t get any negative feedback from it. If anything, people are, like, ‘Whoa, that’s so cool!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, Gaw even lists Left Shark on his resume. \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=The+Man+Behind+%27Left+Shark%27+Explains+His+Viral+Super+Bowl+Moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Pro Tip: Keep Your Credit Cards Away From Guapdad 4000",
"headTitle": "Pro Tip: Keep Your Credit Cards Away From Guapdad 4000 | KQED",
"content": "\u003cp>Oakland-raised, LA-based rapper Guapdad 4000 can best be described as a combination of the slick-talking Vallejo rapper Mac Dre and \u003ca href=\"http://www.thefader.com/2016/08/09/joanne-the-scammer-branden-miller-messy-bitch-interview\" target=\"_blank\" rel=\"noopener\">Joanne the Scammer\u003c/a> — the online personality who lives for \u003ca href=\"https://www.youtube.com/watch?v=JhZF00uSNRk\" target=\"_blank\" rel=\"noopener\">drama, robbery, and fraud\u003c/a>.\u003c/p>\n\u003cp>Like Joanne (internet comedian Branden Miller’s alter-ego that went viral in 2016), Guapdad lives by a philosophy of scam-or-be-scammed, and his hilarious \u003ca href=\"https://www.instagram.com/guapdad4000/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> and \u003ca href=\"https://www.youtube.com/channel/UCJ5ZEBZESCY3EtVjp1ADgPg\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> videos on the subject could be considered a body of work in their own right. On his debut mixtape, \u003cem>Scamboy Color\u003c/em>, he puts that ethos to laid-back, West Coast beats that hark back to Mac Dre classics like “\u003ca href=\"https://www.youtube.com/watch?v=72HNX6bJ2ag\" target=\"_blank\" rel=\"noopener\">She Neva Seen\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=rZgWrovjAAI\" target=\"_blank\" rel=\"noopener\">Not My Job\u003c/a>” with modern flourishes like sleek synths, autotuned flows, and trap hi-hats.\u003c/p>\n\u003cp>Since the release of \u003cem>Scamboy Color\u003c/em> in December, Guapdad’s star has risen rapidly. He’s working with \u003ca href=\"https://www.empi.re\" target=\"_blank\" rel=\"noopener\">EMPIRE\u003c/a>, a San Francisco distribution label that features buzzworthy indie hip-hop acts like \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/live-review-brockhamptons-anarchic-hip-hop-at-social-hall-san-francisco/\" target=\"_blank\" rel=\"noopener\">Brockhampton\u003c/a> on its roster. And he’s being booked to open for some notable up-and-comers like \u003ca href=\"https://www.newyorker.com/magazine/2018/01/08/lil-xan-and-the-year-in-sad-rap\" target=\"_blank\" rel=\"noopener\">Lil Xan\u003c/a> and \u003ca href=\"http://www.thefader.com/2017/04/26/sob-x-rbe-interview-slimmy-b-daboii-lul-g-yhung-to\" target=\"_blank\" rel=\"noopener\">SOB x RBE\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/CKWeCUnRMV0\u003c/p>\n\u003cp>The video for “Scamboy,” the lead single on \u003cem>Scamboy Color\u003c/em>, is a crash course in internet inside jokes and cultural references — designer brands, anime, Oakland’s criminal underworld — at the heart of Guapdad’s humor. It opens with a \u003cem>Tim and Eric\u003c/em>-esque infomercial, where Guapdad introduces himself as the “Prada Pastor” of the “First Fruadvengelical Blaptist Church,” preaching the gospel of credit card fraud and identity theft. After addressing his congregation of aspiring conmen, Guapdad — in his typical absurdist style — rides around West Oakland on a horse while flashing his gold teeth and pile of (probably other people’s) credit cards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Guapdad says Scamboy isn’t just a persona — and that he has some shady online dealings in his past. But much like former drug dealers-turned-rappers often relate the street hustle of their past to a “by any means necessary” approach to music, Guapdad translates the concept of scamming into a larger statement about survival and self-preservation.\u003c/p>\n\u003cp>“The essence of this whole scam and finesse movement has been generalized into essentially getting yours by any means,” says Guapdad, whose real name is Akeem Hayes, in a recent FaceTime interview. “I started scamming out of necessity. Nobody wakes up and says I’m finna scam a million people — those people are usually evil. I’m not an evil dude but I’m not a hero: I’m an anti-hero.”\u003c/p>\n\u003cp>Those questionable ethics might raise some eyebrows, but hip-hop is a genre where outlaws can easily become folk heroes, and Guapdad embraces that. He’s comically narcissistic and in-your-face about his sins and bad habits (chugging Hennessy from the bottle is a big one), yet endearing with his \u003ca href=\"https://en.wikipedia.org/wiki/Steve_Urkel\" target=\"_blank\" rel=\"noopener\">Urkel\u003c/a> glasses and love for Pokémon.\u003c/p>\n\u003cp>“This is the age of weirdos, and I’m a complete strange guy,” he says, explaining his resonance with the current zeitgeist. “I’ve got a lot of urban appeal because I’m from West Oakland, but my taste is 100-percent Asian in terms of media and cuisine because I grew up in a Filipino and black household, and I’ve always been obsessed with Japan because of the cartoons and manga.”\u003c/p>\n\u003cp>https://youtu.be/3IEqMPFIAnw\u003c/p>\n\u003cp>As with many people who grew up obsessed with the internet, branding comes naturally to 25-year-old Guapdad, who’s garnered organic buzz without any features from high-profile artists. In the 2000s, he used his weird sense of humor to attract big followings on MySpace and Tumblr, which he parlayed into his upwards-of-24k followers on Instagram and Twitter respectively. But he remembers one particular moment that helped his fan base multiply: A video he posted on his 24th birthday, where he addresses the camera while lounging in fur coat, bathed in $100 bills.\u003c/p>\n\u003cfigure id=\"attachment_13820268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Guap_2-800x1200.jpg\" alt=\"Guapdad 4000's comedic persona can be described as a combination of Joanne the Scammer and Mac Dre.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2.jpg 1333w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guapdad 4000’s comedic persona can be described as a combination of Joanne the Scammer and Mac Dre. \u003ccite>(Guapdad 4000)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did this whole spiel about drinking Hennessy and catching all the Pokémon, and it just went crazy from there,” he laughs.\u003c/p>\n\u003cp>This video and others on YouTube and Instagram where Guapdad plays up his comedic persona (\u003ca href=\"https://youtu.be/x_bVjX3LsXI\" target=\"_blank\" rel=\"noopener\">this one\u003c/a> about his anime addiction is also a gem) give his legions of young fans another way to connect with him outside of his music, and they’ve already absorbed the bizarre slang Guapdad’s coined. One of his nicknames for himself, Ferragamo Falcon, spawned a litany of alliterative, luxury brand-referencing lingo, like “Louis Vuitton leveled up,” “Dufflebag Damier Dove,” and “Hermes Hawk.” (At one point, he stops our Facetime interview to introduce me to his dog. When I ask what breed it is, he says it’s a “Balenciaga Boston terrier.”)\u003c/p>\n\u003cp>But Guapdad doesn’t want to be known as a joke rapper. Those he looked up to in childhood, like Eminem and Ludacris, parlayed humor into successful rap careers. “Plus I’m from Oakland, so my main influence is Mac Dre of all people. He was the most animated rapper of all time,” he adds. “My goal is to be taken serious as an animated rapper, not a comedian-turned-rapper.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Guapdad 4000 opens for Lil Xan at Cornerstone in Berkeley on Jan. 31 and for SOB x RBE at the Fox Theater on Mar. 17. More info \u003ca href=\"https://www.stubhub.com/lil-xan-tickets-lil-xan-berkeley-cornerstone-berkeley-1-31-2018/event/103384245/?sort=price+asc\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"http://thefoxoakland.com/events/sob-x-rbe\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oakland-raised, LA-based rapper Guapdad 4000 can best be described as a combination of the slick-talking Vallejo rapper Mac Dre and \u003ca href=\"http://www.thefader.com/2016/08/09/joanne-the-scammer-branden-miller-messy-bitch-interview\" target=\"_blank\" rel=\"noopener\">Joanne the Scammer\u003c/a> — the online personality who lives for \u003ca href=\"https://www.youtube.com/watch?v=JhZF00uSNRk\" target=\"_blank\" rel=\"noopener\">drama, robbery, and fraud\u003c/a>.\u003c/p>\n\u003cp>Like Joanne (internet comedian Branden Miller’s alter-ego that went viral in 2016), Guapdad lives by a philosophy of scam-or-be-scammed, and his hilarious \u003ca href=\"https://www.instagram.com/guapdad4000/\" target=\"_blank\" rel=\"noopener\">Instagram\u003c/a> and \u003ca href=\"https://www.youtube.com/channel/UCJ5ZEBZESCY3EtVjp1ADgPg\" target=\"_blank\" rel=\"noopener\">YouTube\u003c/a> videos on the subject could be considered a body of work in their own right. On his debut mixtape, \u003cem>Scamboy Color\u003c/em>, he puts that ethos to laid-back, West Coast beats that hark back to Mac Dre classics like “\u003ca href=\"https://www.youtube.com/watch?v=72HNX6bJ2ag\" target=\"_blank\" rel=\"noopener\">She Neva Seen\u003c/a>” and “\u003ca href=\"https://www.youtube.com/watch?v=rZgWrovjAAI\" target=\"_blank\" rel=\"noopener\">Not My Job\u003c/a>” with modern flourishes like sleek synths, autotuned flows, and trap hi-hats.\u003c/p>\n\u003cp>Since the release of \u003cem>Scamboy Color\u003c/em> in December, Guapdad’s star has risen rapidly. He’s working with \u003ca href=\"https://www.empi.re\" target=\"_blank\" rel=\"noopener\">EMPIRE\u003c/a>, a San Francisco distribution label that features buzzworthy indie hip-hop acts like \u003ca href=\"https://ww2.kqed.org/arts/2017/09/25/live-review-brockhamptons-anarchic-hip-hop-at-social-hall-san-francisco/\" target=\"_blank\" rel=\"noopener\">Brockhampton\u003c/a> on its roster. And he’s being booked to open for some notable up-and-comers like \u003ca href=\"https://www.newyorker.com/magazine/2018/01/08/lil-xan-and-the-year-in-sad-rap\" target=\"_blank\" rel=\"noopener\">Lil Xan\u003c/a> and \u003ca href=\"http://www.thefader.com/2017/04/26/sob-x-rbe-interview-slimmy-b-daboii-lul-g-yhung-to\" target=\"_blank\" rel=\"noopener\">SOB x RBE\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/CKWeCUnRMV0'\n title='//www.youtube.com/embed/CKWeCUnRMV0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The video for “Scamboy,” the lead single on \u003cem>Scamboy Color\u003c/em>, is a crash course in internet inside jokes and cultural references — designer brands, anime, Oakland’s criminal underworld — at the heart of Guapdad’s humor. It opens with a \u003cem>Tim and Eric\u003c/em>-esque infomercial, where Guapdad introduces himself as the “Prada Pastor” of the “First Fruadvengelical Blaptist Church,” preaching the gospel of credit card fraud and identity theft. After addressing his congregation of aspiring conmen, Guapdad — in his typical absurdist style — rides around West Oakland on a horse while flashing his gold teeth and pile of (probably other people’s) credit cards.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Guapdad says Scamboy isn’t just a persona — and that he has some shady online dealings in his past. But much like former drug dealers-turned-rappers often relate the street hustle of their past to a “by any means necessary” approach to music, Guapdad translates the concept of scamming into a larger statement about survival and self-preservation.\u003c/p>\n\u003cp>“The essence of this whole scam and finesse movement has been generalized into essentially getting yours by any means,” says Guapdad, whose real name is Akeem Hayes, in a recent FaceTime interview. “I started scamming out of necessity. Nobody wakes up and says I’m finna scam a million people — those people are usually evil. I’m not an evil dude but I’m not a hero: I’m an anti-hero.”\u003c/p>\n\u003cp>Those questionable ethics might raise some eyebrows, but hip-hop is a genre where outlaws can easily become folk heroes, and Guapdad embraces that. He’s comically narcissistic and in-your-face about his sins and bad habits (chugging Hennessy from the bottle is a big one), yet endearing with his \u003ca href=\"https://en.wikipedia.org/wiki/Steve_Urkel\" target=\"_blank\" rel=\"noopener\">Urkel\u003c/a> glasses and love for Pokémon.\u003c/p>\n\u003cp>“This is the age of weirdos, and I’m a complete strange guy,” he says, explaining his resonance with the current zeitgeist. “I’ve got a lot of urban appeal because I’m from West Oakland, but my taste is 100-percent Asian in terms of media and cuisine because I grew up in a Filipino and black household, and I’ve always been obsessed with Japan because of the cartoons and manga.”\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/3IEqMPFIAnw'\n title='//www.youtube.com/embed/3IEqMPFIAnw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As with many people who grew up obsessed with the internet, branding comes naturally to 25-year-old Guapdad, who’s garnered organic buzz without any features from high-profile artists. In the 2000s, he used his weird sense of humor to attract big followings on MySpace and Tumblr, which he parlayed into his upwards-of-24k followers on Instagram and Twitter respectively. But he remembers one particular moment that helped his fan base multiply: A video he posted on his 24th birthday, where he addresses the camera while lounging in fur coat, bathed in $100 bills.\u003c/p>\n\u003cfigure id=\"attachment_13820268\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13820268\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Guap_2-800x1200.jpg\" alt=\"Guapdad 4000's comedic persona can be described as a combination of Joanne the Scammer and Mac Dre.\" width=\"800\" height=\"1200\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-1180x1770.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-960x1440.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-240x360.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-375x563.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2-520x780.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Guap_2.jpg 1333w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guapdad 4000’s comedic persona can be described as a combination of Joanne the Scammer and Mac Dre. \u003ccite>(Guapdad 4000)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I did this whole spiel about drinking Hennessy and catching all the Pokémon, and it just went crazy from there,” he laughs.\u003c/p>\n\u003cp>This video and others on YouTube and Instagram where Guapdad plays up his comedic persona (\u003ca href=\"https://youtu.be/x_bVjX3LsXI\" target=\"_blank\" rel=\"noopener\">this one\u003c/a> about his anime addiction is also a gem) give his legions of young fans another way to connect with him outside of his music, and they’ve already absorbed the bizarre slang Guapdad’s coined. One of his nicknames for himself, Ferragamo Falcon, spawned a litany of alliterative, luxury brand-referencing lingo, like “Louis Vuitton leveled up,” “Dufflebag Damier Dove,” and “Hermes Hawk.” (At one point, he stops our Facetime interview to introduce me to his dog. When I ask what breed it is, he says it’s a “Balenciaga Boston terrier.”)\u003c/p>\n\u003cp>But Guapdad doesn’t want to be known as a joke rapper. Those he looked up to in childhood, like Eminem and Ludacris, parlayed humor into successful rap careers. “Plus I’m from Oakland, so my main influence is Mac Dre of all people. He was the most animated rapper of all time,” he adds. “My goal is to be taken serious as an animated rapper, not a comedian-turned-rapper.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Guapdad 4000 opens for Lil Xan at Cornerstone in Berkeley on Jan. 31 and for SOB x RBE at the Fox Theater on Mar. 17. More info \u003ca href=\"https://www.stubhub.com/lil-xan-tickets-lil-xan-berkeley-cornerstone-berkeley-1-31-2018/event/103384245/?sort=price+asc\" target=\"_blank\" rel=\"noopener\">here\u003c/a> and \u003ca href=\"http://thefoxoakland.com/events/sob-x-rbe\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s time to acknowledge that the Grammy Awards has a real race problem on its hands: It’s racing toward total irrelevance.\u003c/p>\n\u003cp>Well before the night reached its disappointing apex, viewers were already feeling let down. “[S]till mad as hell that I kept watching the Grammys after Best New Artist,” Nadeska Alexis, the moderator of Complex’s \u003cem>Everyday Struggle\u003c/em> hip-hop commentary show, tweeted during her morning-after commute today, echoing the sentiments of most hip-hop fans. She was referring to the loss by R&B darling SZA in the Best New Artist category, despite the breakout success of her debut album \u003cem>Ctrl\u003c/em> in 2017. The loss by Kendrick Lamar’s Top Dawg Entertainment labelmate foreshadowed the rest of the 60th Annual Grammy Awards.\u003c/p>\n\u003cp>[contextly_sidebar id=”7FctIg3iAu3HXUgtXuItolE9k4067uR6″]\u003c/p>\n\u003cp>This happened despite the Academy’s attempt to make up for its history of snubs where hip-hop, and black music in general, are concerned. The main event of November’s nominations was the record number of rap artists nominated outside the hip-hop categories. For those keeping score, it signaled that the Academy might finally be ready to acknowledge that the genre’s impact is much broader than the narrow confines to which it has historically been relegated. The recognition seemed to coincide with the rise of hip-hop/R&B — i.e. black music — as the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8085975/us-music-consumption-up-2017-rb-hip-hop-most-popular-genre\">most-consumed genre\u003c/a> in 2017.\u003c/p>\n\u003cp>Two of 2017’s most resonant albums, Kendrick Lamar’s \u003cem>DAMN.\u003c/em> and Jay-Z’s \u003cem>4:44\u003c/em>, competed against rapper Childish Gambino’s funk-inspired departure \u003cem>“Awaken, My Love!”\u003c/em> in a category rounded out by Lorde (\u003cem>Melodrama\u003c/em>) and ultimate upsetter Bruno Mars (\u003cem>24K Magic\u003c/em>), who also took home respective trophies for Song and Record of the Year (“That’s What I Like,” “24K Magic”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even with the deck stacked in hip-hop’s favor, the genre came up short yet again in the coveted Album of the Year category. But the real loss is for the Recording Academy, which continues to prove how out of step it has become. If the story of 2017 is hip-hop’s takeover, the Grammys, by failing to reflect rap’s urgency, have settled deeper into an age-old narrative.\u003c/p>\n\u003cp>Oddly enough, Jay made a record as close to Grammy bait as any, a veteran performer releasing his most mature album to date, wrapped in a vulnerable narrative that features everything from him apologizing for celebrity infidelity to his mother’s personal coming out on record. And Lamar released a record deemed consensus album of the year, a critical and commercial success, by toeing the line between heady conceptual arc and rare pop triumph.\u003c/p>\n\u003cp>The snub makes it explicit that the Grammys is not here for hip-hop. And that’s no surprise. As is often the case, there are plenty of other problems we could discuss regarding Sunday night’s Grammy Awards. The lack of women nominees, in a year when the industry’s complicit silence around sexism speaks louder than the resulting #metoo movement, is a travesty. And there’s no excusing how the Spanish-language “Despacito,” which tied for longest-running \u003cem>Billboard \u003c/em>100 No. 1, failed to pick up a single award.\u003c/p>\n\u003cp>These are the results of a flawed voting process that increasingly fails to reflect the will of the majority in pop or politics. The electorate, in this case, is an aging academy membership in dire need of hip replacement surgery. But there’s a bigger takeaway regarding the Academy’s record on hip-hop that’s easy to miss. Despite celebrated Album of the Year wins by Lauryn Hill (\u003cem>The Miseducation of Lauryn Hill\u003c/em>, 1999) and OutKast (\u003cem>Speakerboxxx/The Love Below\u003c/em>, 2004), a pure rap album has never won the Grammy’s most esteemed category. Without the R&B-heavy stylings Lauryn offered on \u003cem>Miseducation\u003c/em> or Andre 3000’s pop-inflected melodies, a la “Hey Ya,” on \u003cem>The Love Below\u003c/em>, neither of those projects would’ve been primed for the award. Not even Eminem, the genre’s great white hope and one of the best emcees of all time, has won in the coveted AOY category; nominated for \u003cem>The Marshall Mathers LP\u003c/em> in 2001, he lost to Steely Dan.\u003c/p>\n\u003cp>So, what does it mean? Are the Grammys woefully out of touch, or do these chronic missteps mirror a deeper reflection of America’s inbred racism?\u003c/p>\n\u003cp>[contextly_sidebar id=”m3uVq5Jn241snf2khW8w9JVA4MGP65SS”]\u003c/p>\n\u003cp>That, in no way, erases the impact of Bruno Mars’ album win. Being a man of color himself, he acknowledges R&B predecessors from Jimmy Jam & Terry Lewis to Teddy Riley among his greatest influences. But in 2018, he’s also a safe Grammy pick who echoes the sounds of the past with performances that recall an era of black music more palatable to the mainstream now that it’s two decades in the recycled past. His chops may be rooted within the realm of hip-hop, as \u003cem>The New York Times Magazine’s \u003c/em>Jody Rosen \u003ca href=\"https://twitter.com/jodyrosen/status/958013399937495042\">argued today\u003c/a>, but it’s the fact that his music is also pop-friendly, drawing from many genres, that makes him easy for Grammy voters to embrace.\u003c/p>\n\u003cp>Meanwhile, artists pushing the envelope in 2017 are forced to watch from the sidelines or fight like crabs over the rap categories. Hip-hop’s relationship with the award show began with a boycott back in 1989. Since then the debate has continued to rage on about whether such recognition matters. From frequent Grammy-winner Kanye West to the never-nominated Vince Staples, rap artists have pointed to the significance of rap being segregated from the general categories. While November’s list of nominees looked hopeful, it was only a reminder of the inherent bias that remains built into the system in the end.\u003c/p>\n\u003cp>An artist would be stupid at this point to believe in change. Jay-Z reportedly declined the Academy’s invitation to perform last night. A performance on the Grammy stage works wonders for most young artists, but at this point in Jay-Z’s career he’d only be putting on a spectacle for ratings. The most successful rap artist in the history of the genre might not require our sympathies, but just imagine what it must be like for Jay-Z to walk away empty-handed in the general award categories, just as his wife Beyoncé did one year ago. When Adele won Album of the Year over \u003cem>Lemonade\u003c/em>, even she admittedly struggled to accept the award.\u003c/p>\n\u003cp>[contextly_sidebar id=”21FhlAhmAEBYUxUYVzNVElaY5edakSjO”]\u003c/p>\n\u003cp>But I don’t know if the Academy deserves all the blame. Maybe the award show is a scapegoat for a greater ill. The Grammys’ continued ghettoization of hip-hop is a distillation of America’s longstanding record on race. It’s a woefully offbeat record that black artists continue to remix and subvert. But if the rough and real noise heard in voices that dare to challenge that record — like those voices employed by Lamar throughout \u003cem>DAMN. \u003c/em>or the ones Jay exorcises on such \u003cem>4:44\u003c/em> songs as “Story of O.J.” — continue to fall on deaf Academy ears, those voices will only grow louder. And the Grammy’s will mute its own self-importance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, a show of some sort will go on — whether onstage or off. Because “the only thing more frightening than watching a black man be honest in America,” as comedian Dave Chappelle interjected last night during Kendrick Lamar’s opening performance, is \u003cem>being \u003c/em>black in America.\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=Same+Old+Rap%3A+The+Grammys%27+Race+Toward+Irrelevance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time to acknowledge that the Grammy Awards has a real race problem on its hands: It’s racing toward total irrelevance.\u003c/p>\n\u003cp>Well before the night reached its disappointing apex, viewers were already feeling let down. “[S]till mad as hell that I kept watching the Grammys after Best New Artist,” Nadeska Alexis, the moderator of Complex’s \u003cem>Everyday Struggle\u003c/em> hip-hop commentary show, tweeted during her morning-after commute today, echoing the sentiments of most hip-hop fans. She was referring to the loss by R&B darling SZA in the Best New Artist category, despite the breakout success of her debut album \u003cem>Ctrl\u003c/em> in 2017. The loss by Kendrick Lamar’s Top Dawg Entertainment labelmate foreshadowed the rest of the 60th Annual Grammy Awards.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This happened despite the Academy’s attempt to make up for its history of snubs where hip-hop, and black music in general, are concerned. The main event of November’s nominations was the record number of rap artists nominated outside the hip-hop categories. For those keeping score, it signaled that the Academy might finally be ready to acknowledge that the genre’s impact is much broader than the narrow confines to which it has historically been relegated. The recognition seemed to coincide with the rise of hip-hop/R&B — i.e. black music — as the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8085975/us-music-consumption-up-2017-rb-hip-hop-most-popular-genre\">most-consumed genre\u003c/a> in 2017.\u003c/p>\n\u003cp>Two of 2017’s most resonant albums, Kendrick Lamar’s \u003cem>DAMN.\u003c/em> and Jay-Z’s \u003cem>4:44\u003c/em>, competed against rapper Childish Gambino’s funk-inspired departure \u003cem>“Awaken, My Love!”\u003c/em> in a category rounded out by Lorde (\u003cem>Melodrama\u003c/em>) and ultimate upsetter Bruno Mars (\u003cem>24K Magic\u003c/em>), who also took home respective trophies for Song and Record of the Year (“That’s What I Like,” “24K Magic”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even with the deck stacked in hip-hop’s favor, the genre came up short yet again in the coveted Album of the Year category. But the real loss is for the Recording Academy, which continues to prove how out of step it has become. If the story of 2017 is hip-hop’s takeover, the Grammys, by failing to reflect rap’s urgency, have settled deeper into an age-old narrative.\u003c/p>\n\u003cp>Oddly enough, Jay made a record as close to Grammy bait as any, a veteran performer releasing his most mature album to date, wrapped in a vulnerable narrative that features everything from him apologizing for celebrity infidelity to his mother’s personal coming out on record. And Lamar released a record deemed consensus album of the year, a critical and commercial success, by toeing the line between heady conceptual arc and rare pop triumph.\u003c/p>\n\u003cp>The snub makes it explicit that the Grammys is not here for hip-hop. And that’s no surprise. As is often the case, there are plenty of other problems we could discuss regarding Sunday night’s Grammy Awards. The lack of women nominees, in a year when the industry’s complicit silence around sexism speaks louder than the resulting #metoo movement, is a travesty. And there’s no excusing how the Spanish-language “Despacito,” which tied for longest-running \u003cem>Billboard \u003c/em>100 No. 1, failed to pick up a single award.\u003c/p>\n\u003cp>These are the results of a flawed voting process that increasingly fails to reflect the will of the majority in pop or politics. The electorate, in this case, is an aging academy membership in dire need of hip replacement surgery. But there’s a bigger takeaway regarding the Academy’s record on hip-hop that’s easy to miss. Despite celebrated Album of the Year wins by Lauryn Hill (\u003cem>The Miseducation of Lauryn Hill\u003c/em>, 1999) and OutKast (\u003cem>Speakerboxxx/The Love Below\u003c/em>, 2004), a pure rap album has never won the Grammy’s most esteemed category. Without the R&B-heavy stylings Lauryn offered on \u003cem>Miseducation\u003c/em> or Andre 3000’s pop-inflected melodies, a la “Hey Ya,” on \u003cem>The Love Below\u003c/em>, neither of those projects would’ve been primed for the award. Not even Eminem, the genre’s great white hope and one of the best emcees of all time, has won in the coveted AOY category; nominated for \u003cem>The Marshall Mathers LP\u003c/em> in 2001, he lost to Steely Dan.\u003c/p>\n\u003cp>So, what does it mean? Are the Grammys woefully out of touch, or do these chronic missteps mirror a deeper reflection of America’s inbred racism?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That, in no way, erases the impact of Bruno Mars’ album win. Being a man of color himself, he acknowledges R&B predecessors from Jimmy Jam & Terry Lewis to Teddy Riley among his greatest influences. But in 2018, he’s also a safe Grammy pick who echoes the sounds of the past with performances that recall an era of black music more palatable to the mainstream now that it’s two decades in the recycled past. His chops may be rooted within the realm of hip-hop, as \u003cem>The New York Times Magazine’s \u003c/em>Jody Rosen \u003ca href=\"https://twitter.com/jodyrosen/status/958013399937495042\">argued today\u003c/a>, but it’s the fact that his music is also pop-friendly, drawing from many genres, that makes him easy for Grammy voters to embrace.\u003c/p>\n\u003cp>Meanwhile, artists pushing the envelope in 2017 are forced to watch from the sidelines or fight like crabs over the rap categories. Hip-hop’s relationship with the award show began with a boycott back in 1989. Since then the debate has continued to rage on about whether such recognition matters. From frequent Grammy-winner Kanye West to the never-nominated Vince Staples, rap artists have pointed to the significance of rap being segregated from the general categories. While November’s list of nominees looked hopeful, it was only a reminder of the inherent bias that remains built into the system in the end.\u003c/p>\n\u003cp>An artist would be stupid at this point to believe in change. Jay-Z reportedly declined the Academy’s invitation to perform last night. A performance on the Grammy stage works wonders for most young artists, but at this point in Jay-Z’s career he’d only be putting on a spectacle for ratings. The most successful rap artist in the history of the genre might not require our sympathies, but just imagine what it must be like for Jay-Z to walk away empty-handed in the general award categories, just as his wife Beyoncé did one year ago. When Adele won Album of the Year over \u003cem>Lemonade\u003c/em>, even she admittedly struggled to accept the award.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But I don’t know if the Academy deserves all the blame. Maybe the award show is a scapegoat for a greater ill. The Grammys’ continued ghettoization of hip-hop is a distillation of America’s longstanding record on race. It’s a woefully offbeat record that black artists continue to remix and subvert. But if the rough and real noise heard in voices that dare to challenge that record — like those voices employed by Lamar throughout \u003cem>DAMN. \u003c/em>or the ones Jay exorcises on such \u003cem>4:44\u003c/em> songs as “Story of O.J.” — continue to fall on deaf Academy ears, those voices will only grow louder. And the Grammy’s will mute its own self-importance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Recording Academy President Neil Portnow faced criticism Monday for his remarks after the 60th annual Grammy Awards ended with only two female winners on stage.\u003c/p>\n\u003cp>Following the awards show Sunday, many music fans and critics questioned whether the Time’s Up movement was just given lip service when the only woman nominated for album of the year, Lorde, didn’t perform. Instead, multiple minutes on the telecast was given to male artists who weren’t nominated, such as Sting and the band U2.\u003c/p>\n\u003cp>While the red carpet was filled with artists sporting white roses to symbolize support of gender equality, backstage after the show wrapped Portnow was questioned about Lorde’s absence from the stage, as well as the fact that only two women were shown on TV accepting awards.\u003c/p>\n\u003cp>“It has to begin with women who have the creativity in their hearts and their souls, who want to be musicians, who want to be engineers, who want to be producers, who want to be part of the industry on an executive level, to step up,” Portnow said backstage after the show. “Because I think they would be welcome. I don’t have personal experience of those kind of brick walls that you face. It’s us as an industry making a welcome mat very obvious — creating mentorships, creating opportunities for all people who want to be creative, and, really, paying it forward, and creating that next generation of artists who feel like they can do anything, say anything.”\u003c/p>\n\u003cp>Criticism for Portnow’s comments was swift. Grammy-winning singer Sheryl Crow tweeted Monday: “I wish the #Grammys would return to female/male categories. Who will young girls be inspired by to pick up a guitar and rock when most every category is filled with men? I’m not sure it is about women needing to “step up”, (as said by the male in charge). #GrammysSoMale”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Actress Debra Messing joined in the criticism, writing on Twitter: “This is incredibly dismaying to say the least” in regards to Portnow’s comments.\u003c/p>\n\u003cp>The Recording Academy did not immediately return an email seeking comment Monday.\u003c/p>\n\u003cp>There were no women nominated in the record of the year category and the only male to be nominated in the best pop solo performance, Ed Sheeran, won. Alessia Cara won best new artist and Rihanna also got to take the stage when she and Kendrick Lamar won best rap/sung performance for “LOYALTY.”\u003c/p>\n\u003cp>As for why Lorde didn’t get to perform solo, Portnow said, “We have a wealth of riches every year and it’s hard to have a balanced show and have everybody involved. Every year’s different. We can’t have a performance from every nominee. We have over 80 categories. And so we have to realize that we’ve got to create something that has balance and so on and so forth, and what you saw was our best judgment on how to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for Lorde, she seemed to address the controversy when she tweeted Monday morning, “If you’re debating whether or not I can murder a stage… come see it for urself.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recording Academy President Neil Portnow faced criticism Monday for his remarks after the 60th annual Grammy Awards ended with only two female winners on stage.\u003c/p>\n\u003cp>Following the awards show Sunday, many music fans and critics questioned whether the Time’s Up movement was just given lip service when the only woman nominated for album of the year, Lorde, didn’t perform. Instead, multiple minutes on the telecast was given to male artists who weren’t nominated, such as Sting and the band U2.\u003c/p>\n\u003cp>While the red carpet was filled with artists sporting white roses to symbolize support of gender equality, backstage after the show wrapped Portnow was questioned about Lorde’s absence from the stage, as well as the fact that only two women were shown on TV accepting awards.\u003c/p>\n\u003cp>“It has to begin with women who have the creativity in their hearts and their souls, who want to be musicians, who want to be engineers, who want to be producers, who want to be part of the industry on an executive level, to step up,” Portnow said backstage after the show. “Because I think they would be welcome. I don’t have personal experience of those kind of brick walls that you face. It’s us as an industry making a welcome mat very obvious — creating mentorships, creating opportunities for all people who want to be creative, and, really, paying it forward, and creating that next generation of artists who feel like they can do anything, say anything.”\u003c/p>\n\u003cp>Criticism for Portnow’s comments was swift. Grammy-winning singer Sheryl Crow tweeted Monday: “I wish the #Grammys would return to female/male categories. Who will young girls be inspired by to pick up a guitar and rock when most every category is filled with men? I’m not sure it is about women needing to “step up”, (as said by the male in charge). #GrammysSoMale”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Actress Debra Messing joined in the criticism, writing on Twitter: “This is incredibly dismaying to say the least” in regards to Portnow’s comments.\u003c/p>\n\u003cp>The Recording Academy did not immediately return an email seeking comment Monday.\u003c/p>\n\u003cp>There were no women nominated in the record of the year category and the only male to be nominated in the best pop solo performance, Ed Sheeran, won. Alessia Cara won best new artist and Rihanna also got to take the stage when she and Kendrick Lamar won best rap/sung performance for “LOYALTY.”\u003c/p>\n\u003cp>As for why Lorde didn’t get to perform solo, Portnow said, “We have a wealth of riches every year and it’s hard to have a balanced show and have everybody involved. Every year’s different. We can’t have a performance from every nominee. We have over 80 categories. And so we have to realize that we’ve got to create something that has balance and so on and so forth, and what you saw was our best judgment on how to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for Lorde, she seemed to address the controversy when she tweeted Monday morning, “If you’re debating whether or not I can murder a stage… come see it for urself.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>What does \u003ca href=\"http://adamschoenberg.com/\">Adam Schoenberg\u003c/a> have in common with Body Count, Los Amigos Invisibles and the entire cast of Hello Dolly?\u003c/p>\n\u003cp>At the tender age of 37, the classical composer is up for two Grammys this weekend, including Best Contemporary Classical Composition for his work “Picture Studies,” and Best Engineered Album, Classical.\u003c/p>\n\u003cp>You may not be aware of this guy, but in the classical world, Schoenberg’s work is so popular he’s made the annual list of the top 10 most performed living composers in the country. Twice.\u003c/p>\n\u003cp>Since he began composing professionally in 2006 when he was still a doctoral student at Juilliard, his writing has been commissioned by the Los Angeles Philharmonic, the Kansas City Symphony, the Atlanta Symphony Orchestra, among others, and his compositions have premiered at venues like Lincoln Center, the Library of Congress, the Kennedy Center and the Hollywood Bowl.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/tcrmag/2018/01/GilstrapComposer.mp3\" Image=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/RS29028_Schoenberg-1-qut-1180x885.jpg\" Title=\"The Grammy-Nominated Classical Star You've (Probably) Never Heard Of\" program=\"The California Report\"]\u003c/p>\n\u003cp>Schoenberg combines that life with his work as an assistant professor specializing in composition and film scoring at Occidental College in the small community of Eagle Rock in Los Angeles. It’s also the school where a fellow named Barack Obama spent his first two years of higher education.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Walk into the leafy, Zen-like courtyard of the small music building at Occidental, pass the tiered, cascading fountain and it’s not hard to find Adam Schoenberg’s corner studio.\u003c/p>\n\u003cp>Just follow the sounds of the piano. Whether he’s teaching or composing, things for this man pretty much center around 88 keys.\u003c/p>\n\u003cp>Though he’s actually a very distant relation to George Gershwin, Schoenberg’s music is quite close in spirit, and it’s drawn comparisons to his iconic relative and other big names. Not all of them classical.\u003c/p>\n\u003cp>“One of the greatest compliments I’ve ever had is someone came up to me and said, ‘your music sounds like Radiohead meeting Aaron Copland,’” says Schoenberg. “In my car I have Sirius radio and I listen to Lithium, which is Stone Temple Pilots and Nirvana, and Backspin, which is hip-hop from the ‘80’s and ‘90’s. I really do feel my music embraces the pop idiom or hip-hop idiom because it’s part of my DNA. So yeah, I embody the music of our time and put a little twist to it.”\u003c/p>\n\u003cp>[contextly_sidebar id=”IbO0TgUTXm4nc25SH1iEgT1mMZ71tb4d”]\u003c/p>\n\u003cp>Much of Schoenberg’s work has a cinematic feel.\u003c/p>\n\u003cp>“I was drawn to soundtracks, but we didn’t really own soundtracks,” he says. “My father is also a film composer, and when we would go see movies we always stayed to the end of the credits. And we would always listen, we’d be the last people in the theater.”\u003c/p>\n\u003cp>Schoenberg is prolific, but his creative process begins with sitting down and winging it.\u003c/p>\n\u003cp>“I’ll improvise for hours upon hours, record my improvisations and then I’ll extract a chord progression, it could be just a note, it could be a melody, it could be a texture, it could be a rhythm. Then I’ll start to sculpt it and craft it, and at that point I begin to think of myself as an architect building from this base material.”\u003c/p>\n\u003cp>He’s got computers and keyboards to capture those nuggets, but inspiration won’t always wait until a man’s in his studio.\u003c/p>\n\u003cp>“For right now, I basically record on my iPhone,” he says. \u003c/p>\n\u003cp>Sure enough, he’s got all manner of fragments stowed away on his voice memo, bits of singing with his young sons yelling in the background, a few skeletal notes on a piano, chords that repeat over and over as he searches for a path to open up.\u003c/p>\n\u003cp>In fact, from one 27-second bit of humble warbling sprang the opening line of Schoenberg’s upcoming work, “Orchard in Fog.”\u003c/p>\n\u003cfigure id=\"attachment_11644688\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-800x1149.jpg\" alt=\"Violinist Anne Akiko Meyers commissioned Adam Schoenberg's first violin concerto.\" width=\"800\" height=\"1149\" class=\"size-medium wp-image-11644688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-800x1149.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-1020x1465.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-1180x1695.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-960x1379.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-240x345.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-375x539.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-520x747.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violinist Anne Akiko Meyers commissioned Adam Schoenberg’s first violin concerto. \u003ccite>(Courtesy David Zentz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s based on a photograph by Adam Laipson, who’s from the same town in Massachusetts where I grew up, Salem, but not the witch one,” says Schoenberg. “My wife and I got married in an apple orchard on a gorgeous farm, quintessential New England, and Adam happened to take a photograph of the orchard in the winter. It’s haunting and beautiful. It’s in our bedroom and I wake up to it every single morning.”\u003c/p>\n\u003cp>The piece is his first violin concerto, and it will have its world premiere \u003ca href=\"http://purchasing.sandiegosymphony.org/single/eventDetail.aspx?p=6361\">February 10 with the San Diego Symphony\u003c/a> featuring renowned concert violinist Anne Akiko Meyers, who commissioned the piece. But right now it’s still very much a work in progress, and will be so down to the wire.\u003c/p>\n\u003cp>“Oh yeah,” says Schoenberg. “I’ll be in my hotel room in San Diego making changes to this.”\u003c/p>\n\u003cp>“Oh God, I don’t want to hear that!” laughs Meyers. “I really wish you didn’t tell me that! Composers.”\u003c/p>\n\u003cp>But Meyers, the consummate pro, will no doubt come through in the clinch. And after all, she commissioned the work, and she’s a big fan.\u003c/p>\n\u003cp>“His music is easily accessible and I mean that in the best sense,” she says. “Like a lot of other music can be non-transparent, and you feel like you almost need a degree in some kind of science to understand what is going on, but there’s none of that with Adam’s music. It just speaks to you, and it speaks simply and beautifully.”\u003c/p>\n\u003cp>“I think in the 21st Century we’re sort of at this renaissance,” Schoenberg says. “Every kid who gets a laptop can write a track and upload it to Youtube and say, ‘I wrote this.’ And at that point you have to figure out your voice, who you are, what it is you want to say and then how you’re going to distinguish yourself. But that’s a lifelong journey, I suppose.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At this point, Schoenberg’s well on the road, and the next stop is New York City for the Grammy Awards. After that, it’s back to the piano.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Walk into the leafy, Zen-like courtyard of the small music building at Occidental, pass the tiered, cascading fountain and it’s not hard to find Adam Schoenberg’s corner studio.\u003c/p>\n\u003cp>Just follow the sounds of the piano. Whether he’s teaching or composing, things for this man pretty much center around 88 keys.\u003c/p>\n\u003cp>Though he’s actually a very distant relation to George Gershwin, Schoenberg’s music is quite close in spirit, and it’s drawn comparisons to his iconic relative and other big names. Not all of them classical.\u003c/p>\n\u003cp>“One of the greatest compliments I’ve ever had is someone came up to me and said, ‘your music sounds like Radiohead meeting Aaron Copland,’” says Schoenberg. “In my car I have Sirius radio and I listen to Lithium, which is Stone Temple Pilots and Nirvana, and Backspin, which is hip-hop from the ‘80’s and ‘90’s. I really do feel my music embraces the pop idiom or hip-hop idiom because it’s part of my DNA. So yeah, I embody the music of our time and put a little twist to it.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Much of Schoenberg’s work has a cinematic feel.\u003c/p>\n\u003cp>“I was drawn to soundtracks, but we didn’t really own soundtracks,” he says. “My father is also a film composer, and when we would go see movies we always stayed to the end of the credits. And we would always listen, we’d be the last people in the theater.”\u003c/p>\n\u003cp>Schoenberg is prolific, but his creative process begins with sitting down and winging it.\u003c/p>\n\u003cp>“I’ll improvise for hours upon hours, record my improvisations and then I’ll extract a chord progression, it could be just a note, it could be a melody, it could be a texture, it could be a rhythm. Then I’ll start to sculpt it and craft it, and at that point I begin to think of myself as an architect building from this base material.”\u003c/p>\n\u003cp>He’s got computers and keyboards to capture those nuggets, but inspiration won’t always wait until a man’s in his studio.\u003c/p>\n\u003cp>“For right now, I basically record on my iPhone,” he says. \u003c/p>\n\u003cp>Sure enough, he’s got all manner of fragments stowed away on his voice memo, bits of singing with his young sons yelling in the background, a few skeletal notes on a piano, chords that repeat over and over as he searches for a path to open up.\u003c/p>\n\u003cp>In fact, from one 27-second bit of humble warbling sprang the opening line of Schoenberg’s upcoming work, “Orchard in Fog.”\u003c/p>\n\u003cfigure id=\"attachment_11644688\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-800x1149.jpg\" alt=\"Violinist Anne Akiko Meyers commissioned Adam Schoenberg's first violin concerto.\" width=\"800\" height=\"1149\" class=\"size-medium wp-image-11644688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-800x1149.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-160x230.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-1020x1465.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-1180x1695.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-960x1379.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-240x345.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-375x539.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/10/2018/01/AnneAkikoMeyers-520x747.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Violinist Anne Akiko Meyers commissioned Adam Schoenberg’s first violin concerto. \u003ccite>(Courtesy David Zentz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s based on a photograph by Adam Laipson, who’s from the same town in Massachusetts where I grew up, Salem, but not the witch one,” says Schoenberg. “My wife and I got married in an apple orchard on a gorgeous farm, quintessential New England, and Adam happened to take a photograph of the orchard in the winter. It’s haunting and beautiful. It’s in our bedroom and I wake up to it every single morning.”\u003c/p>\n\u003cp>The piece is his first violin concerto, and it will have its world premiere \u003ca href=\"http://purchasing.sandiegosymphony.org/single/eventDetail.aspx?p=6361\">February 10 with the San Diego Symphony\u003c/a> featuring renowned concert violinist Anne Akiko Meyers, who commissioned the piece. But right now it’s still very much a work in progress, and will be so down to the wire.\u003c/p>\n\u003cp>“Oh yeah,” says Schoenberg. “I’ll be in my hotel room in San Diego making changes to this.”\u003c/p>\n\u003cp>“Oh God, I don’t want to hear that!” laughs Meyers. “I really wish you didn’t tell me that! Composers.”\u003c/p>\n\u003cp>But Meyers, the consummate pro, will no doubt come through in the clinch. And after all, she commissioned the work, and she’s a big fan.\u003c/p>\n\u003cp>“His music is easily accessible and I mean that in the best sense,” she says. “Like a lot of other music can be non-transparent, and you feel like you almost need a degree in some kind of science to understand what is going on, but there’s none of that with Adam’s music. It just speaks to you, and it speaks simply and beautifully.”\u003c/p>\n\u003cp>“I think in the 21st Century we’re sort of at this renaissance,” Schoenberg says. “Every kid who gets a laptop can write a track and upload it to Youtube and say, ‘I wrote this.’ And at that point you have to figure out your voice, who you are, what it is you want to say and then how you’re going to distinguish yourself. But that’s a lifelong journey, I suppose.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At this point, Schoenberg’s well on the road, and the next stop is New York City for the Grammy Awards. After that, it’s back to the piano.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Mark E. Smith: An Uncompromising, Essential Voice From Music's Fringe",
"headTitle": "Mark E. Smith: An Uncompromising, Essential Voice From Music’s Fringe | KQED",
"content": "\u003cp>It is safe to say that there was no one else like Mark E. Smith. The irascible leader of the legendary Manchester post-punk group The Fall — who died yesterday at the age of 60 — was a true artist and eccentric. An acerbic British icon with working-class roots, his words were like cryptic incantations, layered with bone-dry wit and an interest in horror, fantasy and the surreal. Smith was a stubborn contrarian who broke new ground both sonically and lyrically with the band he founded, and then owned that territory for over 40 years and dozens of albums.\u003c/p>\n\u003cp>The Fall first formed in Prestwich, near Manchester, in 1976, taking its name from the title of a darkly philosophical novel by Albert Camus. The group bonded over a share interest in literature, bands like Can and the Velvet Underground and copious amounts of psychedelic drugs. (Smith even took acid before his high school O-level exams, according to an account by his friend Dave Haslam.)\u003c/p>\n\u003cfigure id=\"attachment_13820044\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg\" alt=\"The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr\" width=\"400\" height=\"400\" class=\"size-full wp-image-13820044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr. \u003ccite>(Pamela Vander / Courtesy of the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith’s unique skill as a lyricist was evident from the band’s earliest days, his stream-of-consciousness style laced with sideways references, quirky humor, sharply honed imagery and trenchant observations on British society, culture and politics. “It was like a poetry group at first,” recalled Martin Bramah, The Fall’s first guitarist, to the critic Simon Reynolds in the anthology \u003cem>Totally Wired\u003c/em>. “We used to share our innermost feelings in words and play our favorite albums. Mark bought a guitar but couldn’t play it. I was already singing in another band, so the first lineup of The Fall was me singing and Mark playing guitar. It quickly switched because Mark was writing these mad, well-observed lyrics. Our early stuff sounded American, but Mark picked up on how to make Manchester interesting.”\u003c/p>\n\u003cp>Manchester occupies a legendary place in music lore; a huge number of bands were spawned within the city’s grim industrial confines during that era. The scene surrounding Joy Division and Factory Records captured the public’s imagination, but it was The Fall who held the crown as the strangest and most singular band to have ever come out of Manchester. The group’s debut album, 1979’s \u003cem>Live at the Witch Trials\u003c/em>, proved it to already be well on its way to developing a signature sound: a churning, propulsive rhythm section, an emphasis on extreme, almost trancelike repetition and pointed, cryptic lyrics that Smith scowled with a voice that sometimes sounded like he was gargling razorblades. With each successive album, The Fall honed its technique, with Smith reveling in all ideas that ran counter to social norms.\u003c/p>\n\u003cp>“The Fall’s work — particularly in their period between 1980-1982 — is steeped in references to the grotesque and the weird,” wrote the late critic Mark Fisher in his book \u003cem>The Weird and the Eerie\u003c/em>. The group’s methodology at this time is vividly captured in the cover image for the 1980 single, “City Hobgoblins,” in which we see an urban scene invaded by “’emigres from old green glades’: a leering, malevolent cobold looms over a dilapidated tenement …. A group like The Fall — working class and experimental, popular and modernist — could not and should not exist, and The Fall are remarkable for the way in which they draw out a cultural politics of the weird and the grotesque.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Fall proudly showed off that flair for the bizarre and monstrous, titling its 1980 album \u003cem>Grotesque (After the Gramme.)\u003c/em> By this time, the original founding members of The Fall — Bramah on guitar, Tony Friel on bass, Karl Burns on drums, Una Baines on keyboards and Smith on vocals — had dissolved, leaving Smith as the sole original member. It was a theme that would continue apace throughout Smith’s long career in The Fall — the members of the group shifted constantly and erratically from album to album, or even from month to month, with Smith as the only constant presence. Nearly 70 people have been members of The Fall over the course of the past four decades — an eye-popping number. “If it’s me and your granny on bongos, it’s The Fall,” Smith once famously quipped — less a joke than a statement of fact.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_3upVG_Bj3A\u003c/p>\n\u003cp>Smith’s group garnered many prominent fans — the legendary British DJ John Peel was a constant champion — but The Fall never quite hit the mainstream in the United States. In the 1980s, Smith’s marriage and creative partnership with Brix Smith (now Brix Smith Start) helped lead to some of the catchiest, most upbeat music of their career — most notably on 1985’s \u003cem>This Nation’s Saving Grace\u003c/em> — but the band remained oblique and abstruse, even in its poppiest days. “He never once compromised,” Brix Smith Start wrote of Smith in \u003ca href=\"https://twitter.com/Brixsmithstart/status/956481944547725312\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> released after his death, “how many others can leave this live with such a singularity of vision?”\u003c/p>\n\u003cp>Mark E. Smith led The Fall through over 30 studio albums, along with a flood of EPs, singles, and collaborations, amounting to dizzying discography that could bewilder even the most die-hard record collector. Some of these records were absurdly brilliant — like \u003cem>Hex Enduction Hour\u003c/em> (1982) and \u003cem>The Wonderful and Frightening World Of…\u003c/em> (1984); others were a mixed bag, and a few were absolute failures. The same could be said for The Fall’s live performances, which could be as transcendent as they were unhinged. It didn’t help that Smith picked fights with band mates and girlfriends, or that his behavior could be prickly, to say the least.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Smith kept creating, and kept touring, up until almost the end. As the guiding force of The Fall — and the only member of The Fall who never quit the band — Smith and The Fall became synonymous with each other. And while many bands were inspired by The Fall — Pavement, Sonic Youth and the Pixies among them — no one sounded exactly like the group. Without Smith, there can be no Fall, and the wonderful and frightening world of music he ferociously hurled forth is now a bit less wonderful and frightening as a result. “When I’m dead and gone / my vibrations will live on / In vibes on vinyl through the years,” he howled on the song “Psykick Dancehall,” released in 1979. The Fall’s music will, indeed, live on.\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=Mark+E.+Smith+Was+An+Uncompromising+And+Essential+Voice+From+Music%27s+Fringe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is safe to say that there was no one else like Mark E. Smith. The irascible leader of the legendary Manchester post-punk group The Fall — who died yesterday at the age of 60 — was a true artist and eccentric. An acerbic British icon with working-class roots, his words were like cryptic incantations, layered with bone-dry wit and an interest in horror, fantasy and the surreal. Smith was a stubborn contrarian who broke new ground both sonically and lyrically with the band he founded, and then owned that territory for over 40 years and dozens of albums.\u003c/p>\n\u003cp>The Fall first formed in Prestwich, near Manchester, in 1976, taking its name from the title of a darkly philosophical novel by Albert Camus. The group bonded over a share interest in literature, bands like Can and the Velvet Underground and copious amounts of psychedelic drugs. (Smith even took acid before his high school O-level exams, according to an account by his friend Dave Haslam.)\u003c/p>\n\u003cfigure id=\"attachment_13820044\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg\" alt=\"The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr\" width=\"400\" height=\"400\" class=\"size-full wp-image-13820044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr. \u003ccite>(Pamela Vander / Courtesy of the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith’s unique skill as a lyricist was evident from the band’s earliest days, his stream-of-consciousness style laced with sideways references, quirky humor, sharply honed imagery and trenchant observations on British society, culture and politics. “It was like a poetry group at first,” recalled Martin Bramah, The Fall’s first guitarist, to the critic Simon Reynolds in the anthology \u003cem>Totally Wired\u003c/em>. “We used to share our innermost feelings in words and play our favorite albums. Mark bought a guitar but couldn’t play it. I was already singing in another band, so the first lineup of The Fall was me singing and Mark playing guitar. It quickly switched because Mark was writing these mad, well-observed lyrics. Our early stuff sounded American, but Mark picked up on how to make Manchester interesting.”\u003c/p>\n\u003cp>Manchester occupies a legendary place in music lore; a huge number of bands were spawned within the city’s grim industrial confines during that era. The scene surrounding Joy Division and Factory Records captured the public’s imagination, but it was The Fall who held the crown as the strangest and most singular band to have ever come out of Manchester. The group’s debut album, 1979’s \u003cem>Live at the Witch Trials\u003c/em>, proved it to already be well on its way to developing a signature sound: a churning, propulsive rhythm section, an emphasis on extreme, almost trancelike repetition and pointed, cryptic lyrics that Smith scowled with a voice that sometimes sounded like he was gargling razorblades. With each successive album, The Fall honed its technique, with Smith reveling in all ideas that ran counter to social norms.\u003c/p>\n\u003cp>“The Fall’s work — particularly in their period between 1980-1982 — is steeped in references to the grotesque and the weird,” wrote the late critic Mark Fisher in his book \u003cem>The Weird and the Eerie\u003c/em>. The group’s methodology at this time is vividly captured in the cover image for the 1980 single, “City Hobgoblins,” in which we see an urban scene invaded by “’emigres from old green glades’: a leering, malevolent cobold looms over a dilapidated tenement …. A group like The Fall — working class and experimental, popular and modernist — could not and should not exist, and The Fall are remarkable for the way in which they draw out a cultural politics of the weird and the grotesque.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Fall proudly showed off that flair for the bizarre and monstrous, titling its 1980 album \u003cem>Grotesque (After the Gramme.)\u003c/em> By this time, the original founding members of The Fall — Bramah on guitar, Tony Friel on bass, Karl Burns on drums, Una Baines on keyboards and Smith on vocals — had dissolved, leaving Smith as the sole original member. It was a theme that would continue apace throughout Smith’s long career in The Fall — the members of the group shifted constantly and erratically from album to album, or even from month to month, with Smith as the only constant presence. Nearly 70 people have been members of The Fall over the course of the past four decades — an eye-popping number. “If it’s me and your granny on bongos, it’s The Fall,” Smith once famously quipped — less a joke than a statement of fact.\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/_3upVG_Bj3A'\n title='//www.youtube.com/embed/_3upVG_Bj3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Smith’s group garnered many prominent fans — the legendary British DJ John Peel was a constant champion — but The Fall never quite hit the mainstream in the United States. In the 1980s, Smith’s marriage and creative partnership with Brix Smith (now Brix Smith Start) helped lead to some of the catchiest, most upbeat music of their career — most notably on 1985’s \u003cem>This Nation’s Saving Grace\u003c/em> — but the band remained oblique and abstruse, even in its poppiest days. “He never once compromised,” Brix Smith Start wrote of Smith in \u003ca href=\"https://twitter.com/Brixsmithstart/status/956481944547725312\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> released after his death, “how many others can leave this live with such a singularity of vision?”\u003c/p>\n\u003cp>Mark E. Smith led The Fall through over 30 studio albums, along with a flood of EPs, singles, and collaborations, amounting to dizzying discography that could bewilder even the most die-hard record collector. Some of these records were absurdly brilliant — like \u003cem>Hex Enduction Hour\u003c/em> (1982) and \u003cem>The Wonderful and Frightening World Of…\u003c/em> (1984); others were a mixed bag, and a few were absolute failures. The same could be said for The Fall’s live performances, which could be as transcendent as they were unhinged. It didn’t help that Smith picked fights with band mates and girlfriends, or that his behavior could be prickly, to say the least.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Smith kept creating, and kept touring, up until almost the end. As the guiding force of The Fall — and the only member of The Fall who never quit the band — Smith and The Fall became synonymous with each other. And while many bands were inspired by The Fall — Pavement, Sonic Youth and the Pixies among them — no one sounded exactly like the group. Without Smith, there can be no Fall, and the wonderful and frightening world of music he ferociously hurled forth is now a bit less wonderful and frightening as a result. “When I’m dead and gone / my vibrations will live on / In vibes on vinyl through the years,” he howled on the song “Psykick Dancehall,” released in 1979. The Fall’s music will, indeed, live on.\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=Mark+E.+Smith+Was+An+Uncompromising+And+Essential+Voice+From+Music%27s+Fringe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>KQED Youth Media Manager Ariana Proehl is back as co-host to bring some hipness to the Do List this week. The real challenge was pruning down the list! I can’t remember a late January with more enticing shows to choose from. Enjoy.\u003c/p>\n\u003cp>\u003cstrong>Jan 26–31:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/whats-old-is-new-again-with-ladysmith-black-mambazo/\" target=\"_blank\" rel=\"noopener\">Ladysmith Black Mambazo high-kicks its way back to the Bay Area\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 4–March 3:\u003c/strong> \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/at-the-intersection-of-art-and-vinyl/\" target=\"_blank\" rel=\"noopener\">The Fraenkel Gallery hangs a show of artful record album covers — and it’s free\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Jan. 26 and Feb. 3 and 4: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/circa-il-ritorno/\" target=\"_blank\" rel=\"noopener\">Circa melds daring circus, opera, and dance to tell a story about a refugee’s search for home\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3\u003c/strong>: \u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/dance-and-theater-join-in-a-healing-ritual/\" target=\"_blank\" rel=\"noopener\">The next episode of a dance and theater series about sex trafficking and displacement in Oakland\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Jan. 25–Feb 18 and March 7–April 1: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/a-skeleton-crew-battles-for-a-future-in-a-detroit-auto-plant/\" target=\"_blank\" rel=\"noopener\">A skeleton crew tries to save their hopes for a future as Detroit’s last auto plant faces a shutdown\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Feb. 2–3: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/stew-develops-a-show-based-on-the-ideas-of-james-baldwin/\" target=\"_blank\" rel=\"noopener\">Stew invokes the ideas and memory of writer James Baldwin in a musical tribute\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 6–7: \u003c/strong>\u003ca href=\"https://ww2.kqed.org/arts/2018/01/24/new-sounds-with-a-powerhouse-brittany-howard-at-the-mic/\" target=\"_blank\" rel=\"noopener\">Super folk-rock trio Bermuda Triangle make gorgeous harmonies seem effortless\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13819995\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13819995\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg\" alt=\"The Do List's Cy and Ariana check out the 'Art and Vinyl' show at the Freaenkel Gallery\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery-520x322.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/The-Do-Lists-Cy-and-Ariana-check-out-the-Art-and-Vinyl-show-at-the-Freaenkel-Gallery.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy and Ariana check out the ‘Art and Vinyl’ show at the Freaenkel Gallery. \u003ccite>(Photo: Rebecca Robertson/Fraenkel Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Stew (born Mark Stewart) is one of the quirkiest and most compelling singer-songwriters around. He scored with the breakout musical memoir \u003cem>Passing Strange, \u003c/em>which had its world premiere at Berkeley Rep in 2006. That show’s humor and mix of rock ‘n’ roll, soul and confessional folk remains a vivid memory, and went on to win a Tony in New York. Stew’s latest work, with his band The Negro Problem, is \u003cem>Notes of a Native Song\u003c/em>, a tribute to the work and thinking of writer James Baldwin. It’s a special blend of truth-telling art and activism that’s right in line with Baldwin’s legacy. It runs Feb. 2 and 3 in Bing Hall at Stanford University; \u003ca href=\"http://www.stanfordlivetickets.org/single/eventDetail.aspx?p=8072\" rel=\"noopener\" target=\"_blank\">details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=j9QPk9YQ05E\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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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": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"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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"order": 9
},
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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",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"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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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"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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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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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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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
"stitcher": "https://www.stitcher.com/podcast/kqed/political-breakdown",
"spotify": "https://open.spotify.com/show/07RVyIjIdk2WDuVehvBMoN",
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