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"title": "2017 Grammy Awards: Adele Upsets Beyoncé, Chance Arrives, Politics Pop (Slightly)",
"headTitle": "2017 Grammy Awards: Adele Upsets Beyoncé, Chance Arrives, Politics Pop (Slightly) | KQED",
"content": "\u003cp>The 59th annual Grammy Awards brought a pair of sweeps: a likely one for a dearly departed star, a surprise for the reigning queen of pop — and more performances than anyone will likely remember tomorrow.\u003c/p>\n\u003cp>As she did in 2012, Adele swept her “general category” nominations (the night’s headline trophies) — but five years ago she wasn’t up against what many considered to be one of the year’s most definitive and universally lauded pieces of work: Beyoncé’s \u003cem>Lemonade\u003c/em>. Beyoncé has never won either Record or Album of the Year — Adele is the first to twice sweep the Album, Record and Song of the Year awards.\u003c/p>\n\u003cp>As she accepted the penultimate award of the night, for Record of the Year, Adele looked at Beyoncé and said, “You move my soul every single day.”\u003c/p>\n\u003cp>Beyoncé didn’t make it out of the front row of the audience for the three final awards of the night, and Adele would be back to the stage moments later to accept Album of the Year for \u003cem>25 \u003c/em>as well, upsetting \u003cem>Lemonade\u003c/em>. Adele herself admitted \u003cem>Lemonade\u003c/em> was a “monumental” work and mentioned being unable to accept the Album of the Year award (before accepting it).\u003c/p>\n\u003cp>By the numbers, the night’s other big winner was David Bowie, who posthumously took every award he (and package designer Jonathan Barnbrook) was nominated for, including Best Rock Song and Best Rock Performance for his deeply affecting and pre-eulogistic “Blackstar” from the album of the same name, which won Best Alternative Music Album, Best Recording Package and Best Engineered Album.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The arrival of the night went to Chance the Rapper, the Chicago-born rapper who has shepherded his career independent of the major-label system. Chance won for Best New Artist — and thankfully ignored the show’s get-off-the-stage music while accepting the night’s first trophy. Later, winning the award for Best Rap Album for \u003cem>Coloring Book\u003c/em>, he somewhat notably gave a shout-out to German-based streaming company SoundCloud, not Apple Music, which paid him a fair chunk of change for a window of exclusivity for \u003cem>Coloring Book\u003c/em>. Independent is as independent does.\u003c/p>\n\u003cp>More than most years, a black cloud whorled over this year’s Grammys, the show’s 59th iteration and one that followed a year of remarkable loss for popular music after the deaths of Prince, Leonard Cohen, George Michael, Merle Haggard and many others … but also a year that began amidst a deeply polarized political climate, one that many artists, we can reliably assume (Madonna, \u003ca href=\"http://www.rollingstone.com/music/news/see-madonnas-powerful-speech-at-womens-march-on-washington-w462318\" target=\"_blank\" rel=\"noopener\">for sure\u003c/a>), are lamenting.\u003c/p>\n\u003cp>Ahead of the telecast many wondered whether the Grammys would get political. (One only needed to look to \u003ca href=\"http://www.npr.org/sections/monkeysee/2016/02/16/466888035/for-20-minutes-the-grammys-transcend-the-awards-show-blahs\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar’s performance\u003c/a> last year for the answer, regardless of longtime producer Ken Ehrlich’s \u003ca href=\"http://www.rollingstone.com/music/news/for-grammy-organizers-caution-and-fear-in-the-trump-era-w464782\" target=\"_blank\" rel=\"noopener\">pre-show diplomacy\u003c/a>.)\u003c/p>\n\u003cp>Jennifer Lopez was the first of the night to make a statement, however oblique, saying: “At this point in history, our voices are needed more than ever,” before quoting from \u003ca href=\"https://www.thenation.com/article/no-place-self-pity-no-room-fear/\" target=\"_blank\" rel=\"noopener\">Toni Morrison’s essay\u003c/a>, “No Place for Self-Pity, No Room For Fear.”\u003c/p>\n\u003cp>Katy Perry, who stumped for Hillary Clinton, ended a performance of new single “Chained to the Rhythm” bathed in a projection of the preamble to the Constitution — a gesture that seemed less overtly political than one that simply acknowledged politics exist.\u003c/p>\n\u003cp>\u003cem>Orange Is The New Black\u003c/em>‘s Laverne Cox, introducing Metallica and Lady Gaga’s fiery performance of “Moth Into Flame,” referenced the upcoming \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/28/499793588/supreme-court-will-hear-case-on-bathroom-rules-for-transgender-students\">Supreme Court hearing\u003c/a> of a case centering around students’ right to use bathrooms that correspond with their gender identity.\u003c/p>\n\u003cp>Even Recording Academy president Neil Portnow, who generally steers clear of even a whiff of politics, jumped into the fray, if meekly. Portnow referenced “the things” — music principally, we can assume — that bring us together and help to cohere our “more perfect union.” Then, more customarily, Portnow called for reforms to the consent decrees which dictate songwriter remuneration and copyright laws that regulate usage of music. Even Johnnie Walker, in a late-show whiskey ad, got Chicano Batman to sing “This Land Is Your Land,” touching on Trump’s executive order around immigration.\u003c/p>\n\u003cp>Solange (who made NPR Music’s \u003ca href=\"http://apps.npr.org/best-music-2016/list/top-albums/\" target=\"_blank\" rel=\"noopener\">favorite record\u003c/a> last year) introduced A Tribe Called Quest, who alongside Anderson.Paak and Busta Rhymes, performed a medley that kicked off with “Can I Kick It?” before Busta Rhymes popped up to “President Agent Orange and his unsuccessful attempt at a Muslim ban,” then moving into “We The People” from Tribe’s newest record, \u003cem>We Got It From Here… Thank You 4 Your Service\u003c/em>. Q-Tip ended the utterly monumental performance with repeated calls to “resist” — it was the most fervently and successfully political presentation of the night.\u003c/p>\n\u003cp>Not to be outdone, Beyoncé meteored a crater of personal and political empowerment. Her mother, Tina Knowles, introduced a reliably gargantuan and beautifully produced performance, which began with the rhetorical question: “Do you remember being born?”\u003c/p>\n\u003cp>The production design referenced the Virgin Mary, Cleopatra and Queen Elizabeth I, with little singing for a extended period of time before Beyoncé settled into a pillowy rendition of “Love Drought” and “Sandcastles.”\u003c/p>\n\u003cp>There, too, were the flowers that accompanied that \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/02/513110867/one-photo-and-just-a-few-words-how-completely-did-beyonc-dominate-the-internet\">now-famous Instagram post\u003c/a>. As my colleague Rodney Carmichael wrote: “This is full-on #blackwomanmagic.” “There is a curse,” Beyoncé whispered in a pre-taped voice over, “that will be broken… now that reconciliation is possible… if we’re gonna heal, let it be glorious.”\u003c/p>\n\u003cp>Later, accepting the award for Best Urban Contemporary Album for \u003cem>Lemonade\u003c/em>, she said her work seeks “to confront issues that make us uncomfortable — it’s important to me to show images to my children that reflect their beauty.”\u003c/p>\n\u003cp>Sturgill Simpson, backed by Daptone Records’ house band The Dap-Kings (and, it seemed, a few friends), delivered arguably the most purely perfect musical performance of the night, singing “All Around You” with striking commitment. Equally striking was Bruno Mars’ late-show tribute to Prince, which began with the indelible prayer of “Dearly beloved…” and ended with Mars ripping a (nearly) Prince-worthy guitar solo.\u003c/p>\n\u003cp>There were flubs: Adele stopped her tribute performance of George Michael’s “Fastlove” as it was getting going, swearing and apologizing before jumping back into the 1996 hit. “I don’t want to do this like last year,” she said, referencing \u003ca href=\"http://www.theverge.com/2016/2/15/11004802/grammys-2016-adele-all-i-ask-technical-difficulties-performance\" target=\"_blank\" rel=\"noopener\">the broken piano\u003c/a> of 2016. The song choice was semi-appropriately elegiac, though didn’t engage with the unbridled joy of Michael’s best work.\u003c/p>\n\u003cp>As for the rest: A mildly disappointing performance of “Hello” from Adele, who opened the show just prior to a very brief bit of slapstick and rapping that served as host James Corden’s introduction.\u003c/p>\n\u003cp>There was a surprisingly sharp turn from previously stilted performer The Weeknd (with assistance from Daft Punk), an ’80s synth jams straight out of \u003cem>Top Gun\u003c/em> (Carrie Underwood and Keith Urban performing “The Fighter”) and a bizarrely empty new reggaeton-by-way-of-Bon Iver song from Ed Sheeran.\u003c/p>\n\u003cp>Neil Diamond, Keith Urban, Faith Hill, Jennifer Lopez, Tim McGraw and Jason Derulo sang “Sweet Caroline” with Corden in a makeshift iteration of the “Carpool Karaoke” segments on his late night show. Diamond looked, perhaps was, a little lost.\u003c/p>\n\u003cp>Katy Perry’s performance perhaps unintentionally referenced the mirrored picket fence sculpture by Alyson Shotz at upstate New York sculpture park Storm King. Gary Clark and William Bell (who won for Best Americana Album) performed the blues standard “Born Under a Bad Sign,” written by Bell and Booker T. Jones and first recorded by Albert King in 1967 for Stax Records.\u003c/p>\n\u003cp>The show remained as reliably corrugated as ever — as it will until entropy catches up with it. Looking to the Grammys for substantive, not glancing, engagement with challenging times, as Ann Powers \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/06/513734505/should-anyone-expect-pop-stars-to-lead-the-resistance\" target=\"_blank\" rel=\"noopener\">addressed recently\u003c/a>, is a waste of time. The show is comfort food; delivering the same faces, the same voices, the same melodies and shimmering gowns.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Perhaps next year, when the awards return to New York for the first time since 2003, the show will let itself change as much as the world around it has. But probably not.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2017+Grammy+Awards%3A+Adele+Upsets+Beyonc%C3%A9%2C+Chance+Arrives%2C+Politics+Pop+%28Slightly%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 59th annual Grammy Awards brought a pair of sweeps: a likely one for a dearly departed star, a surprise for the reigning queen of pop — and more performances than anyone will likely remember tomorrow.\u003c/p>\n\u003cp>As she did in 2012, Adele swept her “general category” nominations (the night’s headline trophies) — but five years ago she wasn’t up against what many considered to be one of the year’s most definitive and universally lauded pieces of work: Beyoncé’s \u003cem>Lemonade\u003c/em>. Beyoncé has never won either Record or Album of the Year — Adele is the first to twice sweep the Album, Record and Song of the Year awards.\u003c/p>\n\u003cp>As she accepted the penultimate award of the night, for Record of the Year, Adele looked at Beyoncé and said, “You move my soul every single day.”\u003c/p>\n\u003cp>Beyoncé didn’t make it out of the front row of the audience for the three final awards of the night, and Adele would be back to the stage moments later to accept Album of the Year for \u003cem>25 \u003c/em>as well, upsetting \u003cem>Lemonade\u003c/em>. Adele herself admitted \u003cem>Lemonade\u003c/em> was a “monumental” work and mentioned being unable to accept the Album of the Year award (before accepting it).\u003c/p>\n\u003cp>By the numbers, the night’s other big winner was David Bowie, who posthumously took every award he (and package designer Jonathan Barnbrook) was nominated for, including Best Rock Song and Best Rock Performance for his deeply affecting and pre-eulogistic “Blackstar” from the album of the same name, which won Best Alternative Music Album, Best Recording Package and Best Engineered Album.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The arrival of the night went to Chance the Rapper, the Chicago-born rapper who has shepherded his career independent of the major-label system. Chance won for Best New Artist — and thankfully ignored the show’s get-off-the-stage music while accepting the night’s first trophy. Later, winning the award for Best Rap Album for \u003cem>Coloring Book\u003c/em>, he somewhat notably gave a shout-out to German-based streaming company SoundCloud, not Apple Music, which paid him a fair chunk of change for a window of exclusivity for \u003cem>Coloring Book\u003c/em>. Independent is as independent does.\u003c/p>\n\u003cp>More than most years, a black cloud whorled over this year’s Grammys, the show’s 59th iteration and one that followed a year of remarkable loss for popular music after the deaths of Prince, Leonard Cohen, George Michael, Merle Haggard and many others … but also a year that began amidst a deeply polarized political climate, one that many artists, we can reliably assume (Madonna, \u003ca href=\"http://www.rollingstone.com/music/news/see-madonnas-powerful-speech-at-womens-march-on-washington-w462318\" target=\"_blank\" rel=\"noopener\">for sure\u003c/a>), are lamenting.\u003c/p>\n\u003cp>Ahead of the telecast many wondered whether the Grammys would get political. (One only needed to look to \u003ca href=\"http://www.npr.org/sections/monkeysee/2016/02/16/466888035/for-20-minutes-the-grammys-transcend-the-awards-show-blahs\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar’s performance\u003c/a> last year for the answer, regardless of longtime producer Ken Ehrlich’s \u003ca href=\"http://www.rollingstone.com/music/news/for-grammy-organizers-caution-and-fear-in-the-trump-era-w464782\" target=\"_blank\" rel=\"noopener\">pre-show diplomacy\u003c/a>.)\u003c/p>\n\u003cp>Jennifer Lopez was the first of the night to make a statement, however oblique, saying: “At this point in history, our voices are needed more than ever,” before quoting from \u003ca href=\"https://www.thenation.com/article/no-place-self-pity-no-room-fear/\" target=\"_blank\" rel=\"noopener\">Toni Morrison’s essay\u003c/a>, “No Place for Self-Pity, No Room For Fear.”\u003c/p>\n\u003cp>Katy Perry, who stumped for Hillary Clinton, ended a performance of new single “Chained to the Rhythm” bathed in a projection of the preamble to the Constitution — a gesture that seemed less overtly political than one that simply acknowledged politics exist.\u003c/p>\n\u003cp>\u003cem>Orange Is The New Black\u003c/em>‘s Laverne Cox, introducing Metallica and Lady Gaga’s fiery performance of “Moth Into Flame,” referenced the upcoming \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/28/499793588/supreme-court-will-hear-case-on-bathroom-rules-for-transgender-students\">Supreme Court hearing\u003c/a> of a case centering around students’ right to use bathrooms that correspond with their gender identity.\u003c/p>\n\u003cp>Even Recording Academy president Neil Portnow, who generally steers clear of even a whiff of politics, jumped into the fray, if meekly. Portnow referenced “the things” — music principally, we can assume — that bring us together and help to cohere our “more perfect union.” Then, more customarily, Portnow called for reforms to the consent decrees which dictate songwriter remuneration and copyright laws that regulate usage of music. Even Johnnie Walker, in a late-show whiskey ad, got Chicano Batman to sing “This Land Is Your Land,” touching on Trump’s executive order around immigration.\u003c/p>\n\u003cp>Solange (who made NPR Music’s \u003ca href=\"http://apps.npr.org/best-music-2016/list/top-albums/\" target=\"_blank\" rel=\"noopener\">favorite record\u003c/a> last year) introduced A Tribe Called Quest, who alongside Anderson.Paak and Busta Rhymes, performed a medley that kicked off with “Can I Kick It?” before Busta Rhymes popped up to “President Agent Orange and his unsuccessful attempt at a Muslim ban,” then moving into “We The People” from Tribe’s newest record, \u003cem>We Got It From Here… Thank You 4 Your Service\u003c/em>. Q-Tip ended the utterly monumental performance with repeated calls to “resist” — it was the most fervently and successfully political presentation of the night.\u003c/p>\n\u003cp>Not to be outdone, Beyoncé meteored a crater of personal and political empowerment. Her mother, Tina Knowles, introduced a reliably gargantuan and beautifully produced performance, which began with the rhetorical question: “Do you remember being born?”\u003c/p>\n\u003cp>The production design referenced the Virgin Mary, Cleopatra and Queen Elizabeth I, with little singing for a extended period of time before Beyoncé settled into a pillowy rendition of “Love Drought” and “Sandcastles.”\u003c/p>\n\u003cp>There, too, were the flowers that accompanied that \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/02/513110867/one-photo-and-just-a-few-words-how-completely-did-beyonc-dominate-the-internet\">now-famous Instagram post\u003c/a>. As my colleague Rodney Carmichael wrote: “This is full-on #blackwomanmagic.” “There is a curse,” Beyoncé whispered in a pre-taped voice over, “that will be broken… now that reconciliation is possible… if we’re gonna heal, let it be glorious.”\u003c/p>\n\u003cp>Later, accepting the award for Best Urban Contemporary Album for \u003cem>Lemonade\u003c/em>, she said her work seeks “to confront issues that make us uncomfortable — it’s important to me to show images to my children that reflect their beauty.”\u003c/p>\n\u003cp>Sturgill Simpson, backed by Daptone Records’ house band The Dap-Kings (and, it seemed, a few friends), delivered arguably the most purely perfect musical performance of the night, singing “All Around You” with striking commitment. Equally striking was Bruno Mars’ late-show tribute to Prince, which began with the indelible prayer of “Dearly beloved…” and ended with Mars ripping a (nearly) Prince-worthy guitar solo.\u003c/p>\n\u003cp>There were flubs: Adele stopped her tribute performance of George Michael’s “Fastlove” as it was getting going, swearing and apologizing before jumping back into the 1996 hit. “I don’t want to do this like last year,” she said, referencing \u003ca href=\"http://www.theverge.com/2016/2/15/11004802/grammys-2016-adele-all-i-ask-technical-difficulties-performance\" target=\"_blank\" rel=\"noopener\">the broken piano\u003c/a> of 2016. The song choice was semi-appropriately elegiac, though didn’t engage with the unbridled joy of Michael’s best work.\u003c/p>\n\u003cp>As for the rest: A mildly disappointing performance of “Hello” from Adele, who opened the show just prior to a very brief bit of slapstick and rapping that served as host James Corden’s introduction.\u003c/p>\n\u003cp>There was a surprisingly sharp turn from previously stilted performer The Weeknd (with assistance from Daft Punk), an ’80s synth jams straight out of \u003cem>Top Gun\u003c/em> (Carrie Underwood and Keith Urban performing “The Fighter”) and a bizarrely empty new reggaeton-by-way-of-Bon Iver song from Ed Sheeran.\u003c/p>\n\u003cp>Neil Diamond, Keith Urban, Faith Hill, Jennifer Lopez, Tim McGraw and Jason Derulo sang “Sweet Caroline” with Corden in a makeshift iteration of the “Carpool Karaoke” segments on his late night show. Diamond looked, perhaps was, a little lost.\u003c/p>\n\u003cp>Katy Perry’s performance perhaps unintentionally referenced the mirrored picket fence sculpture by Alyson Shotz at upstate New York sculpture park Storm King. Gary Clark and William Bell (who won for Best Americana Album) performed the blues standard “Born Under a Bad Sign,” written by Bell and Booker T. Jones and first recorded by Albert King in 1967 for Stax Records.\u003c/p>\n\u003cp>The show remained as reliably corrugated as ever — as it will until entropy catches up with it. Looking to the Grammys for substantive, not glancing, engagement with challenging times, as Ann Powers \u003ca href=\"http://www.npr.org/sections/therecord/2017/02/06/513734505/should-anyone-expect-pop-stars-to-lead-the-resistance\" target=\"_blank\" rel=\"noopener\">addressed recently\u003c/a>, is a waste of time. The show is comfort food; delivering the same faces, the same voices, the same melodies and shimmering gowns.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps next year, when the awards return to New York for the first time since 2003, the show will let itself change as much as the world around it has. But probably not.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=2017+Grammy+Awards%3A+Adele+Upsets+Beyonc%C3%A9%2C+Chance+Arrives%2C+Politics+Pop+%28Slightly%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "An UnderCover ‘Miseducation’ | KQED",
"content": "\u003cp>Some albums don’t just define an era. While brilliantly illuminating a particular moment, an occasional recording casts a 1,000-watt glare so penetrating that its music continues to provide insight years into the future.\u003c/p>\n\u003cp>Few albums have cast more light in recent decades than \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=lGCtAzYNwZ4\">The Miseducation of Lauryn Hill\u003c/a>\u003c/em>, the 1998 hip-hop/neo-soul album which has sold more than 20 million copies.\u003c/p>\n\u003cp>For Ethiopian-born Berkeley singer-songwriter \u003ca href=\"http://www.meklitmusic.com\">Meklit\u003c/a>, a child of 1980s Brooklyn, Hill’s epochal \u003cem>Miseducation\u003c/em> continues to serve as a touchstone. Recently, she lobbied \u003ca href=\"http://www.undercoverpresents.com\">UnderCover Presents\u003c/a> — an organization that gathers local talent to cover classic albums in their entirety — for a stint as guest musical director. The resulting project premieres Feb. 16–18 as part of the Yerba Buena Center for the Arts \u003ca href=\"https://www.ybca.org/whats-on/classick-hip-hop\">Clas/Sick Hip-Hop\u003c/a> Festival.\u003c/p>\n\u003cp>Like all UnderCover tributes, the concert at YBCA (details \u003ca href=\"https://ybca.org/whats-on/classick-hip-hop-undercover\" target=\"_blank\" rel=\"noopener\">here\u003c/a>) features the album’s songs presented in sequence, with a disparate roster of Bay Area artists interpreting one piece each. (The tracks are also recorded and released on an album, \u003cem>UnderCover Presents a Tribute to ‘The Miseducation of Lauryn Hill’\u003c/em>).\u003c/p>\n\u003cp>“I grew up with the boomboxes and b-boys spinning on cardboard,” says Meklit. “I was a freshman at Yale when \u003cem>Miseducation\u003c/em> came out, and you heard it everywhere. The album was an inspiration, particularly for women not submitting to those forces of misogyny that we all deal with. [Hill] used what she went through as a woman in the music industry, and a lot of those things haven’t gone away.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In assembling a soul-laden roster of artists, Meklit drew particularly on the East Bay’s deep pool of talent. Vivacious jazz/soul vocalist \u003ca href=\"https://soundcloud.com/kimiko-joy\">Kimiko Joy\u003c/a> and the RubADubs tackle “To Zion,” tough-toned tenor saxophonist \u003ca href=\"https://www.facebook.com/extranappy/\">Howard Wiley\u003c/a> \u003ca href=\"https://www.facebook.com/extranappy/\">and Extra Nappy\u003c/a> reinvent “Superstar,” and drummer Josh Jones’ Latin Ensemble puts an Afro-Cuban spin on “I Used to Love Him.”\u003c/p>\n\u003cfigure id=\"attachment_12758411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kinda-blue.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12758411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kinda-blue-800x533.jpg\" alt=\"Kev Choice\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kev Choice\u003c/figcaption>\u003c/figure>\n\u003cp>In a felicitous pairing, former Lauryn Hill music director \u003ca href=\"https://kevchoice.wordpress.com\">Kev Choice\u003c/a> — who spent 2007 on the road with Hill — opted for “Final Hour.”\u003c/p>\n\u003cp>“I wanted to challenge myself with that hardcore flow,” he says. “People associate Hill as a vocalist, but to me, as a rapper, she’s one of the top five ever. I wanted to evoke what she did lyrically — change it but do it justice. She’s talking about a lot of things spiritually; that you can get the money and the power, but keep your eyes on the final hour. She’s a very spiritual person.”\u003c/p>\n\u003cp>In a particularly savvy programmatic move, Meklit tapped veteran jazz and blues vocalist \u003ca href=\"http://www.fayecarol.com\">Faye Carol \u003c/a>to cover “Can’t Take My Eyes Off You,” the 1967 hit by Frankie Valli that ended up as a \u003cem>Miseducation\u003c/em> bonus track after Hill recorded the song for the film \u003cem>Conspiracy Theory\u003c/em>. Carol has mentored generations of artists, including vocalist Lesley Grant, who belts out Hill’s “Everything Is Everything” with the funk band Katdelic.\u003c/p>\n\u003cfigure id=\"attachment_12745308\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12745308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017.jpg\" alt=\"Dynamic Duo. Lyz Luke and Meklit\" width=\"720\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017-520x343.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Dynamic Duo: Lyz Luke, the founder of UnderCover Presents, and Meklit.\u003c/figcaption>\u003c/figure>\n\u003cp>An accomplished jazz singer who came of age on the East Bay blues and R&B scene in the late 1960s (“I’m going to be the official OG of the program,” Carol quips), she’s kept current with upcoming artists, and wasn’t surprised when \u003cem>Miseducation\u003c/em> became a sensation.\u003c/p>\n\u003cp>“I already considered her one of the young up-and-coming people,” says Carol. “She could sing really well and rap really well. It made her really outstanding.”\u003c/p>\n\u003cp>Unfortunately, the timing of the \u003cem>Miseducation\u003c/em> concerts collide with the\u003ca href=\"http://calperformances.org/performances/2014-15/world-stage/nile-project.php\"> Cal Performances presentation\u003c/a> of the \u003ca href=\"http://nileproject.org\">Nile Project\u003c/a> at Zellerbach Hall on Saturday, Feb. 18. Meklit co-founded the Nile Project five years ago with Egyptian-born San Francisco ethnomusicologist Mina Girgis, and the trans-national collective has evolved into a far-reaching collaboration bringing together artists, activists, academics and ecologists in Nile nations that are home to more than 400 million people.\u003c/p>\n\u003cp>While Meklit isn’t involved in the current tour, her experience traveling through East Africa with the Nile Project deeply informed her approach to the UnderCover assignment.\u003c/p>\n\u003cp>“Hip-hop has this ability to adapt to whatever poetic tradition it touches,” she says. “In Egypt in 2011 we were meeting young hip-hop artists who had studied classical Arabic poetry, and they were making beats and bringing classical Arabic poetry into hip-hop. It has this open-armed aesthetic, and I felt like those principals connected with UnderCover’s mission.”\u003c/p>\n\u003cp>That’s music to the ears of Lyz Luke, who’s directed UnderCover since 2010, when she first devised the concept (along with sound engineer Yosh Haraguchi and violist Charith Premawardhana) of assembling a diverse array of Bay Area musicians to play iconic albums. \u003cem>Miseducation\u003c/em> is the 13th album covered by UnderCover; each production is curated by a different guest musical director.\u003c/p>\n\u003cp>For Luke, the initial notion of getting disparate musicians together in the same place has evolved into “a force bigger than we ever imagined, a lot more than a concert,” she says.\u003c/p>\n\u003cp>“It’s a source for what’s happening in the Bay Area music community. When you walk backstage, so many artists don’t know each other. They’re from such different genres, they’ve listened to and respected each other, but never got a chance to be on the same bill.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003cem>‘UnderCover Presents The Miseducation of Lauryn Hill’ runs Feb. 16–18 at 9:30pm the Yerba Buena Center for the Arts Forum. \u003ca href=\"https://ybca.org/whats-on/classick-hip-hop-undercover\" target=\"_blank\" rel=\"noopener\">Tickets ($35-$45) and more details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Meklit also presents her original songs at a Stanford Live concert March 11, in the newly reconfigured Bing Concert Hall Studio. More details \u003ca href=\"https://live.stanford.edu/calendar/march-2017/meklit-hadero\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Faye Carol performs Sundays at the Back Room in Berkeley. \u003ca href=\"http://backroommusic.com/events-1/2017/2/19/the-dynamic-miss-faye-carol\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some albums don’t just define an era. While brilliantly illuminating a particular moment, an occasional recording casts a 1,000-watt glare so penetrating that its music continues to provide insight years into the future.\u003c/p>\n\u003cp>Few albums have cast more light in recent decades than \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=lGCtAzYNwZ4\">The Miseducation of Lauryn Hill\u003c/a>\u003c/em>, the 1998 hip-hop/neo-soul album which has sold more than 20 million copies.\u003c/p>\n\u003cp>For Ethiopian-born Berkeley singer-songwriter \u003ca href=\"http://www.meklitmusic.com\">Meklit\u003c/a>, a child of 1980s Brooklyn, Hill’s epochal \u003cem>Miseducation\u003c/em> continues to serve as a touchstone. Recently, she lobbied \u003ca href=\"http://www.undercoverpresents.com\">UnderCover Presents\u003c/a> — an organization that gathers local talent to cover classic albums in their entirety — for a stint as guest musical director. The resulting project premieres Feb. 16–18 as part of the Yerba Buena Center for the Arts \u003ca href=\"https://www.ybca.org/whats-on/classick-hip-hop\">Clas/Sick Hip-Hop\u003c/a> Festival.\u003c/p>\n\u003cp>Like all UnderCover tributes, the concert at YBCA (details \u003ca href=\"https://ybca.org/whats-on/classick-hip-hop-undercover\" target=\"_blank\" rel=\"noopener\">here\u003c/a>) features the album’s songs presented in sequence, with a disparate roster of Bay Area artists interpreting one piece each. (The tracks are also recorded and released on an album, \u003cem>UnderCover Presents a Tribute to ‘The Miseducation of Lauryn Hill’\u003c/em>).\u003c/p>\n\u003cp>“I grew up with the boomboxes and b-boys spinning on cardboard,” says Meklit. “I was a freshman at Yale when \u003cem>Miseducation\u003c/em> came out, and you heard it everywhere. The album was an inspiration, particularly for women not submitting to those forces of misogyny that we all deal with. [Hill] used what she went through as a woman in the music industry, and a lot of those things haven’t gone away.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In assembling a soul-laden roster of artists, Meklit drew particularly on the East Bay’s deep pool of talent. Vivacious jazz/soul vocalist \u003ca href=\"https://soundcloud.com/kimiko-joy\">Kimiko Joy\u003c/a> and the RubADubs tackle “To Zion,” tough-toned tenor saxophonist \u003ca href=\"https://www.facebook.com/extranappy/\">Howard Wiley\u003c/a> \u003ca href=\"https://www.facebook.com/extranappy/\">and Extra Nappy\u003c/a> reinvent “Superstar,” and drummer Josh Jones’ Latin Ensemble puts an Afro-Cuban spin on “I Used to Love Him.”\u003c/p>\n\u003cfigure id=\"attachment_12758411\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kinda-blue.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12758411\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/kinda-blue-800x533.jpg\" alt=\"Kev Choice\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/kinda-blue.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Kev Choice\u003c/figcaption>\u003c/figure>\n\u003cp>In a felicitous pairing, former Lauryn Hill music director \u003ca href=\"https://kevchoice.wordpress.com\">Kev Choice\u003c/a> — who spent 2007 on the road with Hill — opted for “Final Hour.”\u003c/p>\n\u003cp>“I wanted to challenge myself with that hardcore flow,” he says. “People associate Hill as a vocalist, but to me, as a rapper, she’s one of the top five ever. I wanted to evoke what she did lyrically — change it but do it justice. She’s talking about a lot of things spiritually; that you can get the money and the power, but keep your eyes on the final hour. She’s a very spiritual person.”\u003c/p>\n\u003cp>In a particularly savvy programmatic move, Meklit tapped veteran jazz and blues vocalist \u003ca href=\"http://www.fayecarol.com\">Faye Carol \u003c/a>to cover “Can’t Take My Eyes Off You,” the 1967 hit by Frankie Valli that ended up as a \u003cem>Miseducation\u003c/em> bonus track after Hill recorded the song for the film \u003cem>Conspiracy Theory\u003c/em>. Carol has mentored generations of artists, including vocalist Lesley Grant, who belts out Hill’s “Everything Is Everything” with the funk band Katdelic.\u003c/p>\n\u003cfigure id=\"attachment_12745308\" class=\"wp-caption alignnone\" style=\"max-width: 720px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12745308\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017.jpg\" alt=\"Dynamic Duo. Lyz Luke and Meklit\" width=\"720\" height=\"475\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017.jpg 720w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/grammy-nom-celebration-fillmore-2017-520x343.jpg 520w\" sizes=\"(max-width: 720px) 100vw, 720px\">\u003cfigcaption class=\"wp-caption-text\">Dynamic Duo: Lyz Luke, the founder of UnderCover Presents, and Meklit.\u003c/figcaption>\u003c/figure>\n\u003cp>An accomplished jazz singer who came of age on the East Bay blues and R&B scene in the late 1960s (“I’m going to be the official OG of the program,” Carol quips), she’s kept current with upcoming artists, and wasn’t surprised when \u003cem>Miseducation\u003c/em> became a sensation.\u003c/p>\n\u003cp>“I already considered her one of the young up-and-coming people,” says Carol. “She could sing really well and rap really well. It made her really outstanding.”\u003c/p>\n\u003cp>Unfortunately, the timing of the \u003cem>Miseducation\u003c/em> concerts collide with the\u003ca href=\"http://calperformances.org/performances/2014-15/world-stage/nile-project.php\"> Cal Performances presentation\u003c/a> of the \u003ca href=\"http://nileproject.org\">Nile Project\u003c/a> at Zellerbach Hall on Saturday, Feb. 18. Meklit co-founded the Nile Project five years ago with Egyptian-born San Francisco ethnomusicologist Mina Girgis, and the trans-national collective has evolved into a far-reaching collaboration bringing together artists, activists, academics and ecologists in Nile nations that are home to more than 400 million people.\u003c/p>\n\u003cp>While Meklit isn’t involved in the current tour, her experience traveling through East Africa with the Nile Project deeply informed her approach to the UnderCover assignment.\u003c/p>\n\u003cp>“Hip-hop has this ability to adapt to whatever poetic tradition it touches,” she says. “In Egypt in 2011 we were meeting young hip-hop artists who had studied classical Arabic poetry, and they were making beats and bringing classical Arabic poetry into hip-hop. It has this open-armed aesthetic, and I felt like those principals connected with UnderCover’s mission.”\u003c/p>\n\u003cp>That’s music to the ears of Lyz Luke, who’s directed UnderCover since 2010, when she first devised the concept (along with sound engineer Yosh Haraguchi and violist Charith Premawardhana) of assembling a diverse array of Bay Area musicians to play iconic albums. \u003cem>Miseducation\u003c/em> is the 13th album covered by UnderCover; each production is curated by a different guest musical director.\u003c/p>\n\u003cp>For Luke, the initial notion of getting disparate musicians together in the same place has evolved into “a force bigger than we ever imagined, a lot more than a concert,” she says.\u003c/p>\n\u003cp>“It’s a source for what’s happening in the Bay Area music community. When you walk backstage, so many artists don’t know each other. They’re from such different genres, they’ve listened to and respected each other, but never got a chance to be on the same bill.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>\u003cem>‘UnderCover Presents The Miseducation of Lauryn Hill’ runs Feb. 16–18 at 9:30pm the Yerba Buena Center for the Arts Forum. \u003ca href=\"https://ybca.org/whats-on/classick-hip-hop-undercover\" target=\"_blank\" rel=\"noopener\">Tickets ($35-$45) and more details here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Meklit also presents her original songs at a Stanford Live concert March 11, in the newly reconfigured Bing Concert Hall Studio. More details \u003ca href=\"https://live.stanford.edu/calendar/march-2017/meklit-hadero\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Faye Carol performs Sundays at the Back Room in Berkeley. \u003ca href=\"http://backroommusic.com/events-1/2017/2/19/the-dynamic-miss-faye-carol\">Details here\u003c/a>. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>[contextly_sidebar id=\"hDRHrMnPnTHblvLBIIw42h8636cW9tLe\"]If a picture is worth a thousand words, then a gif must be worth at least a million (math!). With the advent of this bite-sized animated wonder, award shows have become less about who won what and more about who made what face. Here are the gifs from last night’s Grammys that will be finding their way into your texts and gchats soon.\u003c/p>\n\u003cp>This year's festivities were hosted by James \"Doing-the-Absolute-Most\" Corden. The best thing he did all night was fall down a flight of stairs.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64174\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/james-falling.gif\" alt=\"james falling\" width=\"480\" height=\"235\">\u003c/p>\n\u003cp>What's scarier than almost five hours of James Corden bits? Whatever CeeLo was going for.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-23.gif\">\u003cimg class=\"aligncenter size-full wp-image-64218\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-23.gif\" alt=\"giphy (23)\" width=\"476\" height=\"243\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two dudes, who are part of something called Twenty One Pilots, accepted their award by taking off their pants. Nick Jonas, who was the presenter, thought to himself, \u003cem>Hey! That's \u003ca href=\"http://cdn02.cdn.justjared.com/wp-content/uploads/2014/10/jonas-flauntmag/nick-jonas-poses-shirtless-in-his-underwear-for-flaunt-magazine-01.jpg\">my thing\u003c/a>!\u003c/em>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64202\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-20.gif\" alt=\"giphy (20)\" width=\"480\" height=\"267\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-5.gif\">\u003cimg class=\"aligncenter size-full wp-image-64170\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-5.gif\" alt=\"giphy (5)\" width=\"480\" height=\"267\">\u003c/a>\u003c/p>\n\u003cp>John Travolta showed up to make everyone uncomfortable.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64201\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-21.gif\" alt=\"giphy (21)\" width=\"480\" height=\"262\">\u003c/p>\n\u003cp>Gaga was very... Gaga.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-24.gif\">\u003cimg class=\"aligncenter size-full wp-image-64217\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-24.gif\" alt=\"giphy (24)\" width=\"480\" height=\"235\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64211\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-11.gif\" alt=\"giphy (11)\" width=\"480\" height=\"235\">\u003c/p>\n\u003cp>Katy Perry channeled \u003ca href=\"http://neighborshame.com/wp-content/uploads/2015/03/TV-Neighbor-7.jpg\">Wilson from \u003cem>Home Improvement\u003c/em>\u003c/a> for her \"\u003ca href=\"https://ww2.kqed.org/pop/2017/02/08/why-did-i-walk-around-in-the-rain-all-morning-looking-for-this-sad-katy-perry-disco-ball/\">Chained to the Rhythm\u003c/a>\" performance.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-9.gif\">\u003cimg class=\"aligncenter size-full wp-image-64214\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-9.gif\" alt=\"giphy (9)\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.bustle.com/articles/101523-how-did-katy-perry-rihanna-meet-the-pop-star-bffs-have-had-each-others-backs\">Her bestie\u003c/a> Rihanna was feeling it.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64204\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-18.gif\" alt=\"giphy (18)\" width=\"480\" height=\"235\">\u003c/p>\n\u003cp>While we're on the topic of Rihanna, she brought a date to the ceremony: her diamond-encrusted flask. Power couple of the night, hands down.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64212\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-10.gif\" alt=\"giphy (10)\" width=\"480\" height=\"235\">\u003c/p>\n\u003cp>https://twitter.com/tole_cover/status/830980229170622465?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>https://twitter.com/httpsjhey/status/830983051194822656?ref_src=twsrc%5Etfw\u003c/p>\n\u003cp>This is the strut of someone who is still getting rich from a song that came out in 1997.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64213\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/source-1.gif\" alt=\"source (1)\" width=\"844\" height=\"466\">\u003c/p>\n\u003cp>The night started out rough for Adele, who had to stop and restart a George Michael tribute gone awry.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-25.gif\">\u003cimg class=\"aligncenter size-full wp-image-64227\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-25.gif\" alt=\"giphy (25)\" width=\"480\" height=\"267\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64203\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-19.gif\" alt=\"giphy (19)\" width=\"480\" height=\"267\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64200\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-22.gif\" alt=\"giphy (22)\" width=\"480\" height=\"267\">\u003c/p>\n\u003cp>But things got better when she started cleaning up all the awards...\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64215\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/source.gif\" alt=\"source\" width=\"838\" height=\"472\">\u003c/p>\n\u003cp>... and got several chances to talk directly to Beyoncé from the stage.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64205\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-17.gif\" alt=\"giphy (17)\" width=\"480\" height=\"267\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64206\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-16.gif\" alt=\"giphy (16)\" width=\"480\" height=\"242\">\u003c/p>\n\u003cp>Speaking of the Queen Mother, Beyoncé graced this failing, fake news award show with her presence, delivering\u003ca href=\"https://ww2.kqed.org/pop/2017/02/12/watch-beyonce-and-the-twins-slay-the-2017-grammys/\"> a must-see performance\u003c/a>:\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-4.gif\">\u003cbr>\n\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/12-beyonce-gif1.w710.h473.gif\">\u003cimg class=\"aligncenter size-full wp-image-64172\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/12-beyonce-gif1.w710.h473.gif\" alt=\"12-beyonce-gif1.w710.h473\" width=\"480\" height=\"319\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-8.gif\">\u003cimg class=\"aligncenter size-full wp-image-64189\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-8.gif\" alt=\"giphy (8)\" width=\"480\" height=\"235\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64207\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-15.gif\" alt=\"giphy (15)\" width=\"480\" height=\"235\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-6.gif\">\u003cimg class=\"aligncenter size-full wp-image-64184\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-6.gif\" alt=\"giphy (6)\" width=\"480\" height=\"235\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/image.gif\">\u003cimg class=\"aligncenter size-full wp-image-64173\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/image.gif\" alt=\"image\" width=\"480\" height=\"267\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/bey-clique.gif\">\u003cimg class=\"aligncenter size-full wp-image-64198\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/bey-clique.gif\" alt=\"bey clique\" width=\"842\" height=\"470\">\u003c/a>\u003c/p>\n\u003cp>Blue Ivy's reaction speaks for all of us:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64171\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-4.gif\" alt=\"giphy (4)\" width=\"480\" height=\"235\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://media.tenor.co/images/cfdeed6af64dc3c71d15d430053d72ca/raw\">Any questions\u003c/a>?\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/source-2.gif\">\u003cbr>\n\u003c/a> \u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-22.gif\">\u003cbr>\n\u003c/a>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-14.gif\">\u003cimg class=\"aligncenter size-full wp-image-64208\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-14.gif\" alt=\"giphy (14)\" width=\"480\" height=\"235\">\u003c/a>\u003c/p>\n\n",
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"excerpt": "From Rihanna's diamond-encrusted flask to Blue Ivy dressed as a tiny Prince to all things Beyoncé, it's all here!",
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"title": "The Very Best Gifs from the 2017 Grammys | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>If a picture is worth a thousand words, then a gif must be worth at least a million (math!). With the advent of this bite-sized animated wonder, award shows have become less about who won what and more about who made what face. Here are the gifs from last night’s Grammys that will be finding their way into your texts and gchats soon.\u003c/p>\n\u003cp>This year's festivities were hosted by James \"Doing-the-Absolute-Most\" Corden. The best thing he did all night was fall down a flight of stairs.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64174\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/james-falling.gif\" alt=\"james falling\" width=\"480\" height=\"235\">\u003c/p>\n\u003cp>What's scarier than almost five hours of James Corden bits? Whatever CeeLo was going for.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-23.gif\">\u003cimg class=\"aligncenter size-full wp-image-64218\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-23.gif\" alt=\"giphy (23)\" width=\"476\" height=\"243\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two dudes, who are part of something called Twenty One Pilots, accepted their award by taking off their pants. Nick Jonas, who was the presenter, thought to himself, \u003cem>Hey! That's \u003ca href=\"http://cdn02.cdn.justjared.com/wp-content/uploads/2014/10/jonas-flauntmag/nick-jonas-poses-shirtless-in-his-underwear-for-flaunt-magazine-01.jpg\">my thing\u003c/a>!\u003c/em>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64202\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-20.gif\" alt=\"giphy (20)\" width=\"480\" height=\"267\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-5.gif\">\u003cimg class=\"aligncenter size-full wp-image-64170\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-5.gif\" alt=\"giphy (5)\" width=\"480\" height=\"267\">\u003c/a>\u003c/p>\n\u003cp>John Travolta showed up to make everyone uncomfortable.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64201\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-21.gif\" alt=\"giphy (21)\" width=\"480\" height=\"262\">\u003c/p>\n\u003cp>Gaga was very... Gaga.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-24.gif\">\u003cimg class=\"aligncenter size-full wp-image-64217\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-24.gif\" alt=\"giphy (24)\" width=\"480\" height=\"235\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64211\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-11.gif\" alt=\"giphy (11)\" width=\"480\" height=\"235\">\u003c/p>\n\u003cp>Katy Perry channeled \u003ca href=\"http://neighborshame.com/wp-content/uploads/2015/03/TV-Neighbor-7.jpg\">Wilson from \u003cem>Home Improvement\u003c/em>\u003c/a> for her \"\u003ca href=\"https://ww2.kqed.org/pop/2017/02/08/why-did-i-walk-around-in-the-rain-all-morning-looking-for-this-sad-katy-perry-disco-ball/\">Chained to the Rhythm\u003c/a>\" performance.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-9.gif\">\u003cimg class=\"aligncenter size-full wp-image-64214\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-9.gif\" alt=\"giphy (9)\" width=\"480\" height=\"270\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://www.bustle.com/articles/101523-how-did-katy-perry-rihanna-meet-the-pop-star-bffs-have-had-each-others-backs\">Her bestie\u003c/a> Rihanna was feeling it.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64204\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-18.gif\" alt=\"giphy (18)\" width=\"480\" height=\"235\">\u003c/p>\n\u003cp>While we're on the topic of Rihanna, she brought a date to the ceremony: her diamond-encrusted flask. Power couple of the night, hands down.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64212\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-10.gif\" alt=\"giphy (10)\" width=\"480\" height=\"235\">\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>This is the strut of someone who is still getting rich from a song that came out in 1997.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64213\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/source-1.gif\" alt=\"source (1)\" width=\"844\" height=\"466\">\u003c/p>\n\u003cp>The night started out rough for Adele, who had to stop and restart a George Michael tribute gone awry.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-25.gif\">\u003cimg class=\"aligncenter size-full wp-image-64227\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-25.gif\" alt=\"giphy (25)\" width=\"480\" height=\"267\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64203\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-19.gif\" alt=\"giphy (19)\" width=\"480\" height=\"267\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64200\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-22.gif\" alt=\"giphy (22)\" width=\"480\" height=\"267\">\u003c/p>\n\u003cp>But things got better when she started cleaning up all the awards...\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64215\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/source.gif\" alt=\"source\" width=\"838\" height=\"472\">\u003c/p>\n\u003cp>... and got several chances to talk directly to Beyoncé from the stage.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64205\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-17.gif\" alt=\"giphy (17)\" width=\"480\" height=\"267\">\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64206\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-16.gif\" alt=\"giphy (16)\" width=\"480\" height=\"242\">\u003c/p>\n\u003cp>Speaking of the Queen Mother, Beyoncé graced this failing, fake news award show with her presence, delivering\u003ca href=\"https://ww2.kqed.org/pop/2017/02/12/watch-beyonce-and-the-twins-slay-the-2017-grammys/\"> a must-see performance\u003c/a>:\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-4.gif\">\u003cbr>\n\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/12-beyonce-gif1.w710.h473.gif\">\u003cimg class=\"aligncenter size-full wp-image-64172\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/12-beyonce-gif1.w710.h473.gif\" alt=\"12-beyonce-gif1.w710.h473\" width=\"480\" height=\"319\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-8.gif\">\u003cimg class=\"aligncenter size-full wp-image-64189\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-8.gif\" alt=\"giphy (8)\" width=\"480\" height=\"235\">\u003c/a>\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64207\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-15.gif\" alt=\"giphy (15)\" width=\"480\" height=\"235\">\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-6.gif\">\u003cimg class=\"aligncenter size-full wp-image-64184\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-6.gif\" alt=\"giphy (6)\" width=\"480\" height=\"235\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/image.gif\">\u003cimg class=\"aligncenter size-full wp-image-64173\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/image.gif\" alt=\"image\" width=\"480\" height=\"267\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/bey-clique.gif\">\u003cimg class=\"aligncenter size-full wp-image-64198\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/bey-clique.gif\" alt=\"bey clique\" width=\"842\" height=\"470\">\u003c/a>\u003c/p>\n\u003cp>Blue Ivy's reaction speaks for all of us:\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-64171\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-4.gif\" alt=\"giphy (4)\" width=\"480\" height=\"235\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://media.tenor.co/images/cfdeed6af64dc3c71d15d430053d72ca/raw\">Any questions\u003c/a>?\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/source-2.gif\">\u003cbr>\n\u003c/a> \u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-22.gif\">\u003cbr>\n\u003c/a>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-14.gif\">\u003cimg class=\"aligncenter size-full wp-image-64208\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/02/giphy-14.gif\" alt=\"giphy (14)\" width=\"480\" height=\"235\">\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A lot happened at the Grammys tonight. And a lot didn't (namely, \u003cem>Lemonade\u003c/em> getting every award it deserved -- i.e. all of them). That's what happens when out-of-touch Grammy voters (\u003ca href=\"https://ww2.kqed.org/arts/2017/02/11/grammys-preview-dont-let-adele-win/\">predominantly older, white, and male\u003c/a>) decide things. But Beyoncé didn't need to win a single thing to prove what a revelation her work is. Just catch a glimpse of this performance and you'll agree:\u003c/p>\n\u003cp>https://twitter.com/HolyTrinFacts/status/830965714399920132\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Al Jarreau, a versatile vocalist who defied categorization for decades, died Sunday at the age of 76. Earlier this week, Jarreau had been hospitalized in Los Angeles “due to exhaustion,” according to his official Facebook page.\u003c/p>\n\u003cp>In a statement posted on Jarreau’s website, the musician was lauded for his compassion and caring for those around him.\u003c/p>\n\u003cblockquote>\u003cp>“His 2nd priority in life was music. There was no 3rd. His 1st priority, far ahead of the other, was healing or comforting anyone in need. Whether it was emotional pain, or physical discomfort, or any other cause of suffering, he needed to put our minds at ease and our hearts at rest.”\u003c/p>\u003c/blockquote>\n\u003cp>As an artist, Jarreau was impossible to define and had a voice impossible to mistake. Since he recorded his first album in the 1960s, Jarreau demonstrated a vocal dynamism and flexibility that outpaced many of his peers — as can be seen clearly in his record at the Grammys. Jarreau won seven of them over the course of his career, earning plaudits in the jazz, pop and R&B categories.\u003c/p>\n\u003cp>As NPR’s Rose Friedman notes, “He was famous for his scat singing, using his voice like a musical instrument.”\u003c/p>\n\u003cp>\u003cem>People \u003c/em>magazine put it simply: “He doesn’t so much sing as play his voice.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Al+Jarreau%2C+Versatile+Vocalist+Who+%27Played+His+Voice%2C%27+Dies+At+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Al Jarreau, a versatile vocalist who defied categorization for decades, died Sunday at the age of 76. Earlier this week, Jarreau had been hospitalized in Los Angeles “due to exhaustion,” according to his official Facebook page.\u003c/p>\n\u003cp>In a statement posted on Jarreau’s website, the musician was lauded for his compassion and caring for those around him.\u003c/p>\n\u003cblockquote>\u003cp>“His 2nd priority in life was music. There was no 3rd. His 1st priority, far ahead of the other, was healing or comforting anyone in need. Whether it was emotional pain, or physical discomfort, or any other cause of suffering, he needed to put our minds at ease and our hearts at rest.”\u003c/p>\u003c/blockquote>\n\u003cp>As an artist, Jarreau was impossible to define and had a voice impossible to mistake. Since he recorded his first album in the 1960s, Jarreau demonstrated a vocal dynamism and flexibility that outpaced many of his peers — as can be seen clearly in his record at the Grammys. Jarreau won seven of them over the course of his career, earning plaudits in the jazz, pop and R&B categories.\u003c/p>\n\u003cp>As NPR’s Rose Friedman notes, “He was famous for his scat singing, using his voice like a musical instrument.”\u003c/p>\n\u003cp>\u003cem>People \u003c/em>magazine put it simply: “He doesn’t so much sing as play his voice.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Al+Jarreau%2C+Versatile+Vocalist+Who+%27Played+His+Voice%2C%27+Dies+At+76&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "What To Expect When You're Expecting (An Arguably Irrelevant Awards Show)",
"headTitle": "What To Expect When You’re Expecting (An Arguably Irrelevant Awards Show) | KQED",
"content": "\u003cp>Ah, February. We’ve barely had time to catch our breath after the acrobatic, drone-assisted ode to America and Pepsi and whichever poor soul has the job of helping Lady Gaga in and out of her leotards that was the Super Bowl Halftime Show — and already it’s time to turn our attention to another stiffly scripted, expensively produced television spectacle that might get political but probably won’t. Where \u003cem>does\u003c/em> the time go?\u003c/p>\n\u003cp>Which is to say: The \u003ca href=\"https://www.grammy.com/\" target=\"_blank\" rel=\"noopener\">59th annual Grammy Awards\u003c/a> take place this Sunday, Feb. 12 at 5pm, and I’m going to go out on a limb and speak for a lot of youngish people here when I say, “Who cares?”\u003c/p>\n\u003cp>This is no slight, mind you, to the more deserving nominees — many of whom hail from the Bay Area, like Oakland’s Fantastic Negrito (whose excellent \u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Days of Oakland\u003c/em> \u003c/a>is nominated for Best Contemporary Blues Album).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=myWfoR3l6O4\u003c/p>\n\u003cp>But it’s undeniable that the Grammys — which have always rewarded popularity and record sales over artistry — have in recent years grown increasingly out of step with not only the way fans listen to music but with how artists themselves measure value, how they mark and celebrate their own contributions to the cultural canon.\u003c/p>\n\u003ch2>Big stars drop out\u003c/h2>\n\u003cp>Need proof? Frank Ocean, a two-time Grammy winner himself, \u003ca href=\"https://www.nytimes.com/2016/11/20/arts/music/frank-ocean-blonde-interview.html\" target=\"_blank\" rel=\"noopener\">told the \u003cem>New York Times\u003c/em> in November \u003c/a>that he wouldn’t be submitting his long-anticipated 2016 records \u003cem>Blond\u003c/em> and \u003cem>Endless (\u003c/em>both of which dotted many a critic’s best-of-the-year list) for the Recording Academy’s consideration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That institution certainly has nostalgic importance,” he said. “It just doesn’t seem to be representing very well for people who come from where I come from, and hold down what I hold down.”\u003c/p>\n\u003cp>Ocean continued: “I think the infrastructure of the awarding system and the nomination system and screening system is dated. I’d rather this be my Colin Kaepernick moment for the Grammys than sit there in the audience.”\u003c/p>\n\u003cfigure id=\"attachment_12751713\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys.jpg\" alt=\"Frank Ocean accepts the Best Urban Contemporary Album award for 'Channel Orange' at the 55th Grammy Awards in 2013. \" width=\"1100\" height=\"715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-520x338.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Frank Ocean accepts the Best Urban Contemporary Album award for ‘Channel Orange’ at the 55th Grammy Awards in 2013. \u003ccite>(Kevork Djansezian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after, TMZ reported that Drake, Justin Bieber and Kanye West — all of whom are up for awards in major categories — would follow suit in their own way, skipping the show entirely.\u003c/p>\n\u003cp>Ocean is maybe the first artist of his stature to share that sentiment, in those words, with a publication like the \u003cem>New York Times\u003c/em>. But he’s far from the first person to criticize the Grammys for being out of touch, particularly with the music currently being released by artists who are young, black, or both. Much like the Oscars, the recipients of Grammy recognition (nominees and awardees alike) tend to skew disproportionately whiter and older when compared to the artists who are actually selling the most records, topping the charts, and affecting the cultural zeitgeist in meaningful ways.\u003c/p>\n\u003ch2>The demographics behind the snubs\u003c/h2>\n\u003cp>You can look at cases of this from recent memory: In 2014, Macklemore took home the Grammy for Best Rap Album over Kendrick Lamar’s critically acclaimed \u003cem>Good Kid, M.A.A.D City\u003c/em>, leading to the \u003ca href=\"http://www.stereogum.com/1644301/read-macklemores-apology-text-to-kendrick-lamar-for-winning-best-rap-album-grammy/news/\" target=\"_blank\" rel=\"noopener\">fake-apology-text-message\u003c/a> heard round the world. At the 2015 awards, Beyoncé’s self-titled record — which marked both a turn in the singer’s sound as well as a groundbreaking use of media (the surprise release; the music video in a long format as “visual album”) — lost Album of the Year to Beck’s sweet, sleepy \u003cem>Morning Phase\u003c/em>.\u003c/p>\n\u003cp>Or you could take it back much further: In 1989, right after the Best Heavy Metal Performance category was created, Metallica was nominated but lost that award to Jethro Tull — yes, Jethro Tull, the prog dudes prone to flute solos — and people in the audience started \u003cem>laughing\u003c/em>. It’s hard to imagine now, but Metallica hadn’t quite achieved mainstream commercial success then. To the voters, they were some young scrappy punks. Whereas Jethro Tull had been around since the ’60s, and in many voters’ minds were likely overdue for Grammy recognition.\u003c/p>\n\u003cp>https://youtu.be/r5fTtd_hdok?t=1m45s\u003c/p>\n\u003cp>To get to the heart of this, you must first look at — much like with the Oscars — the requirements for becoming a voting member of the Recording Academy. They’re actually pretty simple: You must have credits on six or 12 tracks of recorded material (depending on whether you’re dealing with a physical or online-only release). You can be a performer, producer, engineer, or the person who writes the liner notes. And then you have to pay $100 a year.\u003c/p>\n\u003cp>That’s about it. It’s my understanding that the largest group of voting members within the Recording Academy is the producers and engineers wing — that’s a group that’s something like 6,000 people strong, out of a group of about 13,000. Even without hard demographics from the Recording Academy (they’ve declined to release stats on age, race or gender), it’s pretty easy to deduce \u003ca href=\"http://www.huffingtonpost.com/entry/women-producers-statistics_us_57113cebe4b0060ccda345be\" target=\"_blank\" rel=\"noopener\">based on industry reports\u003c/a> that a disproportionate number of those professionals are older men. That’s slowly changing, thanks to organizations like \u003ca href=\"https://ww2.kqed.org/arts/2016/11/22/womens-audio-mission-smashing-the-glass-ceiling-of-the-studio-world/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> — but very slowly.\u003c/p>\n\u003cfigure id=\"attachment_12751711\" class=\"wp-caption alignright\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KendrickLamar.jpg\" alt=\"Kendrick Lamar at the Grammy Awards in 2014, the year Macklemore won Best Rap Album.\" width=\"546\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-375x488.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-520x677.jpg 520w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar at the Grammy Awards in 2014, the year Macklemore won Best Rap Album. \u003ccite>(Christopher Polk/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Giving Chance a chance\u003c/h2>\n\u003cp>Then, perhaps more importantly, you have the voting process. As a voting member you’re asked to vote on the Big Four — Album of the Year, Record of the Year, Song of the Year, and Best New Artist — as well as up to nine other genre-based categories. Voters are supposedly discouraged from voting on genres in which they have little expertise, but there’s really nothing structural to prevent them from doing that. So what happens — and \u003ca href=\"http://www.complex.com/music/2014/01/how-does-grammy-voting-work\" target=\"_blank\" rel=\"noopener\">Grammy voters have confirmed this\u003c/a> — is a lot of people vote in areas they really know nothing about. That’s when you get people voting based on name recognition alone, or popularity, or album sales, or (who knows?) something they know their kids like. And that’s how you get Macklemore winning Best Rap Album over Kendrick Lamar.\u003c/p>\n\u003cp>Real change isn’t going to happen without the Academy fundamentally changing the membership, nominations and voting processes. There are encouraging signs, however, that the Academy knows it needs to adapt if it’s going to keep up. One of the most interesting stories in this year’s awards is that of Chance the Rapper, whose star has (rightfully) risen exponentially over the past half-decade, despite his steadfast refusal to sign to a label, or sell his work commercially.\u003c/p>\n\u003cp>Up until last year, Grammy rules stated that an artist’s work had to be for sale and distributed through a label to be considered for nomination. The Academy was effectively forced to change these rules thanks to pressure from critics and fans to recognize \u003cem>Coloring Book,\u003c/em> Chance’s online-only 2016 mixtape. He’s up for seven awards on Sunday night, and will perform live as well (no word on whether or not \u003ca href=\"https://www.youtube.com/watch?v=be37-T72DNk\" target=\"_blank\" rel=\"noopener\">muppets will be involved\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=be37-T72DNk\u003c/p>\n\u003ch2>Adele vs. Beyoncé\u003c/h2>\n\u003cp>If the Recording Academy wants to take an easy step toward earning back younger Grammy viewers’ trust, however, there’s one really simple choice it can make during Sunday night’s program: award Album of the Year to \u003cem>Lemonade\u003c/em>.\u003c/p>\n\u003cp>Beyoncé’s 2016 opus — a grand-scale, unapologetic and intensely personal meditation on racism, infidelity, black culture, the South, and female sexuality — without question deserves this title. It’s aesthetically adventurous, the result of impressive collaboration; topically, it represents a savvy wielding of iconic pop superstardom in the name of a political statement. A win would also represent a corrective steer for Beyoncé’s loss to Beck in 2015.\u003c/p>\n\u003cp>Whether the Academy executes this correctly depends on how safe they want to play it — and, much like the buzz surrounding whether or not Lady Gaga would use the Super Bowl Halftime Show as a platform for protest, you can bet CBS executives are having conversations about how political they can let this thing get. The safe choice in this instance would be Adele, who is a wonderful singer who sells a ton of records. That’s about it, though — and as the \u003cem>Chronicle\u003c/em>‘s Aidin Vaziri noted in our \u003ca href=\"https://ww2.kqed.org/forum/2017/02/08/previewing-the-2017-grammys/\" target=\"_blank\" rel=\"noopener\">conversation yesterday on Forum\u003c/a>, \u003cem>25\u003c/em> isn’t even her best record.\u003c/p>\n\u003cfigure id=\"attachment_12751712\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Adele.Beyonce.jpg\" alt=\"Adele and Beyonce at the 55th Annual Grammy Awards in 2013.\" width=\"1100\" height=\"701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-960x612.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-520x331.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Adele and Beyonce at the 55th Annual Grammy Awards in 2013. \u003ccite>(Christopher Polk/Getty Images for NARAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ll have to wait another day to find out whether I’m giving Grammy voters too much or too little credit here. In the meantime, a couple other stray observations:\u003c/p>\n\u003cul>\n\u003cli>I have a feeling Song of the Year is going to everyone’s favorite rehabilitated snot-nosed punk, Justin Bieber — if only because Ed Sheeran co-wrote “Love Yourself,” and man, the Grammys love that guy.\u003c/li>\n\u003cli>Definitely looking forward to tributes to both Prince and George Michael.\u003c/li>\n\u003cli>How long will it take for James Corden’s “British Jimmy Fallon” thing to wear thin? Are we there yet?\u003c/li>\n\u003cli>Other first-time-nominated locals to root for include Panamanian hip-hop duo Los Rakas (whose self-titled LP is up for best Latin Urban, Alternative or Contemporary Album), Sunset District resident Frances England (whose \u003cem>Explorer of the World\u003c/em> is up for Best Children’s Album) and San Francisco electronic mainstay Tycho (\u003cem>Epoch\u003c/em>, Best Electronic or Dance Album)\u003c/li>\n\u003cli>Lady Gaga and Metallica will perform a tribute to the Bee Gees. “Looking forward to it” isn’t the right expression for how I feel, but I’ll watch it.\u003c/li>\n\u003c/ul>\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The 59th Grammy Awards \u003ca href=\"http://www.cbs.com/shows/grammys/\" target=\"_blank\" rel=\"noopener\">air on CBS\u003c/a> on Sunday, Feb. 12, at 5pm.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Grammy Awards are back, and big stars are denouncing them or staying home altogether. After the Grammys' cascade into 'institutional relic,' who can blame them?",
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"description": "The Grammy Awards are back, and big stars are denouncing them or staying home altogether. After the Grammys' cascade into 'institutional relic,' who can blame them?",
"title": "What To Expect When You're Expecting (An Arguably Irrelevant Awards Show) | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, February. We’ve barely had time to catch our breath after the acrobatic, drone-assisted ode to America and Pepsi and whichever poor soul has the job of helping Lady Gaga in and out of her leotards that was the Super Bowl Halftime Show — and already it’s time to turn our attention to another stiffly scripted, expensively produced television spectacle that might get political but probably won’t. Where \u003cem>does\u003c/em> the time go?\u003c/p>\n\u003cp>Which is to say: The \u003ca href=\"https://www.grammy.com/\" target=\"_blank\" rel=\"noopener\">59th annual Grammy Awards\u003c/a> take place this Sunday, Feb. 12 at 5pm, and I’m going to go out on a limb and speak for a lot of youngish people here when I say, “Who cares?”\u003c/p>\n\u003cp>This is no slight, mind you, to the more deserving nominees — many of whom hail from the Bay Area, like Oakland’s Fantastic Negrito (whose excellent \u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Days of Oakland\u003c/em> \u003c/a>is nominated for Best Contemporary Blues Album).\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/myWfoR3l6O4'\n title='//www.youtube.com/embed/myWfoR3l6O4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it’s undeniable that the Grammys — which have always rewarded popularity and record sales over artistry — have in recent years grown increasingly out of step with not only the way fans listen to music but with how artists themselves measure value, how they mark and celebrate their own contributions to the cultural canon.\u003c/p>\n\u003ch2>Big stars drop out\u003c/h2>\n\u003cp>Need proof? Frank Ocean, a two-time Grammy winner himself, \u003ca href=\"https://www.nytimes.com/2016/11/20/arts/music/frank-ocean-blonde-interview.html\" target=\"_blank\" rel=\"noopener\">told the \u003cem>New York Times\u003c/em> in November \u003c/a>that he wouldn’t be submitting his long-anticipated 2016 records \u003cem>Blond\u003c/em> and \u003cem>Endless (\u003c/em>both of which dotted many a critic’s best-of-the-year list) for the Recording Academy’s consideration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That institution certainly has nostalgic importance,” he said. “It just doesn’t seem to be representing very well for people who come from where I come from, and hold down what I hold down.”\u003c/p>\n\u003cp>Ocean continued: “I think the infrastructure of the awarding system and the nomination system and screening system is dated. I’d rather this be my Colin Kaepernick moment for the Grammys than sit there in the audience.”\u003c/p>\n\u003cfigure id=\"attachment_12751713\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys.jpg\" alt=\"Frank Ocean accepts the Best Urban Contemporary Album award for 'Channel Orange' at the 55th Grammy Awards in 2013. \" width=\"1100\" height=\"715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-520x338.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Frank Ocean accepts the Best Urban Contemporary Album award for ‘Channel Orange’ at the 55th Grammy Awards in 2013. \u003ccite>(Kevork Djansezian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after, TMZ reported that Drake, Justin Bieber and Kanye West — all of whom are up for awards in major categories — would follow suit in their own way, skipping the show entirely.\u003c/p>\n\u003cp>Ocean is maybe the first artist of his stature to share that sentiment, in those words, with a publication like the \u003cem>New York Times\u003c/em>. But he’s far from the first person to criticize the Grammys for being out of touch, particularly with the music currently being released by artists who are young, black, or both. Much like the Oscars, the recipients of Grammy recognition (nominees and awardees alike) tend to skew disproportionately whiter and older when compared to the artists who are actually selling the most records, topping the charts, and affecting the cultural zeitgeist in meaningful ways.\u003c/p>\n\u003ch2>The demographics behind the snubs\u003c/h2>\n\u003cp>You can look at cases of this from recent memory: In 2014, Macklemore took home the Grammy for Best Rap Album over Kendrick Lamar’s critically acclaimed \u003cem>Good Kid, M.A.A.D City\u003c/em>, leading to the \u003ca href=\"http://www.stereogum.com/1644301/read-macklemores-apology-text-to-kendrick-lamar-for-winning-best-rap-album-grammy/news/\" target=\"_blank\" rel=\"noopener\">fake-apology-text-message\u003c/a> heard round the world. At the 2015 awards, Beyoncé’s self-titled record — which marked both a turn in the singer’s sound as well as a groundbreaking use of media (the surprise release; the music video in a long format as “visual album”) — lost Album of the Year to Beck’s sweet, sleepy \u003cem>Morning Phase\u003c/em>.\u003c/p>\n\u003cp>Or you could take it back much further: In 1989, right after the Best Heavy Metal Performance category was created, Metallica was nominated but lost that award to Jethro Tull — yes, Jethro Tull, the prog dudes prone to flute solos — and people in the audience started \u003cem>laughing\u003c/em>. It’s hard to imagine now, but Metallica hadn’t quite achieved mainstream commercial success then. To the voters, they were some young scrappy punks. Whereas Jethro Tull had been around since the ’60s, and in many voters’ minds were likely overdue for Grammy recognition.\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/r5fTtd_hdok'\n title='//www.youtube.com/embed/r5fTtd_hdok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To get to the heart of this, you must first look at — much like with the Oscars — the requirements for becoming a voting member of the Recording Academy. They’re actually pretty simple: You must have credits on six or 12 tracks of recorded material (depending on whether you’re dealing with a physical or online-only release). You can be a performer, producer, engineer, or the person who writes the liner notes. And then you have to pay $100 a year.\u003c/p>\n\u003cp>That’s about it. It’s my understanding that the largest group of voting members within the Recording Academy is the producers and engineers wing — that’s a group that’s something like 6,000 people strong, out of a group of about 13,000. Even without hard demographics from the Recording Academy (they’ve declined to release stats on age, race or gender), it’s pretty easy to deduce \u003ca href=\"http://www.huffingtonpost.com/entry/women-producers-statistics_us_57113cebe4b0060ccda345be\" target=\"_blank\" rel=\"noopener\">based on industry reports\u003c/a> that a disproportionate number of those professionals are older men. That’s slowly changing, thanks to organizations like \u003ca href=\"https://ww2.kqed.org/arts/2016/11/22/womens-audio-mission-smashing-the-glass-ceiling-of-the-studio-world/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> — but very slowly.\u003c/p>\n\u003cfigure id=\"attachment_12751711\" class=\"wp-caption alignright\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KendrickLamar.jpg\" alt=\"Kendrick Lamar at the Grammy Awards in 2014, the year Macklemore won Best Rap Album.\" width=\"546\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-375x488.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-520x677.jpg 520w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar at the Grammy Awards in 2014, the year Macklemore won Best Rap Album. \u003ccite>(Christopher Polk/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Giving Chance a chance\u003c/h2>\n\u003cp>Then, perhaps more importantly, you have the voting process. As a voting member you’re asked to vote on the Big Four — Album of the Year, Record of the Year, Song of the Year, and Best New Artist — as well as up to nine other genre-based categories. Voters are supposedly discouraged from voting on genres in which they have little expertise, but there’s really nothing structural to prevent them from doing that. So what happens — and \u003ca href=\"http://www.complex.com/music/2014/01/how-does-grammy-voting-work\" target=\"_blank\" rel=\"noopener\">Grammy voters have confirmed this\u003c/a> — is a lot of people vote in areas they really know nothing about. That’s when you get people voting based on name recognition alone, or popularity, or album sales, or (who knows?) something they know their kids like. And that’s how you get Macklemore winning Best Rap Album over Kendrick Lamar.\u003c/p>\n\u003cp>Real change isn’t going to happen without the Academy fundamentally changing the membership, nominations and voting processes. There are encouraging signs, however, that the Academy knows it needs to adapt if it’s going to keep up. One of the most interesting stories in this year’s awards is that of Chance the Rapper, whose star has (rightfully) risen exponentially over the past half-decade, despite his steadfast refusal to sign to a label, or sell his work commercially.\u003c/p>\n\u003cp>Up until last year, Grammy rules stated that an artist’s work had to be for sale and distributed through a label to be considered for nomination. The Academy was effectively forced to change these rules thanks to pressure from critics and fans to recognize \u003cem>Coloring Book,\u003c/em> Chance’s online-only 2016 mixtape. He’s up for seven awards on Sunday night, and will perform live as well (no word on whether or not \u003ca href=\"https://www.youtube.com/watch?v=be37-T72DNk\" target=\"_blank\" rel=\"noopener\">muppets will be involved\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/be37-T72DNk'\n title='//www.youtube.com/embed/be37-T72DNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Adele vs. Beyoncé\u003c/h2>\n\u003cp>If the Recording Academy wants to take an easy step toward earning back younger Grammy viewers’ trust, however, there’s one really simple choice it can make during Sunday night’s program: award Album of the Year to \u003cem>Lemonade\u003c/em>.\u003c/p>\n\u003cp>Beyoncé’s 2016 opus — a grand-scale, unapologetic and intensely personal meditation on racism, infidelity, black culture, the South, and female sexuality — without question deserves this title. It’s aesthetically adventurous, the result of impressive collaboration; topically, it represents a savvy wielding of iconic pop superstardom in the name of a political statement. A win would also represent a corrective steer for Beyoncé’s loss to Beck in 2015.\u003c/p>\n\u003cp>Whether the Academy executes this correctly depends on how safe they want to play it — and, much like the buzz surrounding whether or not Lady Gaga would use the Super Bowl Halftime Show as a platform for protest, you can bet CBS executives are having conversations about how political they can let this thing get. The safe choice in this instance would be Adele, who is a wonderful singer who sells a ton of records. That’s about it, though — and as the \u003cem>Chronicle\u003c/em>‘s Aidin Vaziri noted in our \u003ca href=\"https://ww2.kqed.org/forum/2017/02/08/previewing-the-2017-grammys/\" target=\"_blank\" rel=\"noopener\">conversation yesterday on Forum\u003c/a>, \u003cem>25\u003c/em> isn’t even her best record.\u003c/p>\n\u003cfigure id=\"attachment_12751712\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Adele.Beyonce.jpg\" alt=\"Adele and Beyonce at the 55th Annual Grammy Awards in 2013.\" width=\"1100\" height=\"701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-960x612.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-520x331.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Adele and Beyonce at the 55th Annual Grammy Awards in 2013. \u003ccite>(Christopher Polk/Getty Images for NARAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ll have to wait another day to find out whether I’m giving Grammy voters too much or too little credit here. In the meantime, a couple other stray observations:\u003c/p>\n\u003cul>\n\u003cli>I have a feeling Song of the Year is going to everyone’s favorite rehabilitated snot-nosed punk, Justin Bieber — if only because Ed Sheeran co-wrote “Love Yourself,” and man, the Grammys love that guy.\u003c/li>\n\u003cli>Definitely looking forward to tributes to both Prince and George Michael.\u003c/li>\n\u003cli>How long will it take for James Corden’s “British Jimmy Fallon” thing to wear thin? Are we there yet?\u003c/li>\n\u003cli>Other first-time-nominated locals to root for include Panamanian hip-hop duo Los Rakas (whose self-titled LP is up for best Latin Urban, Alternative or Contemporary Album), Sunset District resident Frances England (whose \u003cem>Explorer of the World\u003c/em> is up for Best Children’s Album) and San Francisco electronic mainstay Tycho (\u003cem>Epoch\u003c/em>, Best Electronic or Dance Album)\u003c/li>\n\u003cli>Lady Gaga and Metallica will perform a tribute to the Bee Gees. “Looking forward to it” isn’t the right expression for how I feel, but I’ll watch it.\u003c/li>\n\u003c/ul>\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=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The 59th Grammy Awards \u003ca href=\"http://www.cbs.com/shows/grammys/\" target=\"_blank\" rel=\"noopener\">air on CBS\u003c/a> on Sunday, Feb. 12, at 5pm.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dooms Virginia Tackles Trump-Era 'Alternative Facts' on 'Devour'",
"headTitle": "Dooms Virginia Tackles Trump-Era ‘Alternative Facts’ on ‘Devour’ | KQED",
"content": "\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. Over the next couple months, I’ll be highlighting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003ch3>Dooms Virginia, “Devour”\u003c/h3>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/293346674″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>“I wasn’t surprised,” wrote Annie Lipetz, the singer of \u003ca href=\"https://www.facebook.com/DoomsVirginia/\" target=\"_blank\" rel=\"noopener\">Dooms Virginia\u003c/a> (formerly known as Annie Girl & the Flight), when I asked if she was caught off guard by the presidential election’s results — and how she coped. “I spent the night wasted, calling friends in other countries and asking them to marry me.”\u003c/p>\n\u003cp>She’s not one to wallow, though. At 23, Lipetz is one of the most captivating singers I’ve seen in the Bay Area indie scene; her visceral delivery, even at its great, growly weirdest, always has something natural and old-school rockstar about it. So it’s not surprising that she quickly channeled her anger into music. “Devour,” above, paints a somewhat desolate lyrical picture of our current landscape:\u003c/p>\n\u003cblockquote>\u003cp>Tied to the current in a river of madmen\u003cbr>\nWhere the dead are looking for a place to rest\u003cbr>\nJust because it’s on the news doesn’t make it true\u003cbr>\nWhen ya gonna see that they’re lying too?\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s an artist’s responsibility to create — to make people feel. It doesn’t have to be directly related to politics. Any honest creation is crucial,” she says.\u003c/p>\n\u003cp>“We all have an important role to play in the revolution, and the revolution is now. This system never worked. When you put monsters in charge of a defective government, the outcome is a corrupt, disruptive and hateful regime. Dictatorship, fascism. A new system is needed. To get it we must revolt. We must participate with our most authentic selves. March, speak up, contact government officials, pick up a history book, adorn yourself with knowledge, create, trust your gut, love as much as you can, and do not back down.”\u003c/p>\n\u003cp>Lipetz recently moved from San Francisco to Los Angeles (sigh) but will be back up here soon enough; Dooms Virginia plays \u003ca href=\"http://www.uptownnightclub.com/\" target=\"_blank\" rel=\"noopener\">The Uptown’\u003c/a>s First Friday show in Oakland on April 7.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "'Just because it's on the news doesn't make it true / When ya gonna see that they're lying too?' sings the band's 23-year-old vocalist, Annie Lipetz.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Ed. note: As long as humans have been making music, it’s been used as a form of protest. As part of KQED Arts’ 100 Days project, \u003ca href=\"https://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\" target=\"_blank\" rel=\"noopener\">documenting artists’ responses to our new administration\u003c/a> in its earliest days, I’ve asked Bay Area musicians to get in touch with songs they’ve written or recorded that serve as reactions to our current political climate. Over the next couple months, I’ll be highlighting the most compelling entries I receive, along with a few words from the artist about their inspirations and intentions.\u003c/em>\u003c/p>\n\u003ch3>Dooms Virginia, “Devour”\u003c/h3>\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/293346674″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/293346674″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“I wasn’t surprised,” wrote Annie Lipetz, the singer of \u003ca href=\"https://www.facebook.com/DoomsVirginia/\" target=\"_blank\" rel=\"noopener\">Dooms Virginia\u003c/a> (formerly known as Annie Girl & the Flight), when I asked if she was caught off guard by the presidential election’s results — and how she coped. “I spent the night wasted, calling friends in other countries and asking them to marry me.”\u003c/p>\n\u003cp>She’s not one to wallow, though. At 23, Lipetz is one of the most captivating singers I’ve seen in the Bay Area indie scene; her visceral delivery, even at its great, growly weirdest, always has something natural and old-school rockstar about it. So it’s not surprising that she quickly channeled her anger into music. “Devour,” above, paints a somewhat desolate lyrical picture of our current landscape:\u003c/p>\n\u003cblockquote>\u003cp>Tied to the current in a river of madmen\u003cbr>\nWhere the dead are looking for a place to rest\u003cbr>\nJust because it’s on the news doesn’t make it true\u003cbr>\nWhen ya gonna see that they’re lying too?\u003c/p>\u003c/blockquote>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/2017/01/18/first-100-days-art-in-the-age-of-trump/\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg\" alt=\"100Days_300x300z\" width=\"300\" height=\"300\" class=\"alignright size-full wp-image-12667846\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1.jpg 300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/100Days_300x300z-1-150x150.jpg 150w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s an artist’s responsibility to create — to make people feel. It doesn’t have to be directly related to politics. Any honest creation is crucial,” she says.\u003c/p>\n\u003cp>“We all have an important role to play in the revolution, and the revolution is now. This system never worked. When you put monsters in charge of a defective government, the outcome is a corrupt, disruptive and hateful regime. Dictatorship, fascism. A new system is needed. To get it we must revolt. We must participate with our most authentic selves. March, speak up, contact government officials, pick up a history book, adorn yourself with knowledge, create, trust your gut, love as much as you can, and do not back down.”\u003c/p>\n\u003cp>Lipetz recently moved from San Francisco to Los Angeles (sigh) but will be back up here soon enough; Dooms Virginia plays \u003ca href=\"http://www.uptownnightclub.com/\" target=\"_blank\" rel=\"noopener\">The Uptown’\u003c/a>s First Friday show in Oakland on April 7.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Cy and David's Picks: Lou Harrison at 100, Austra's Icy Warm Sound, and Cherry Glazerr's Teen Punk",
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"headTitle": "Cy and David’s Picks: Lou Harrison at 100, Austra’s Icy Warm Sound, and Cherry Glazerr’s Teen Punk | KQED",
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"content": "\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/306964570″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”150″ iframe=”true” /]\u003c/p>\n\u003cp>One of the things we brood about here at the Do List (besides global annihilation) is the shortage of music clubs in the South Bay. And then along comes \u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winterfest\u003c/a>, with its conucopia of great shows, and our mood lifts off like a Roy Ayers solo. Yes, Roy Ayers is playing his neo-soul vibes during the fest.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And check out Bay Area native Natalie Cressman’s fine trombone work, veteran San Francisco singer Mary Stallings, and dozens of other shows. Details for San Jose Jazz Winterfest are \u003ca href=\"https://sanjosejazz.org/events/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now onto the rest of our show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7rzmhbiKUo0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Feb. 11\u003c/strong>: Austra has such a cool, polished electronic sound, but I still feel a blast of heat off the voice of singer Katie Stelmanis, formerly of Galaxy. She’s the force behind Austra, and wrote ‘Utopia,’ the song above, for her new album \u003cem>Future Politics.\u003c/em> She’s working with Maya Postepski, Dorian Wolf, and Ryan Wonsiak, and they make quite a wall of beautiful sounds. Details for Austra’s show at the Mezzanine in San Francisco are \u003ca href=\"http://mezzaninesf.com/events/austra/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=riupQGCF5a8\u003cbr>\n\u003cstrong>Feb. 11\u003c/strong>: Tap dancing hasn’t been cool in a long time, but I’m partial to this deeply American art form, born out of the same stew of influences that created jazz, and with a similar attention to rhythm, beat and improvisation. Here’s a chance to show tap some love. Rhythmic Circus is a troupe out of Minneapolis with a showoff style and a production called \u003cem>Feet Don’t Fail Me Now \u003c/em>(slightly misquoting \u003ca href=\"https://en.wikipedia.org/wiki/Feets,_Don't_Fail_Me_Now_(disambiguation)\" target=\"_blank\" rel=\"noopener\">Stepin Fetchit’s line\u003c/a>.) Details for their show at the Palo Alto JCC are \u003ca href=\"https://paloaltojcc.org/Events/rhythmic-circus\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12743888\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12743888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg\" alt=\"Lou Harrison \" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-160x122.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-768x587.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1020x780.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1180x902.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-960x734.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-240x183.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-375x287.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-520x398.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lou Harrison \u003ccite>(Photo: Courtesy of San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–18:\u003c/strong> Lou Harrison was the very definition of an American maverick. An early champion of Charles Ives and the challenging twelve-tone compositions of Schoenberg, his own music evolved into a lush and melodic tapestry of influences, including Gamelan from Bali and Indonesia, Native American music and jazz. He was a pacifist and activist against nuclear war, a fan of Esperanto, a calligrapher, and an out gay man at a time when that was still a large risk. Conductor and pianist Dennis Russell Davies calls him a great craftsman. “He could write beautiful twelve-tone dissonant music, he was at home in a Renaissance style,” Davies said. “Lou was not only gifted but also very well educated as a musician and composer. And I miss him very much, he was a good friend, and I’ve never forgotten the lessons I learned.” A number of music organizations (including SF Symphony’s SoundBox, in a \u003ca href=\"http://www.mercurynews.com/2016/12/10/review-brilliant-tribute-to-legendary-lou-harrison-kicks-off-san-francisco-symphony-soundbox-season/\" target=\"_blank\" rel=\"noopener\">magnificent program\u003c/a> last month) have been celebrating Harrison, with Bay Area concerts through June. Here’s the most comprehensive\u003ca href=\"http://otherminds.org/lou100/\" target=\"_blank\" rel=\"noopener\"> list\u003c/a> from the folks at \u003ca href=\"http://otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a>, which is staging what should be an extraordinary Harrison \u003ca href=\"http://om22concertone.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">concert on Feb. 18\u003c/a>, where Davies will conduct.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0oUoHtCTs4o\u003c/p>\n\u003cp>\u003cstrong>Feb. 10–12\u003c/strong>: The other big Lou Harrison event this month is the world premiere of Choreographer Nancy Karp’s \u003cem>Memory/Place\u003c/em> at ODC in San Francisco, featuring Harrison’s \u003cem>Grand Duo for Violin and Piano \u003c/em>(among other pieces). Karp’s ambitious evening-length dance is accompanied live by cellist Gianna Abondolo, pianist Sarah Cahill and violinist Kate Stenberg, with a set design by artist \u003ca href=\"http://www.theklahammond.com/\" target=\"_blank\" rel=\"noopener\">Thekla Hammond\u003c/a>. Details for this show at ODC in San Francisco are\u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12744706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg\" alt=\"Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12744706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.’ \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 26:\u003c/strong> San Jose author \u003ca href=\"http://khaledhosseini.com/\" target=\"_blank\" rel=\"noopener\">Khaled Hosseini\u003c/a>’s \u003cem>A Thousand Splendid Suns \u003c/em>is about a mother/daughter like friendship between two women in Kabul, Afghanistan, and the abuse they endure from a patriarchal society. It’s now a brand new play, adapted for the stage by Irish-Indian playwright Ursula Rani Sarma, a co-commission from the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> (and \u003ca href=\"https://www.theatrecalgary.com/2016-17/a-thousand-splendid-suns\" target=\"_blank\" rel=\"noopener\">Theatre Calgary\u003c/a>). Hosseini\u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-thousand-splendid-suns-20170122-htmlstory.html\" target=\"_blank\" rel=\"noopener\"> told the \u003cem>Los Angeles Times\u003c/em> \u003c/a>he’s hoping the show can be a dramatic reminder of our shared humanity, at a time when the Trump Administration seems to be scapegoating Muslims. Details for the play’s run at ACT in San Francisco are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/a_thousand_splendid_suns.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=mArupnjf8rk\u003c/p>\n\u003cp>\u003cstrong>Feb. 16\u003c/strong>: Variety shows and vaudeville are hip again. And Wesley Stace, a.k.a. John Wesley Harding, gets some credit. He’s been touring his ‘Cabinet of Wonders’ literary-variety mashup for a while now, featuring a rotating cast of performers. For this show at San Francisco’s JCC, he’s booked a remarkable troupe, including Joan Baez; screenwriter and novelist Barry Gifford; comedians Caitlin Gill and Bobcat Goldthwait (a team known as the Crabapples in Los Angeles); Ryan Miller from Guster; local hero Thao Nguyen and Langhorne Slim. Details \u003ca href=\"https://www.jccsf.org/arts-ideas/cabinet-of-wonders/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GFgz9aiiZlQ\u003c/p>\n\u003cp>\u003cstrong>Feb. 11 and 12\u003c/strong>: Cherry Glazerr is Clementine Creevy, who’s just put out her second album, \u003cem>Apocalipstick,\u003c/em> at the age of 19 (making us feel soooo old and underachieving). She’s an L.A. girl with the history of women’s punk and grunge in her bones, and I just love when she howls, “I was a lone wolf,” at the top of the song “Told You I’d Be with the Guys.” Cherry Glazerr plays shows at Slim’s in San Francisco, details \u003ca href=\"http://www.slimspresents.com/event/cherry-glazerr-slims-w-slow-hollows/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and at the Catalyst in Santa Cruz, details \u003ca href=\"http://www.catalystclub.com/event/1377312-cherry-glazerr-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>KQED’s Cy Musiker and David Wiegand share their picks for great shows around the Bay Area this week.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”150″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/306964570″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/306964570″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One of the things we brood about here at the Do List (besides global annihilation) is the shortage of music clubs in the South Bay. And then along comes \u003ca href=\"https://sanjosejazz.org/winter-fest/\" target=\"_blank\" rel=\"noopener\">San Jose Jazz Winterfest\u003c/a>, with its conucopia of great shows, and our mood lifts off like a Roy Ayers solo. Yes, Roy Ayers is playing his neo-soul vibes during the fest.\u003c/p>\n\u003cfigure id=\"attachment_11359646\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11359646\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg\" alt=\"Natalie Cressman\" width=\"640\" height=\"345\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Natalie-Cressman-400x216.jpg 400w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Natalie Cressman \u003ccite>(Photo Credit: Courtesy SFJAZZ)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And check out Bay Area native Natalie Cressman’s fine trombone work, veteran San Francisco singer Mary Stallings, and dozens of other shows. Details for San Jose Jazz Winterfest are \u003ca href=\"https://sanjosejazz.org/events/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Now onto the rest of our show.\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/7rzmhbiKUo0'\n title='//www.youtube.com/embed/7rzmhbiKUo0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Feb. 11\u003c/strong>: Austra has such a cool, polished electronic sound, but I still feel a blast of heat off the voice of singer Katie Stelmanis, formerly of Galaxy. She’s the force behind Austra, and wrote ‘Utopia,’ the song above, for her new album \u003cem>Future Politics.\u003c/em> She’s working with Maya Postepski, Dorian Wolf, and Ryan Wonsiak, and they make quite a wall of beautiful sounds. Details for Austra’s show at the Mezzanine in San Francisco are \u003ca href=\"http://mezzaninesf.com/events/austra/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=riupQGCF5a8\u003cbr>\n\u003cstrong>Feb. 11\u003c/strong>: Tap dancing hasn’t been cool in a long time, but I’m partial to this deeply American art form, born out of the same stew of influences that created jazz, and with a similar attention to rhythm, beat and improvisation. Here’s a chance to show tap some love. Rhythmic Circus is a troupe out of Minneapolis with a showoff style and a production called \u003cem>Feet Don’t Fail Me Now \u003c/em>(slightly misquoting \u003ca href=\"https://en.wikipedia.org/wiki/Feets,_Don't_Fail_Me_Now_(disambiguation)\" target=\"_blank\" rel=\"noopener\">Stepin Fetchit’s line\u003c/a>.) Details for their show at the Palo Alto JCC are \u003ca href=\"https://paloaltojcc.org/Events/rhythmic-circus\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cfigure id=\"attachment_12743888\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12743888\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg\" alt=\"Lou Harrison \" width=\"800\" height=\"612\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-800x612.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-160x122.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-768x587.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1020x780.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-1180x902.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-960x734.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-240x183.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-375x287.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567-520x398.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lou-Harrison-Courtesy-of-SF-Symphony-e1486660424567.jpeg 1520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lou Harrison \u003ccite>(Photo: Courtesy of San Francisco Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Feb. 10–18:\u003c/strong> Lou Harrison was the very definition of an American maverick. An early champion of Charles Ives and the challenging twelve-tone compositions of Schoenberg, his own music evolved into a lush and melodic tapestry of influences, including Gamelan from Bali and Indonesia, Native American music and jazz. He was a pacifist and activist against nuclear war, a fan of Esperanto, a calligrapher, and an out gay man at a time when that was still a large risk. Conductor and pianist Dennis Russell Davies calls him a great craftsman. “He could write beautiful twelve-tone dissonant music, he was at home in a Renaissance style,” Davies said. “Lou was not only gifted but also very well educated as a musician and composer. And I miss him very much, he was a good friend, and I’ve never forgotten the lessons I learned.” A number of music organizations (including SF Symphony’s SoundBox, in a \u003ca href=\"http://www.mercurynews.com/2016/12/10/review-brilliant-tribute-to-legendary-lou-harrison-kicks-off-san-francisco-symphony-soundbox-season/\" target=\"_blank\" rel=\"noopener\">magnificent program\u003c/a> last month) have been celebrating Harrison, with Bay Area concerts through June. Here’s the most comprehensive\u003ca href=\"http://otherminds.org/lou100/\" target=\"_blank\" rel=\"noopener\"> list\u003c/a> from the folks at \u003ca href=\"http://otherminds.org/\" target=\"_blank\" rel=\"noopener\">Other Minds\u003c/a>, which is staging what should be an extraordinary Harrison \u003ca href=\"http://om22concertone.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">concert on Feb. 18\u003c/a>, where Davies will conduct.\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/0oUoHtCTs4o'\n title='//www.youtube.com/embed/0oUoHtCTs4o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 10–12\u003c/strong>: The other big Lou Harrison event this month is the world premiere of Choreographer Nancy Karp’s \u003cem>Memory/Place\u003c/em> at ODC in San Francisco, featuring Harrison’s \u003cem>Grand Duo for Violin and Piano \u003c/em>(among other pieces). Karp’s ambitious evening-length dance is accompanied live by cellist Gianna Abondolo, pianist Sarah Cahill and violinist Kate Stenberg, with a set design by artist \u003ca href=\"http://www.theklahammond.com/\" target=\"_blank\" rel=\"noopener\">Thekla Hammond\u003c/a>. Details for this show at ODC in San Francisco are\u003ca href=\"https://odc.secure.force.com/ticket/#details_a0Sj0000004HS8YEAW\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12744706\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg\" alt=\"Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.'\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12744706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1920x1278.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/266_TSS.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mariam (Kate Rigg, left) and Laila (Nadine Malouf, center) look on as Zalmai (Neel Noronha), Laila’s son, gives his sister Aziza (Nikita Tewani) a soccer ball in the world-premiere adaptation of Khaled Hosseini’s novel, ‘A Thousand Splendid Suns.’ \u003ccite>(Photo: Kevin Berne/ACT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Feb. 26:\u003c/strong> San Jose author \u003ca href=\"http://khaledhosseini.com/\" target=\"_blank\" rel=\"noopener\">Khaled Hosseini\u003c/a>’s \u003cem>A Thousand Splendid Suns \u003c/em>is about a mother/daughter like friendship between two women in Kabul, Afghanistan, and the abuse they endure from a patriarchal society. It’s now a brand new play, adapted for the stage by Irish-Indian playwright Ursula Rani Sarma, a co-commission from the \u003ca href=\"http://www.act-sf.org/\" target=\"_blank\" rel=\"noopener\">American Conservatory Theater\u003c/a> (and \u003ca href=\"https://www.theatrecalgary.com/2016-17/a-thousand-splendid-suns\" target=\"_blank\" rel=\"noopener\">Theatre Calgary\u003c/a>). Hosseini\u003ca href=\"http://www.latimes.com/entertainment/arts/la-ca-cm-thousand-splendid-suns-20170122-htmlstory.html\" target=\"_blank\" rel=\"noopener\"> told the \u003cem>Los Angeles Times\u003c/em> \u003c/a>he’s hoping the show can be a dramatic reminder of our shared humanity, at a time when the Trump Administration seems to be scapegoating Muslims. Details for the play’s run at ACT in San Francisco are \u003ca href=\"http://www.act-sf.org/home/box_office/1617_season/a_thousand_splendid_suns.html\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/mArupnjf8rk'\n title='//www.youtube.com/embed/mArupnjf8rk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 16\u003c/strong>: Variety shows and vaudeville are hip again. And Wesley Stace, a.k.a. John Wesley Harding, gets some credit. He’s been touring his ‘Cabinet of Wonders’ literary-variety mashup for a while now, featuring a rotating cast of performers. For this show at San Francisco’s JCC, he’s booked a remarkable troupe, including Joan Baez; screenwriter and novelist Barry Gifford; comedians Caitlin Gill and Bobcat Goldthwait (a team known as the Crabapples in Los Angeles); Ryan Miller from Guster; local hero Thao Nguyen and Langhorne Slim. Details \u003ca href=\"https://www.jccsf.org/arts-ideas/cabinet-of-wonders/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/GFgz9aiiZlQ'\n title='//www.youtube.com/embed/GFgz9aiiZlQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Feb. 11 and 12\u003c/strong>: Cherry Glazerr is Clementine Creevy, who’s just put out her second album, \u003cem>Apocalipstick,\u003c/em> at the age of 19 (making us feel soooo old and underachieving). She’s an L.A. girl with the history of women’s punk and grunge in her bones, and I just love when she howls, “I was a lone wolf,” at the top of the song “Told You I’d Be with the Guys.” Cherry Glazerr plays shows at Slim’s in San Francisco, details \u003ca href=\"http://www.slimspresents.com/event/cherry-glazerr-slims-w-slow-hollows/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>; and at the Catalyst in Santa Cruz, details \u003ca href=\"http://www.catalystclub.com/event/1377312-cherry-glazerr-santa-cruz/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "What Big Tech's Quarterly Reports Say About the Future of Music",
"headTitle": "What Big Tech’s Quarterly Reports Say About the Future of Music | KQED",
"content": "\u003cp>Our relationships with and access to music lie between rocks and hard places; the rocks that own it, the hard places that distribute it to us. Those relationships are constantly evolving, and to figure out what might come next, we’ve combed through the recent earnings statements of some of the largest record labels and tech companies to reveal how they’re preparing for 2017 and beyond.\u003c/p>\n\u003cp>Musicians and labels have had to adjust to a world where they hold less control, because of the ways we listen now. Where once music distribution centered mostly around record stores, or radio disc jockeys — with whom musicians and labels typically had more symbiotic relationships — they’re now forced to work with companies like Apple, Facebook and Google — for whom music is a cherry, not the sundae — and streaming companies like Spotify, who now hold sway over huge portions of their bank statements.\u003c/p>\n\u003cp>\u003cem>\u003c/em>These tech companies will also control distribution channels that have yet to manifest — like virtual and augmented reality technologies, as well as “high resolution” music, which was mentioned on Warner Music’s earnings call Wednesday and which another major label source told NPR last week is a major priority in this year, and years, to come. (These companies are barred from collusion, but often reach the same conclusions at similar times.) Where tech has the platform, labels — for better and worse — have the content tech needs to make those platforms rich, emotionally and otherwise.\u003c/p>\n\u003cp>Consolidation is expected this year in the streaming industry, as presaged by Sprint’s \u003ca href=\"https://www.nytimes.com/2017/01/23/business/media/tidal-streaming-music-jayz-sprint.html\" target=\"_blank\" rel=\"noopener\">recent purchase\u003c/a> of a third of Tidal, the streaming service that Jay Z purchased in 2015 for $56 million. Pandora also has been tipped as an acquisition target by SiriusXM, though Pandora seems keen to see how its forthcoming Spotify competitor, \u003ca href=\"http://www.billboard.com/articles/news/7604144/pandora-premium-reveal-spotify-competitor-streaming\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>, fares before any organizational capitulation.\u003c/p>\n\u003cp>Record companies want as many outlets (think Spotify, or the app \u003ca href=\"https://itunes.apple.com/us/app/musical.ly-your-video-social/id835599320?mt=8\" target=\"_blank\" rel=\"noopener\">Music.ally\u003c/a>) as possible using their music, in part to avoid the market domination that Apple had with the iTunes Store starting in 2004, and in part to keep pricing for their music catalogs competitive. However, tech companies have their own leverage, in the form of billions of “captive” users. The hands wash each other and the tendrils of industry are labyrinthine. (This very long, very dense piece \u003ca href=\"http://www.yalelawjournal.org/article/amazons-antitrust-paradox\" target=\"_blank\" rel=\"noopener\">on antitrust and Amazon\u003c/a> from \u003cem>The Yale Law Journal\u003c/em> is a fascinating breakdown not just of Amazon, but of the many problems facing tech’s primacy, regulation and the laws around it.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Over the past week, the companies below have either shared their most recent financial statements (except for Snap Inc., which filed a comprehensive internal breakdown ahead of its $18 billion IPO). These statements (along with tech’s activity over the past year and conversations we’ve had with them) give us a look at the proverbial tea leaves and where we fall between the hard place and the rock.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SPOTIFY\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg\" alt=\"Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse \u003ccite>(Photo: Pablo Parciuncula/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The financials of the world’s most-used streaming service are a notoriously elusive commodity — the company files in the spring, in Luxembourg, in French, and makes it a point not to announce them — but two things over the past day alone and one as-yet-unannounced move indicate where the company’s head is at. Last things first, its partnership with AccuWeather, which \u003ca href=\"http://www.accuweather.com/en/weather-news/accuweather-spotify-launch-climatune-to-produce-playlists-customized-to-weather/70000786\" target=\"_blank\" rel=\"noopener\">yielded a study on how weather affects listening patterns\u003c/a>. Next, two as-yet-unannounced podcasts exclusive to the service, one on music supervision (the work of selecting and licensing songs for television and movies) and the other about hip-hop record executive Chris Lighty. Finally, and most importantly, the \u003ca href=\"http://www.niemanlab.org/2017/02/with-its-new-spotify-bundle-the-new-york-times-is-chasing-a-new-younger-base-of-subscribers/\" target=\"_blank\" rel=\"noopener\">deal it announced Wednesday with the \u003cem>New York Times\u003c/em>\u003c/a>, where new digital subscribers will receive a year of Spotify Premium for free\u003cem>\u003c/em>. Taken together, along with past initiatives like its \u003ca href=\"http://www.tiestoblog.com/spotify-album-burn-by-tiesto/\" target=\"_blank\" rel=\"noopener\">“elastic” running songs\u003c/a>, show the market leader intends to keep pushing the envelope with data — but not with exclusive music content, as founder Daniel Ek has made clear. (Just podcasts, apparently.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>APPLE\u003c/strong>\u003c/h5>\n\u003cp>Last year, Apple Music banked heavily on releases exclusive to it, including Frank Ocean’s highly anticipated \u003cem>Blonde\u003c/em>. However, likely due to an \u003ca href=\"https://www.nytimes.com/2016/08/26/business/media/frank-oceans-blonde-amplifies-discord-in-the-music-business.html\" target=\"_blank\" rel=\"noopener\">inspired bit of contractual gymnastics\u003c/a> on Ocean’s part, exclusives were subsequently \u003ca href=\"https://www.theguardian.com/business/2016/aug/23/universal-streaming-exclusives-frank-ocean-release\" target=\"_blank\" rel=\"noopener\">banned\u003c/a> by Universal Music CEO Lucian Grainge. Despite that, Apple executives \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">described\u003c/a> platform-specific exclusives like \u003cem>Blonde \u003c/em>as working “really well for everybody concerned — they’re great for the label, they work for the artist and for us.” To that end, it announced that Apple would be the home for \u003cem>Carpool Karaoke\u003c/em>, a massively successful segment that started on \u003cem>The Late Late Show With James Corden\u003c/em>. (Adele’s \u003ca href=\"https://www.youtube.com/watch?v=Nck6BZga7TQ\">turn\u003c/a> has been viewed 145 million times as of this writing.) This will also, serendipitously, benefit Apple TV.\u003c/p>\n\u003cp>Apple’s streaming service, Apple Music, has emerged as Spotify’s primary competitor, but from the outside is financially inextricable from other business segments of the Cupertino tech giant; Apple Music’s reports are bundled with other “services,” like its consumer insurance product AppleCare and Apple Pay. Regardless, it is a success, at least culturally. Apple Music now claims to have \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">20 million subscribers\u003c/a> since launching in June 2015. Its “services” arm \u003ca href=\"http://www.apple.com/newsroom/2017/01/apple-reports-record-first-quarter-results.html\" target=\"_blank\" rel=\"noopener\">was up\u003c/a> 22 percent between 2015 and 2016, from $19.9 billion to $24.34 billion.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>FACEBOOK\u003c/strong>\u003c/h5>\n\u003cp>As anyone who has seen the traffic report from any digital publisher of articles knows, Facebook’s dominance of media distribution on the web is near total. As such, even small moves make big waves. And, while “music” wasn’t mentioned once in last week’s \u003ca href=\"https://investor.fb.com/investor-events/event-details/2017/Facebook-Q4-2016-Earnings/default.aspx\" target=\"_blank\" rel=\"noopener\">earnings call\u003c/a>, the hiring of Tamara Hrivnak \u003ca href=\"http://www.npr.org/sections/therecord/2017/01/30/512445669/with-new-hire-facebook-looks-to-strengthen-its-relationship-to-music\" target=\"_blank\" rel=\"noopener\">last week\u003c/a> to lead, as she posted on Faceook, “global music strategy and business development,” is a crystal clear indication that it will no longer sit on the sidelines when it comes to music. As \u003ca href=\"http://www.recode.net/2017/1/17/14269406/facebook-live-video-deals-paid\" target=\"_blank\" rel=\"noopener\">\u003cem>Recode\u003c/em> reported\u003c/a>, Facebook plans to focus more on “high-quality” video. It wouldn’t be shocking to see the company partner with video companies (like the music-focused Vevo, for instance) and music rights holders to host longer-form series, like Apple is doing with \u003cem>Carpool Karaoke\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>GOOGLE\u003c/strong>\u003c/h5>\n\u003cp>YouTube is the world’s largest streaming service, by consumption, but remains the black sheep among those services for what the recording business says are lower-than-fair values for their work on it. A source with knowledge of the negotiations described them as routine, despite unrelenting attacks on it last year from various industry stakeholders over a perceived “value gap” between what YouTube pays for music streams versus what music services like Spotify (sometimes referred to as “pure-play” services) return to the recording industry. As a source pointed out to NPR last week, that value gap has been increasing as more people consume more music on the site. YouTube \u003ca href=\"http://www.billboard.com/articles/business/7525695/lyor-cohen-named-youtube-global-head-of-music\" target=\"_blank\" rel=\"noopener\">brought on\u003c/a> veteran label executive Lyor Cohen in early December as its global Head of Music.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>AMAZON\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg\" alt=\"Shaquille O'Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shaquille O’Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv. \u003ccite>(Photo: Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the success of Echo and the ease of use between it and the company’s own streaming service, Music Unlimited, as well as Amazon’s variegated entertainment investments, Jeff Bezos’ e-commerce giant will continue to aggressively expand.\u003c/p>\n\u003cp>The company launched Amazon Music Unlimited last October, a “full catalog” service aimed at music fans less casual than those wooed by Amazon Prime Music — Prime has a catalog of two million songs, whereas Unlimited includes “tens of millions.”\u003c/p>\n\u003cp>“Prime members engaged with the Prime digital benefits at a voracious rate, more than doubling the number of video, music, and reading activities compared to 2015,” Amazon writes in its \u003ca href=\"http://phx.corporate-ir.net/phoenix.zhtml?c=97664&p=irol-reportsother\" target=\"_blank\" rel=\"noopener\">fourth-quarter earnings\u003c/a>, released Feb. 2. The company has had an impressive year with its cultural work, winning two Golden Globes and drawing seven Academy Awards nominations, including a Best Picture nod for \u003cem>Manchester By The Sea\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>WARNER MUSIC GROUP\u003c/strong>\u003c/h5>\n\u003cp>In its earnings call on Feb. 7 Warner Music — which is owned by Len Blavatnik’s \u003ca href=\"http://www.accessindustries.com/about/\" target=\"_blank\" rel=\"noopener\">Access Industries\u003c/a> — says it made $1 billion from streaming in 2016 (\u003ca href=\"http://www.billboard.com/articles/business/7603792/youtube-1-billion-paid-recording-industry-advertising-2016\" target=\"_blank\" rel=\"noopener\">as much\u003c/a> as YouTube paid the industry worldwide that year), and pointed to new music from Bruno Mars and Ed Sheeran as key to its revenues in the coming year. It also cited, as mentioned above, virtual and augmented reality and high-resolution music as promising new sources of revenue over the coming year and beyond.\u003c/p>\n\u003cp>Warner Music reports it made 8.1 percent more from records than it did over the same period in 2015, with $917 million in total revenue, $311 million of which came from streaming services.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SONY CORP.\u003c/strong>\u003c/h5>\n\u003cp>Sony Corp., which owns both major label Sony Music (home of Adele and Beyoncé, among many many others) and Sony/ATV, the world’s largest music publishing company (responsible for administering and exploiting compositions, which are legally separate from the sound recordings that record labels, like Sony Music, sell) reported sales down slightly in its third quarter, to $1.49 billion. That the company is about to get a new CEO — Rob Stringer, who is moving up from the reins of Columbia — after many years of being run by a legacy executive will no doubt bring fundamental change to the company. Sony Music’s recorded music revenue dropped 12.8 percent between 2015 and 2016, to $990 million. Of that, $364 million was generated by streaming services. Sony’s music operations were helped this past quarter not by music sales but rather thanks to a video game, \u003cem>Fate/Grand Order\u003c/em>. (That the company folded animation and mobile video games into music is a little strange, and seems to do little more than obfuscate the health of its music operations.)\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SNAP INC.\u003c/strong>\u003c/h5>\n\u003cp>While the relationship between an amorphous social platform like Snapchat and music may seem tangential, a tech company worth tens of billions and that holds the attention of 150 million young eyes daily, and with a nascent hardware business to boot, will inevitably interact with music, as any youth-oriented concern must. (In fact, founder Evan Spiegel, as the hack of Sony Corp. revealed, had \u003ca href=\"http://www.billboard.com/articles/business/6406613/sony-leaks-snapchat-record-label-vevo\" target=\"_blank\" rel=\"noopener\">expressed interest\u003c/a> in starting his own record label.)\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1564408/000119312517029199/d270216ds1.htm\" target=\"_blank\" rel=\"noopener\">118,000-word filing\u003c/a> with the Securities and Exchange Commission, Snap Inc., the recently formed parent company of social media platform Snapchat, explained itself — even its famously inscrutable app — ahead of an initial public offering. Notably, it writes that “Snap Inc. is a camera company,” and defines Snapchat itself as a “camera application.” (The only camera it has released for sale are a pair of well-reviewed “Spectacles,” released surreptitiously in vending machines in Los Angeles and New York.) It is, of course, more than that.\u003c/p>\n\u003cp>Cost of revenue, which includes licensing deals for content from publishers like BuzzFeed as well as failed content partnerships like the one \u003ca href=\"http://www.billboard.com/articles/business/6642187/snapchat-discover-warner-music-yahoo-iheartradio-buzzfeed\" target=\"_blank\" rel=\"noopener\">it cancelled\u003c/a> with Warner Music Group, was about $451 million in 2016. The company as a whole posted a net loss last year of $514 million. Spiegel stands to make $3.7 billion from his 227 million shares once the company goes public — plenty of money to play with.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>(And, not for nothing, the former CEO of Sony Entertainment, parent of Sony Music, is \u003ca href=\"https://www.nytimes.com/2017/01/13/business/media/sony-michael-lynton-to-step-down.html\" target=\"_blank\" rel=\"noopener\">now the chairman\u003c/a> of Snap Inc.’s board.) \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Big+Tech%27s+Quarterly+Reports+Say+About+The+Future+Of+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The past week brought a slew of high-level financial filings from tech and music companies — from which we read the tea leaves.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Our relationships with and access to music lie between rocks and hard places; the rocks that own it, the hard places that distribute it to us. Those relationships are constantly evolving, and to figure out what might come next, we’ve combed through the recent earnings statements of some of the largest record labels and tech companies to reveal how they’re preparing for 2017 and beyond.\u003c/p>\n\u003cp>Musicians and labels have had to adjust to a world where they hold less control, because of the ways we listen now. Where once music distribution centered mostly around record stores, or radio disc jockeys — with whom musicians and labels typically had more symbiotic relationships — they’re now forced to work with companies like Apple, Facebook and Google — for whom music is a cherry, not the sundae — and streaming companies like Spotify, who now hold sway over huge portions of their bank statements.\u003c/p>\n\u003cp>\u003cem>\u003c/em>These tech companies will also control distribution channels that have yet to manifest — like virtual and augmented reality technologies, as well as “high resolution” music, which was mentioned on Warner Music’s earnings call Wednesday and which another major label source told NPR last week is a major priority in this year, and years, to come. (These companies are barred from collusion, but often reach the same conclusions at similar times.) Where tech has the platform, labels — for better and worse — have the content tech needs to make those platforms rich, emotionally and otherwise.\u003c/p>\n\u003cp>Consolidation is expected this year in the streaming industry, as presaged by Sprint’s \u003ca href=\"https://www.nytimes.com/2017/01/23/business/media/tidal-streaming-music-jayz-sprint.html\" target=\"_blank\" rel=\"noopener\">recent purchase\u003c/a> of a third of Tidal, the streaming service that Jay Z purchased in 2015 for $56 million. Pandora also has been tipped as an acquisition target by SiriusXM, though Pandora seems keen to see how its forthcoming Spotify competitor, \u003ca href=\"http://www.billboard.com/articles/news/7604144/pandora-premium-reveal-spotify-competitor-streaming\" target=\"_blank\" rel=\"noopener\">Pandora Premium\u003c/a>, fares before any organizational capitulation.\u003c/p>\n\u003cp>Record companies want as many outlets (think Spotify, or the app \u003ca href=\"https://itunes.apple.com/us/app/musical.ly-your-video-social/id835599320?mt=8\" target=\"_blank\" rel=\"noopener\">Music.ally\u003c/a>) as possible using their music, in part to avoid the market domination that Apple had with the iTunes Store starting in 2004, and in part to keep pricing for their music catalogs competitive. However, tech companies have their own leverage, in the form of billions of “captive” users. The hands wash each other and the tendrils of industry are labyrinthine. (This very long, very dense piece \u003ca href=\"http://www.yalelawjournal.org/article/amazons-antitrust-paradox\" target=\"_blank\" rel=\"noopener\">on antitrust and Amazon\u003c/a> from \u003cem>The Yale Law Journal\u003c/em> is a fascinating breakdown not just of Amazon, but of the many problems facing tech’s primacy, regulation and the laws around it.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Over the past week, the companies below have either shared their most recent financial statements (except for Snap Inc., which filed a comprehensive internal breakdown ahead of its $18 billion IPO). These statements (along with tech’s activity over the past year and conversations we’ve had with them) give us a look at the proverbial tea leaves and where we fall between the hard place and the rock.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SPOTIFY\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744698\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg\" alt=\"Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744698\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-624350888-22fcf39de9a160a6b44fd8b4d50c0bca0c04430b.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Facebook founder and CEO Mark Zuckerberg looks on a Peruvian President Pedro Pablo Kuczynski demos a virtual reality headse \u003ccite>(Photo: Pablo Parciuncula/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The financials of the world’s most-used streaming service are a notoriously elusive commodity — the company files in the spring, in Luxembourg, in French, and makes it a point not to announce them — but two things over the past day alone and one as-yet-unannounced move indicate where the company’s head is at. Last things first, its partnership with AccuWeather, which \u003ca href=\"http://www.accuweather.com/en/weather-news/accuweather-spotify-launch-climatune-to-produce-playlists-customized-to-weather/70000786\" target=\"_blank\" rel=\"noopener\">yielded a study on how weather affects listening patterns\u003c/a>. Next, two as-yet-unannounced podcasts exclusive to the service, one on music supervision (the work of selecting and licensing songs for television and movies) and the other about hip-hop record executive Chris Lighty. Finally, and most importantly, the \u003ca href=\"http://www.niemanlab.org/2017/02/with-its-new-spotify-bundle-the-new-york-times-is-chasing-a-new-younger-base-of-subscribers/\" target=\"_blank\" rel=\"noopener\">deal it announced Wednesday with the \u003cem>New York Times\u003c/em>\u003c/a>, where new digital subscribers will receive a year of Spotify Premium for free\u003cem>\u003c/em>. Taken together, along with past initiatives like its \u003ca href=\"http://www.tiestoblog.com/spotify-album-burn-by-tiesto/\" target=\"_blank\" rel=\"noopener\">“elastic” running songs\u003c/a>, show the market leader intends to keep pushing the envelope with data — but not with exclusive music content, as founder Daniel Ek has made clear. (Just podcasts, apparently.)\u003cstrong> \u003c/strong>\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>APPLE\u003c/strong>\u003c/h5>\n\u003cp>Last year, Apple Music banked heavily on releases exclusive to it, including Frank Ocean’s highly anticipated \u003cem>Blonde\u003c/em>. However, likely due to an \u003ca href=\"https://www.nytimes.com/2016/08/26/business/media/frank-oceans-blonde-amplifies-discord-in-the-music-business.html\" target=\"_blank\" rel=\"noopener\">inspired bit of contractual gymnastics\u003c/a> on Ocean’s part, exclusives were subsequently \u003ca href=\"https://www.theguardian.com/business/2016/aug/23/universal-streaming-exclusives-frank-ocean-release\" target=\"_blank\" rel=\"noopener\">banned\u003c/a> by Universal Music CEO Lucian Grainge. Despite that, Apple executives \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">described\u003c/a> platform-specific exclusives like \u003cem>Blonde \u003c/em>as working “really well for everybody concerned — they’re great for the label, they work for the artist and for us.” To that end, it announced that Apple would be the home for \u003cem>Carpool Karaoke\u003c/em>, a massively successful segment that started on \u003cem>The Late Late Show With James Corden\u003c/em>. (Adele’s \u003ca href=\"https://www.youtube.com/watch?v=Nck6BZga7TQ\">turn\u003c/a> has been viewed 145 million times as of this writing.) This will also, serendipitously, benefit Apple TV.\u003c/p>\n\u003cp>Apple’s streaming service, Apple Music, has emerged as Spotify’s primary competitor, but from the outside is financially inextricable from other business segments of the Cupertino tech giant; Apple Music’s reports are bundled with other “services,” like its consumer insurance product AppleCare and Apple Pay. Regardless, it is a success, at least culturally. Apple Music now claims to have \u003ca href=\"http://www.billboard.com/articles/business/7604098/apple-music-20-million-subscribers-eddy-cue-zane-lowe-interview\" target=\"_blank\" rel=\"noopener\">20 million subscribers\u003c/a> since launching in June 2015. Its “services” arm \u003ca href=\"http://www.apple.com/newsroom/2017/01/apple-reports-record-first-quarter-results.html\" target=\"_blank\" rel=\"noopener\">was up\u003c/a> 22 percent between 2015 and 2016, from $19.9 billion to $24.34 billion.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>FACEBOOK\u003c/strong>\u003c/h5>\n\u003cp>As anyone who has seen the traffic report from any digital publisher of articles knows, Facebook’s dominance of media distribution on the web is near total. As such, even small moves make big waves. And, while “music” wasn’t mentioned once in last week’s \u003ca href=\"https://investor.fb.com/investor-events/event-details/2017/Facebook-Q4-2016-Earnings/default.aspx\" target=\"_blank\" rel=\"noopener\">earnings call\u003c/a>, the hiring of Tamara Hrivnak \u003ca href=\"http://www.npr.org/sections/therecord/2017/01/30/512445669/with-new-hire-facebook-looks-to-strengthen-its-relationship-to-music\" target=\"_blank\" rel=\"noopener\">last week\u003c/a> to lead, as she posted on Faceook, “global music strategy and business development,” is a crystal clear indication that it will no longer sit on the sidelines when it comes to music. As \u003ca href=\"http://www.recode.net/2017/1/17/14269406/facebook-live-video-deals-paid\" target=\"_blank\" rel=\"noopener\">\u003cem>Recode\u003c/em> reported\u003c/a>, Facebook plans to focus more on “high-quality” video. It wouldn’t be shocking to see the company partner with video companies (like the music-focused Vevo, for instance) and music rights holders to host longer-form series, like Apple is doing with \u003cem>Carpool Karaoke\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>GOOGLE\u003c/strong>\u003c/h5>\n\u003cp>YouTube is the world’s largest streaming service, by consumption, but remains the black sheep among those services for what the recording business says are lower-than-fair values for their work on it. A source with knowledge of the negotiations described them as routine, despite unrelenting attacks on it last year from various industry stakeholders over a perceived “value gap” between what YouTube pays for music streams versus what music services like Spotify (sometimes referred to as “pure-play” services) return to the recording industry. As a source pointed out to NPR last week, that value gap has been increasing as more people consume more music on the site. YouTube \u003ca href=\"http://www.billboard.com/articles/business/7525695/lyor-cohen-named-youtube-global-head-of-music\" target=\"_blank\" rel=\"noopener\">brought on\u003c/a> veteran label executive Lyor Cohen in early December as its global Head of Music.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>AMAZON\u003c/strong>\u003c/h5>\n\u003cfigure id=\"attachment_12744699\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg\" alt=\"Shaquille O'Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12744699\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-631048340-f1ee259ec4337b6212e350545ee70157995bbf23.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Shaquille O’Neal laughs as he tries a pair of Snapchat Spectacles during CES on January 5, 2017 in Las Vegas, Nv. \u003ccite>(Photo: Ethan Miller/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>With the success of Echo and the ease of use between it and the company’s own streaming service, Music Unlimited, as well as Amazon’s variegated entertainment investments, Jeff Bezos’ e-commerce giant will continue to aggressively expand.\u003c/p>\n\u003cp>The company launched Amazon Music Unlimited last October, a “full catalog” service aimed at music fans less casual than those wooed by Amazon Prime Music — Prime has a catalog of two million songs, whereas Unlimited includes “tens of millions.”\u003c/p>\n\u003cp>“Prime members engaged with the Prime digital benefits at a voracious rate, more than doubling the number of video, music, and reading activities compared to 2015,” Amazon writes in its \u003ca href=\"http://phx.corporate-ir.net/phoenix.zhtml?c=97664&p=irol-reportsother\" target=\"_blank\" rel=\"noopener\">fourth-quarter earnings\u003c/a>, released Feb. 2. The company has had an impressive year with its cultural work, winning two Golden Globes and drawing seven Academy Awards nominations, including a Best Picture nod for \u003cem>Manchester By The Sea\u003c/em>.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>WARNER MUSIC GROUP\u003c/strong>\u003c/h5>\n\u003cp>In its earnings call on Feb. 7 Warner Music — which is owned by Len Blavatnik’s \u003ca href=\"http://www.accessindustries.com/about/\" target=\"_blank\" rel=\"noopener\">Access Industries\u003c/a> — says it made $1 billion from streaming in 2016 (\u003ca href=\"http://www.billboard.com/articles/business/7603792/youtube-1-billion-paid-recording-industry-advertising-2016\" target=\"_blank\" rel=\"noopener\">as much\u003c/a> as YouTube paid the industry worldwide that year), and pointed to new music from Bruno Mars and Ed Sheeran as key to its revenues in the coming year. It also cited, as mentioned above, virtual and augmented reality and high-resolution music as promising new sources of revenue over the coming year and beyond.\u003c/p>\n\u003cp>Warner Music reports it made 8.1 percent more from records than it did over the same period in 2015, with $917 million in total revenue, $311 million of which came from streaming services.\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SONY CORP.\u003c/strong>\u003c/h5>\n\u003cp>Sony Corp., which owns both major label Sony Music (home of Adele and Beyoncé, among many many others) and Sony/ATV, the world’s largest music publishing company (responsible for administering and exploiting compositions, which are legally separate from the sound recordings that record labels, like Sony Music, sell) reported sales down slightly in its third quarter, to $1.49 billion. That the company is about to get a new CEO — Rob Stringer, who is moving up from the reins of Columbia — after many years of being run by a legacy executive will no doubt bring fundamental change to the company. Sony Music’s recorded music revenue dropped 12.8 percent between 2015 and 2016, to $990 million. Of that, $364 million was generated by streaming services. Sony’s music operations were helped this past quarter not by music sales but rather thanks to a video game, \u003cem>Fate/Grand Order\u003c/em>. (That the company folded animation and mobile video games into music is a little strange, and seems to do little more than obfuscate the health of its music operations.)\u003c/p>\n\u003chr>\n\u003ch5>\u003cstrong>SNAP INC.\u003c/strong>\u003c/h5>\n\u003cp>While the relationship between an amorphous social platform like Snapchat and music may seem tangential, a tech company worth tens of billions and that holds the attention of 150 million young eyes daily, and with a nascent hardware business to boot, will inevitably interact with music, as any youth-oriented concern must. (In fact, founder Evan Spiegel, as the hack of Sony Corp. revealed, had \u003ca href=\"http://www.billboard.com/articles/business/6406613/sony-leaks-snapchat-record-label-vevo\" target=\"_blank\" rel=\"noopener\">expressed interest\u003c/a> in starting his own record label.)\u003c/p>\n\u003cp>In a \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1564408/000119312517029199/d270216ds1.htm\" target=\"_blank\" rel=\"noopener\">118,000-word filing\u003c/a> with the Securities and Exchange Commission, Snap Inc., the recently formed parent company of social media platform Snapchat, explained itself — even its famously inscrutable app — ahead of an initial public offering. Notably, it writes that “Snap Inc. is a camera company,” and defines Snapchat itself as a “camera application.” (The only camera it has released for sale are a pair of well-reviewed “Spectacles,” released surreptitiously in vending machines in Los Angeles and New York.) It is, of course, more than that.\u003c/p>\n\u003cp>Cost of revenue, which includes licensing deals for content from publishers like BuzzFeed as well as failed content partnerships like the one \u003ca href=\"http://www.billboard.com/articles/business/6642187/snapchat-discover-warner-music-yahoo-iheartradio-buzzfeed\" target=\"_blank\" rel=\"noopener\">it cancelled\u003c/a> with Warner Music Group, was about $451 million in 2016. The company as a whole posted a net loss last year of $514 million. Spiegel stands to make $3.7 billion from his 227 million shares once the company goes public — plenty of money to play with.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(And, not for nothing, the former CEO of Sony Entertainment, parent of Sony Music, is \u003ca href=\"https://www.nytimes.com/2017/01/13/business/media/sony-michael-lynton-to-step-down.html\" target=\"_blank\" rel=\"noopener\">now the chairman\u003c/a> of Snap Inc.’s board.) \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=What+Big+Tech%27s+Quarterly+Reports+Say+About+The+Future+Of+Music&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At 74, the Queen of Soul has decided to take it a little easier.\u003c/p>\n\u003cp>Aretha Franklin is planning to retire this year, she told Detroit TV station WDIV Local 4, the city’s NBC affiliate. The singer says she will make one more album, with several tracks produced by Stevie Wonder, and will otherwise limit herself to “some select things, many one a month, for six months out of the year” as she devotes more time to her grandchildren. She also says 2017 will be her “last year in concert.”\u003c/p>\n\u003cp>“This will be my last year,” Franklin said. “I will be recording, but this will be my last year in concert. This is it.”\u003c/p>\n\u003cp>On Thursday, a representative for Franklin confirmed her remarks made to WDIV.\u003c/p>\n\u003cp>Franklin, whose many hits include “Respect” and “Think,” added that she did not want to do “just nothing.” But she said that she is otherwise “very satisfied” with her career and is ready to step back. She has had health problems in recent years, including surgery in 2010 for undisclosed reasons that left many fearing her life was in danger.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I feel very, very enriched and satisfied with respect to where my career came from, and where it is now,” Franklin said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Her presumed last album would be a kind of homecoming. Franklin and Wonder, a fellow Detroit hero, have known each other for decades. In the 1970s, she had a hit with a cover of “Until You Come Back to Me (That’s What I’m Gonna Do),” which Wonder helped write.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At 74, the Queen of Soul has decided to take it a little easier.\u003c/p>\n\u003cp>Aretha Franklin is planning to retire this year, she told Detroit TV station WDIV Local 4, the city’s NBC affiliate. The singer says she will make one more album, with several tracks produced by Stevie Wonder, and will otherwise limit herself to “some select things, many one a month, for six months out of the year” as she devotes more time to her grandchildren. She also says 2017 will be her “last year in concert.”\u003c/p>\n\u003cp>“This will be my last year,” Franklin said. “I will be recording, but this will be my last year in concert. This is it.”\u003c/p>\n\u003cp>On Thursday, a representative for Franklin confirmed her remarks made to WDIV.\u003c/p>\n\u003cp>Franklin, whose many hits include “Respect” and “Think,” added that she did not want to do “just nothing.” But she said that she is otherwise “very satisfied” with her career and is ready to step back. She has had health problems in recent years, including surgery in 2010 for undisclosed reasons that left many fearing her life was in danger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I feel very, very enriched and satisfied with respect to where my career came from, and where it is now,” Franklin said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Her presumed last album would be a kind of homecoming. Franklin and Wonder, a fellow Detroit hero, have known each other for decades. In the 1970s, she had a hit with a cover of “Until You Come Back to Me (That’s What I’m Gonna Do),” which Wonder helped write.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Meet Lucas Debargue, the Young Classical Pianist Breaking All the Rules",
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"content": "\u003cp>Nostalgia is a powerful force in music. Dead musicians are worshipped, established training methods deeply cherished. Both create, in effect, standards and expectations within a genre.\u003c/p>\n\u003cp>So how does a gangly, bespectacled former employee of a Parisian grocery store enter Moscow’s prestigious International Tchaikovsky Competition with just three years of serious training under his belt, and walk away with the Critics’ award, Fourth Prize, a recording contract with Sony, and a burgeoning international career?\u003c/p>\n\u003cp>You’d have to ask Lucas Debargue.\u003c/p>\n\u003cp>“Today, you can come out on stage with a nice smile and the First Piano Concerto of Chopin and be considered a master of piano. For me, that is totally meaningless,” Debargue tells me over the phone from France, a couple weeks before his sold-out \u003ca href=\"https://calperformances.org/performances/2016-17/recital/lucas-debargue.php\" target=\"_blank\" rel=\"noopener\">West Coast debut Feb. 12 in Berkeley\u003c/a>. “You can be a master of the piano without being a musician at all.”\u003c/p>\n\u003cp>Suffice it to say, the pianist is not one to hold back. Incredibly polite, his tone is one of conviction, like a philosopher who’s been bottling it inside for years. Add to that well-circulated stories of his not owning a piano (true), his parents being unsupportive of his dreams (untrue), working part-time at a supermarket to support himself (true), and what you have is a wave of international intrigue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RgplMjfXqb8\u003c/p>\n\u003cp>“We, Russian members of the jury, loved and supported him,” said Boris Berezovsky, winner of the 1990 Tchaikovsky competition, on Russian radio after the 2015 event that made Debargue a star. “However, the foreign members of the jury didn’t accept him. They kept saying that he is unprofessional and pushed him down with all conceivable means, fair or unfair.”\u003c/p>\n\u003cp>At 26, Debargue is a befuddling case of musical potential. His talent is real; his training, mysterious; his artistry, at times arrestingly beautiful, especially in Medtner. Not since Ivo Pogorelich in 1980 has a pianist garnered more attention for, essentially, not winning a competition.\u003c/p>\n\u003cp>Born in Paris, Lucas Debargue grew up in Compiègne, an hour north of the capital. There were no musicians in the family, and it wasn’t until the age of nine that he discovered classical music albums in his home. He taught himself to read music, copied out scores, and at 11, entered the Conservatory of Compiègne in the class of one Madame Meunier.\u003c/p>\n\u003cp>“I remember when I entered her class,” he says. “I started showing her parts of Chopin Scherzi, Liszt ‘Mephisto Waltz,’ etc. I played these as I could — they were not clean, a total mess — but there was something there, and I was totally committed.”\u003c/p>\n\u003cp>The commitment lasted only four years. In high school, he joined a rock band and played bass guitar. Between the ages of 16 and 19 — considered crucial years of a pianist’s development — Debargue seldom touched a piano. Instead, he studied literature in Paris, and for two years, worked part-time at a supermarket.\u003c/p>\n\u003cfigure id=\"attachment_12740402\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12740402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lucas.BW_.jpg\" alt=\"Lucas Debargue.\" width=\"1100\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-150x150.jpg 150w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Lucas Debargue. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the age of 20, he took his raw talents to Rena Shereshevskaia at the Conservatoire de Rueil-Malmaison. She remains his teacher to this day, at the Ecole Normale de Musique de Paris.\u003c/p>\n\u003cp>“I didn’t agree with her way of working [initially]. I thought it was bullsh-t,” laughs Debargue. “[But] I finally decided to listen and found it very interesting. I understood the way I could work, the way to put things together seriously. By 2013, we decided it was time to get into some competitions.”\u003c/p>\n\u003cp>“Some competitions” included the 2015 International Tchaikovsky — historically, one of the most prestigious competitions for pianists, boasting former winners like Van Cliburn, Grigory Sokolov, and a pianist of growing renown, Daniil Trifonov.\u003c/p>\n\u003cp>Barry Douglas, another member of the 2015 jury — and himself a former winner of the 1986 competition — says Debargue made a memorable impression on him at the Tchaikovsky.\u003c/p>\n\u003cp>“I can’t divulge what the musings of the jury were at the time due to confidentiality agreements, but Debargue struck me as being a talented young man with a great future,” says Douglas. “His musicianship was full of originality and there were many things to marvel at.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i5qqcrC0fHA\u003c/p>\n\u003cp>Even with a hung jury, among the “things to marvel at” were Debargue’s jazz improvisations, both onstage and behind the scenes. An omnivorous music consumer, Debargue discovered Thelonius Monk, Charlie Parker and Erroll Garner sometime between the age of 22 and Moscow, and picked up enough of the art form to support himself playing in jazz clubs.\u003c/p>\n\u003cp>“For me, some of the jazz players at the beginning of the 20th century are among the best musicians ever,” says the pianist. “It’s not a question of style or genre or the kind of music you play, but a question of mastering music.”\u003c/p>\n\u003cp>In this sense, Debargue — a jazz aficionado who forsook the traditional route of classical training — rather ironically embodies the freedoms and improvisatory practices of Bach, Beethoven, Chopin and Liszt, perhaps more so than the majority of classical artists playing today. He learns everything from Bach to Schoenberg by ear, first. Then he streamlines the various sections in his mind, and refines his ability daily.\u003c/p>\n\u003cfigure id=\"attachment_12740403\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12740403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/lucas.2.jpg\" alt=\"Lucas Debargue.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucas Debargue. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some of the classical players can’t do anything but learn and perform — they do so very nicely, but they’re not full musicians,” says Debargue. “I’m sure Liszt and Chopin would have been very interested in jazz because they were composers, improvisers, and performers.”\u003c/p>\n\u003cp>While he’s made a name for himself as a classical pianist in part thanks to recognition from the old guard, Debargue doesn’t agree with the established order — the competition jurors who adjudicate their own students, the academic disputes of style and authenticity. His criticisms are many.\u003c/p>\n\u003cp>“Before I play one note, there are already so many people waiting to find something wrong with my playing. They will say, ‘Ah, it’s not the way it should be!’ But for me, what should be is the music,” says the pianist. “With Scarlatti, for example, I don’t play just one way because he’s a Baroque composer. Baroque is a huge thing and you can’t possibly associate it with all people who lived in that time. We are living in the age of Trump — does that mean we must all be little Trumps?”\u003c/p>\n\u003cp>With his powers of communication at the piano, the fury of his development and the unabashed willingness to point out deficiencies in the field as he sees them, the case of Lucas Debargue is understandably compelling. It may also be the kind of thing we’ve missed: the artist who holds his ideals with such conviction that he’s willing to upset the established order to explore new territory.\u003c/p>\n\u003cp>It’s all wonderfully mysterious and attractive — the kind of thing that, given a few decades, will make us feel nostalgic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Cal Performances presents \u003ca href=\"https://calperformances.org/performances/2016-17/recital/lucas-debargue.php\" target=\"_blank\" rel=\"noopener\">Lucas Debargue on Feb. 12 at UC Berkeley\u003c/a>. Sold out, but \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScV6UHmaFHNphWDC8XP9XoqlgQ7GquBgu4487p-PntXgve3xw/viewform\" target=\"_blank\" rel=\"noopener\">here’s a wait list for tickets\u003c/a> ($74), should more become available.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nostalgia is a powerful force in music. Dead musicians are worshipped, established training methods deeply cherished. Both create, in effect, standards and expectations within a genre.\u003c/p>\n\u003cp>So how does a gangly, bespectacled former employee of a Parisian grocery store enter Moscow’s prestigious International Tchaikovsky Competition with just three years of serious training under his belt, and walk away with the Critics’ award, Fourth Prize, a recording contract with Sony, and a burgeoning international career?\u003c/p>\n\u003cp>You’d have to ask Lucas Debargue.\u003c/p>\n\u003cp>“Today, you can come out on stage with a nice smile and the First Piano Concerto of Chopin and be considered a master of piano. For me, that is totally meaningless,” Debargue tells me over the phone from France, a couple weeks before his sold-out \u003ca href=\"https://calperformances.org/performances/2016-17/recital/lucas-debargue.php\" target=\"_blank\" rel=\"noopener\">West Coast debut Feb. 12 in Berkeley\u003c/a>. “You can be a master of the piano without being a musician at all.”\u003c/p>\n\u003cp>Suffice it to say, the pianist is not one to hold back. Incredibly polite, his tone is one of conviction, like a philosopher who’s been bottling it inside for years. Add to that well-circulated stories of his not owning a piano (true), his parents being unsupportive of his dreams (untrue), working part-time at a supermarket to support himself (true), and what you have is a wave of international intrigue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/RgplMjfXqb8'\n title='//www.youtube.com/embed/RgplMjfXqb8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“We, Russian members of the jury, loved and supported him,” said Boris Berezovsky, winner of the 1990 Tchaikovsky competition, on Russian radio after the 2015 event that made Debargue a star. “However, the foreign members of the jury didn’t accept him. They kept saying that he is unprofessional and pushed him down with all conceivable means, fair or unfair.”\u003c/p>\n\u003cp>At 26, Debargue is a befuddling case of musical potential. His talent is real; his training, mysterious; his artistry, at times arrestingly beautiful, especially in Medtner. Not since Ivo Pogorelich in 1980 has a pianist garnered more attention for, essentially, not winning a competition.\u003c/p>\n\u003cp>Born in Paris, Lucas Debargue grew up in Compiègne, an hour north of the capital. There were no musicians in the family, and it wasn’t until the age of nine that he discovered classical music albums in his home. He taught himself to read music, copied out scores, and at 11, entered the Conservatory of Compiègne in the class of one Madame Meunier.\u003c/p>\n\u003cp>“I remember when I entered her class,” he says. “I started showing her parts of Chopin Scherzi, Liszt ‘Mephisto Waltz,’ etc. I played these as I could — they were not clean, a total mess — but there was something there, and I was totally committed.”\u003c/p>\n\u003cp>The commitment lasted only four years. In high school, he joined a rock band and played bass guitar. Between the ages of 16 and 19 — considered crucial years of a pianist’s development — Debargue seldom touched a piano. Instead, he studied literature in Paris, and for two years, worked part-time at a supermarket.\u003c/p>\n\u003cfigure id=\"attachment_12740402\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12740402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Lucas.BW_.jpg\" alt=\"Lucas Debargue.\" width=\"1100\" height=\"1100\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Lucas.BW_-150x150.jpg 150w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Lucas Debargue. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the age of 20, he took his raw talents to Rena Shereshevskaia at the Conservatoire de Rueil-Malmaison. She remains his teacher to this day, at the Ecole Normale de Musique de Paris.\u003c/p>\n\u003cp>“I didn’t agree with her way of working [initially]. I thought it was bullsh-t,” laughs Debargue. “[But] I finally decided to listen and found it very interesting. I understood the way I could work, the way to put things together seriously. By 2013, we decided it was time to get into some competitions.”\u003c/p>\n\u003cp>“Some competitions” included the 2015 International Tchaikovsky — historically, one of the most prestigious competitions for pianists, boasting former winners like Van Cliburn, Grigory Sokolov, and a pianist of growing renown, Daniil Trifonov.\u003c/p>\n\u003cp>Barry Douglas, another member of the 2015 jury — and himself a former winner of the 1986 competition — says Debargue made a memorable impression on him at the Tchaikovsky.\u003c/p>\n\u003cp>“I can’t divulge what the musings of the jury were at the time due to confidentiality agreements, but Debargue struck me as being a talented young man with a great future,” says Douglas. “His musicianship was full of originality and there were many things to marvel at.”\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/i5qqcrC0fHA'\n title='//www.youtube.com/embed/i5qqcrC0fHA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Even with a hung jury, among the “things to marvel at” were Debargue’s jazz improvisations, both onstage and behind the scenes. An omnivorous music consumer, Debargue discovered Thelonius Monk, Charlie Parker and Erroll Garner sometime between the age of 22 and Moscow, and picked up enough of the art form to support himself playing in jazz clubs.\u003c/p>\n\u003cp>“For me, some of the jazz players at the beginning of the 20th century are among the best musicians ever,” says the pianist. “It’s not a question of style or genre or the kind of music you play, but a question of mastering music.”\u003c/p>\n\u003cp>In this sense, Debargue — a jazz aficionado who forsook the traditional route of classical training — rather ironically embodies the freedoms and improvisatory practices of Bach, Beethoven, Chopin and Liszt, perhaps more so than the majority of classical artists playing today. He learns everything from Bach to Schoenberg by ear, first. Then he streamlines the various sections in his mind, and refines his ability daily.\u003c/p>\n\u003cfigure id=\"attachment_12740403\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12740403\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/lucas.2.jpg\" alt=\"Lucas Debargue.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/lucas.2-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lucas Debargue. \u003ccite>(Artist photo)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Some of the classical players can’t do anything but learn and perform — they do so very nicely, but they’re not full musicians,” says Debargue. “I’m sure Liszt and Chopin would have been very interested in jazz because they were composers, improvisers, and performers.”\u003c/p>\n\u003cp>While he’s made a name for himself as a classical pianist in part thanks to recognition from the old guard, Debargue doesn’t agree with the established order — the competition jurors who adjudicate their own students, the academic disputes of style and authenticity. His criticisms are many.\u003c/p>\n\u003cp>“Before I play one note, there are already so many people waiting to find something wrong with my playing. They will say, ‘Ah, it’s not the way it should be!’ But for me, what should be is the music,” says the pianist. “With Scarlatti, for example, I don’t play just one way because he’s a Baroque composer. Baroque is a huge thing and you can’t possibly associate it with all people who lived in that time. We are living in the age of Trump — does that mean we must all be little Trumps?”\u003c/p>\n\u003cp>With his powers of communication at the piano, the fury of his development and the unabashed willingness to point out deficiencies in the field as he sees them, the case of Lucas Debargue is understandably compelling. It may also be the kind of thing we’ve missed: the artist who holds his ideals with such conviction that he’s willing to upset the established order to explore new territory.\u003c/p>\n\u003cp>It’s all wonderfully mysterious and attractive — the kind of thing that, given a few decades, will make us feel nostalgic.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Cal Performances presents \u003ca href=\"https://calperformances.org/performances/2016-17/recital/lucas-debargue.php\" target=\"_blank\" rel=\"noopener\">Lucas Debargue on Feb. 12 at UC Berkeley\u003c/a>. Sold out, but \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLScV6UHmaFHNphWDC8XP9XoqlgQ7GquBgu4487p-PntXgve3xw/viewform\" target=\"_blank\" rel=\"noopener\">here’s a wait list for tickets\u003c/a> ($74), should more become available.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
"title": "BBC World Service",
"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
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