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"content": "\u003cp>In 2015,\u003ca href=\"http://ww2.kqed.org/pop/2015/04/09/why-the-selena-hologram-is-a-really-bad-idea/\"> \u003c/a>a Selena hologram was announced. If all goes according to plan, this \"walking, talking, singing, and dancing digital embodiment” of the Queen of Tejano will release new music, collaborate with new artists, and go on tour in 2018. I was against it then and I'm against it now.\u003c/p>\n\u003cp>Back then, \u003ca href=\"http://ww2.kqed.org/pop/2015/04/09/why-the-selena-hologram-is-a-really-bad-idea/\">I wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"This Selena hologram isn’t being used to remind people of her greatness; we already remember. The planned new releases and duets feel like a play to make money off of someone long dead, in a way that separates itself too far from the reality that Selena was a real human being, not a commercial product or fictional figure.\u003c/p>\n\u003cp>We will always have the music she did release and footage of performances she put her everything into. Why can’t that be enough? Because we’re accustomed to wanting more and then getting it (see: binge-watching and leaked albums). Because we feel like we own our celebrities, in life and whatever comes after.\u003c/p>\n\u003cp>Death does not negotiate. It won’t heed your call for more time with someone who’s passed. And in this case, it shouldn’t. May Selena rest in peace.\"\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_24798\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/whitney-hologram.jpg\">\u003cimg class=\"size-thumbnail wp-image-24798\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/whitney-hologram-400x225.jpg\" alt=\"No.\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram-768x432.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">No.\u003c/figcaption>\u003c/figure>\n\u003cp>Ditto all of that for Whitney Houston, whose hologram likeness was to duet with Christina Aguilera on an episode of \u003cem>The Voice\u003c/em>. The show would have gotten a significant ratings boost, but at what cost? Well, we don't have to consider that anymore because the Houston family axed the stunt at the last minute.\u003c/p>\n\u003cp>Pat Houston, executor of the late singer's estate, released a statement on the matter: \"Whitney’s legacy and her devoted fans deserve perfection. After closely viewing the performance, we decided the hologram was not ready to air.\"\u003c/p>\n\u003cp>Not being ready to air didn't stop the video from leaking though. You can watch it below, if you can stand the creepiness and the fact that the hologram looks nothing like Whitney. Let this be a warning to those who are surely already planning a hologram of Prince. We don't need it. Leave holograms to sci-fi movies and leave our departed legends alone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe src=\"https://player.vimeo.com/video/167239526\" width=\"640\" height=\"360\" frameborder=\"0\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2015,\u003ca href=\"http://ww2.kqed.org/pop/2015/04/09/why-the-selena-hologram-is-a-really-bad-idea/\"> \u003c/a>a Selena hologram was announced. If all goes according to plan, this \"walking, talking, singing, and dancing digital embodiment” of the Queen of Tejano will release new music, collaborate with new artists, and go on tour in 2018. I was against it then and I'm against it now.\u003c/p>\n\u003cp>Back then, \u003ca href=\"http://ww2.kqed.org/pop/2015/04/09/why-the-selena-hologram-is-a-really-bad-idea/\">I wrote\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\"This Selena hologram isn’t being used to remind people of her greatness; we already remember. The planned new releases and duets feel like a play to make money off of someone long dead, in a way that separates itself too far from the reality that Selena was a real human being, not a commercial product or fictional figure.\u003c/p>\n\u003cp>We will always have the music she did release and footage of performances she put her everything into. Why can’t that be enough? Because we’re accustomed to wanting more and then getting it (see: binge-watching and leaked albums). Because we feel like we own our celebrities, in life and whatever comes after.\u003c/p>\n\u003cp>Death does not negotiate. It won’t heed your call for more time with someone who’s passed. And in this case, it shouldn’t. May Selena rest in peace.\"\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_24798\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/whitney-hologram.jpg\">\u003cimg class=\"size-thumbnail wp-image-24798\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/whitney-hologram-400x225.jpg\" alt=\"No.\" width=\"400\" height=\"225\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/whitney-hologram-768x432.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">No.\u003c/figcaption>\u003c/figure>\n\u003cp>Ditto all of that for Whitney Houston, whose hologram likeness was to duet with Christina Aguilera on an episode of \u003cem>The Voice\u003c/em>. The show would have gotten a significant ratings boost, but at what cost? Well, we don't have to consider that anymore because the Houston family axed the stunt at the last minute.\u003c/p>\n\u003cp>Pat Houston, executor of the late singer's estate, released a statement on the matter: \"Whitney’s legacy and her devoted fans deserve perfection. After closely viewing the performance, we decided the hologram was not ready to air.\"\u003c/p>\n\u003cp>Not being ready to air didn't stop the video from leaking though. You can watch it below, if you can stand the creepiness and the fact that the hologram looks nothing like Whitney. Let this be a warning to those who are surely already planning a hologram of Prince. We don't need it. Leave holograms to sci-fi movies and leave our departed legends alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[contextly_sidebar id=\"IeeHemsM2jtqydzUC4P1dY8jYsioF8d4\"]Kanye goes on another rant. We've read and heard that statement hundreds of times, but today that statement is greeted by a few surprising new words: Kanye goes on another rant \u003cem>on a fluffy, feel-good daytime talk show where nothing edgy is ever supposed to happen.\u003c/em>\u003c/p>\n\u003cp>On the agenda this time around: how he probably shouldn't have asked Mark Zuckerberg for money on a social platform that wasn't Facebook, the challenge of selling bone density machines, the power of multi-disciplinary artists, the power of dope sh*t, #OscarsSoWhite, shoes, synesthesia, Picasso being dead, Steve Jobs being dead, Walt Disney being dead, why being likable is not important, how working with Pay Less could stop bullying, why we did Michael Jackson wrong, and more.\u003c/p>\n\u003cp>Watch Kanye do what he does best and then gingerly cap things off with a “I’m sorry, daytime television. I’m sorry for the realness” :\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fu7xk2aAcDY\u003c/p>\n\u003cp>And if you want more Yeezy, watch him refuse to play a dumb game by exclaiming \"Balls, balls, balls!\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3n_-4o6tE5o\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Kanye goes on another rant. We've read and heard that statement hundreds of times, but today that statement is greeted by a few surprising new words: Kanye goes on another rant \u003cem>on a fluffy, feel-good daytime talk show where nothing edgy is ever supposed to happen.\u003c/em>\u003c/p>\n\u003cp>On the agenda this time around: how he probably shouldn't have asked Mark Zuckerberg for money on a social platform that wasn't Facebook, the challenge of selling bone density machines, the power of multi-disciplinary artists, the power of dope sh*t, #OscarsSoWhite, shoes, synesthesia, Picasso being dead, Steve Jobs being dead, Walt Disney being dead, why being likable is not important, how working with Pay Less could stop bullying, why we did Michael Jackson wrong, and more.\u003c/p>\n\u003cp>Watch Kanye do what he does best and then gingerly cap things off with a “I’m sorry, daytime television. I’m sorry for the realness” :\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/Fu7xk2aAcDY'\n title='//www.youtube.com/embed/Fu7xk2aAcDY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And if you want more Yeezy, watch him refuse to play a dumb game by exclaiming \"Balls, balls, balls!\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/264794885″ 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>We’re at a narrow park on the Alameda side of the Oakland Estuary, with cars clanking above on the Fruitvale Bridge and boats motoring by on the water.\u003c/p>\n\u003cp>Suddenly, a man wearing a pea coat and a captain’s hat begins to speak:\u003c/p>\n\u003cfigure id=\"attachment_11594421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594421\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/015-e1463604813350-800x438.jpg\" alt=\"Ed Holmes in Rhythmix Cultural Center’s ‘Island City Waterways’ \" width=\"800\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-800x438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-1180x646.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-1920x1051.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-960x526.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Holmes in Rhythmix Cultural Center’s ‘Island City Waterways’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If only the mud could talk,” he says, “or the water to tell who and what have come before and who and what have stayed and left their mark.”\u003c/p>\n\u003cp>Then a troupe of eight or so dancers weave and tumble out of a thin line of trees by the bridge, as a band of musicians begins a rhythmic whistling and drumming.\u003c/p>\n\u003cfigure id=\"attachment_11594420\" class=\"wp-caption aligncenter\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594420\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/017-790x600.jpg\" alt=\"Dancers in Rhythmix Cultural Center’s ‘Island City Waterways’ \" width=\"790\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-790x600.jpg 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-400x304.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-1180x896.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-1920x1458.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-960x729.jpg 960w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">Dancers in Rhythmix Cultural Center’s ‘Island City Waterways’\u003c/figcaption>\u003c/figure>\n\u003cp>They’re evoking the arrival of the Ohlone Indians to Alameda 1,400 years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This is a rehearsal for\u003ca href=\"http://www.islandcitywaterways.org/\" target=\"_blank\" rel=\"noopener\">\u003cem> Island City Waterways\u003c/em>\u003c/a> put on this weekend by Alameda’s \u003ca href=\"http://www.rhythmix.org/index.php?gclid=CJru7Pi95MwCFQdbfgodxVgPBg\" target=\"_blank\" rel=\"noopener\">Rhythmix Cultural Gallery.\u003c/a> Waterways is an ambitious performance that combines site-specific dance, music, and storytelling, plus an art show that celebrates the legacy of those who immigrated to the island and helped settle the area.\u003c/p>\n\u003cp>Ed Holmes is a former San Francisco Mime Troupe member and once served at the now-closed \u003ca href=\"http://alamedapointinfo.com/\" target=\"_blank\" rel=\"noopener\">Navy base in Alameda\u003c/a>. He’s the narrator for this show, “About who are the waves of immigrants. Waves,” Holmes interrupts himself to add, “are an important metaphor in this production. The waves that have come through here since day zero.”\u003c/p>\n\u003cfigure id=\"attachment_11594422\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594422\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/001-e1463605222539-800x505.jpg\" alt=\"The now closed W.F. Stone Boat Yard on the Alameda Estuary dates back to 1853\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-1180x745.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-1920x1213.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The now closed W.F. Stone Boat Yard on the Alameda Estuary dates back to 1853 \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Island City Waterways\u003c/em> will be literally moving, because during six shows Saturday and Sunday, the dancers will parade hundreds of audience members along the waterfront from the Fruitvale to the Park Street Bridge. They’ll do the same with students from Alameda schools on Friday.\u003c/p>\n\u003cp>Choreographer Kim Epifano of \u003ca href=\"http://www.epiphanydance.org/\" target=\"_blank\" rel=\"noopener\">Epiphany Productions Sonic Dance Theater\u003c/a> hopes \u003cem>Waterways\u003c/em> will nurture pride in the city for Alamedans and visitors alike. “It’s going to be an amazing journey to take,” Epifano says, “because I don’t think many people walk along that waterfront. And then it makes you want to take care of it, it’s so extraordinary.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Island City Waterways\u003c/em> takes an upbeat view of Alameda history. It’s not about the city’s current fights over soaring home prices, development and rent control. But the show’s director, Rhythmix Cultural Center Founder Janet Koike, says audiences can share their own Alameda experiences-both good and bad. “We also have a kiosk,” she said, “for people to record their own stories of how they got here.” The video booth will be at Rhythmix for the next few months, and the recordings will eventually go to the Alameda Library for preservation.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/264794885″&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/264794885″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>We’re at a narrow park on the Alameda side of the Oakland Estuary, with cars clanking above on the Fruitvale Bridge and boats motoring by on the water.\u003c/p>\n\u003cp>Suddenly, a man wearing a pea coat and a captain’s hat begins to speak:\u003c/p>\n\u003cfigure id=\"attachment_11594421\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594421\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/015-e1463604813350-800x438.jpg\" alt=\"Ed Holmes in Rhythmix Cultural Center’s ‘Island City Waterways’ \" width=\"800\" height=\"438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-800x438.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-400x219.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-768x420.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-1180x646.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-1920x1051.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/015-e1463604813350-960x526.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ed Holmes in Rhythmix Cultural Center’s ‘Island City Waterways’ \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If only the mud could talk,” he says, “or the water to tell who and what have come before and who and what have stayed and left their mark.”\u003c/p>\n\u003cp>Then a troupe of eight or so dancers weave and tumble out of a thin line of trees by the bridge, as a band of musicians begins a rhythmic whistling and drumming.\u003c/p>\n\u003cfigure id=\"attachment_11594420\" class=\"wp-caption aligncenter\" style=\"max-width: 790px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594420\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/017-790x600.jpg\" alt=\"Dancers in Rhythmix Cultural Center’s ‘Island City Waterways’ \" width=\"790\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-790x600.jpg 790w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-400x304.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-768x583.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-1180x896.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-1920x1458.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/017-960x729.jpg 960w\" sizes=\"(max-width: 790px) 100vw, 790px\">\u003cfigcaption class=\"wp-caption-text\">Dancers in Rhythmix Cultural Center’s ‘Island City Waterways’\u003c/figcaption>\u003c/figure>\n\u003cp>They’re evoking the arrival of the Ohlone Indians to Alameda 1,400 years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This is a rehearsal for\u003ca href=\"http://www.islandcitywaterways.org/\" target=\"_blank\" rel=\"noopener\">\u003cem> Island City Waterways\u003c/em>\u003c/a> put on this weekend by Alameda’s \u003ca href=\"http://www.rhythmix.org/index.php?gclid=CJru7Pi95MwCFQdbfgodxVgPBg\" target=\"_blank\" rel=\"noopener\">Rhythmix Cultural Gallery.\u003c/a> Waterways is an ambitious performance that combines site-specific dance, music, and storytelling, plus an art show that celebrates the legacy of those who immigrated to the island and helped settle the area.\u003c/p>\n\u003cp>Ed Holmes is a former San Francisco Mime Troupe member and once served at the now-closed \u003ca href=\"http://alamedapointinfo.com/\" target=\"_blank\" rel=\"noopener\">Navy base in Alameda\u003c/a>. He’s the narrator for this show, “About who are the waves of immigrants. Waves,” Holmes interrupts himself to add, “are an important metaphor in this production. The waves that have come through here since day zero.”\u003c/p>\n\u003cfigure id=\"attachment_11594422\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11594422\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/001-e1463605222539-800x505.jpg\" alt=\"The now closed W.F. Stone Boat Yard on the Alameda Estuary dates back to 1853\" width=\"800\" height=\"505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-800x505.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-400x253.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-768x485.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-1180x745.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-1920x1213.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/001-e1463605222539-960x606.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The now closed W.F. Stone Boat Yard on the Alameda Estuary dates back to 1853 \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Island City Waterways\u003c/em> will be literally moving, because during six shows Saturday and Sunday, the dancers will parade hundreds of audience members along the waterfront from the Fruitvale to the Park Street Bridge. They’ll do the same with students from Alameda schools on Friday.\u003c/p>\n\u003cp>Choreographer Kim Epifano of \u003ca href=\"http://www.epiphanydance.org/\" target=\"_blank\" rel=\"noopener\">Epiphany Productions Sonic Dance Theater\u003c/a> hopes \u003cem>Waterways\u003c/em> will nurture pride in the city for Alamedans and visitors alike. “It’s going to be an amazing journey to take,” Epifano says, “because I don’t think many people walk along that waterfront. And then it makes you want to take care of it, it’s so extraordinary.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Island City Waterways\u003c/em> takes an upbeat view of Alameda history. It’s not about the city’s current fights over soaring home prices, development and rent control. But the show’s director, Rhythmix Cultural Center Founder Janet Koike, says audiences can share their own Alameda experiences-both good and bad. “We also have a kiosk,” she said, “for people to record their own stories of how they got here.” The video booth will be at Rhythmix for the next few months, and the recordings will eventually go to the Alameda Library for preservation.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nicola Luisotti, music director for the San Francisco Opera (SF Opera) since 2009, announced Wednesday that he would be leaving the opera company after the 2017-2018 season, when his contract expires.\u003c/p>\n\u003cp>Luisotti made his announcement in front of the entire opera company — staff, musicians, chorus, dancers and crew — at the War Memorial Opera House theater Wednesday morning.\u003c/p>\n\u003cp>“After much thought and realizing that I will have been associated with San Francisco Opera for over 12 years by the 2017–18 Season, I arrived at the difficult decision not to renew my contract and to look to new opportunities,” Luisotti said. “I believe that close to a decade is about the right time to be leading a company.”\u003c/p>\n\u003cp>Luisotti directed his first SF Opera performance, a production of Verdi’s \u003cem>La Forza del Destino\u003c/em> in 2005. Since then, SF Opera says he has lead about 30 productions and concerts.\u003c/p>\n\u003cp>The announcement “deeply saddened” Matthew Shilvock, who becomes SF Opera’s seventh general director on Aug. 1.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He and I have talked about his decision in-depth many times over the past few months, and, while it was difficult to accept, I have come to understand the incredible selflessness with which he is making this change,” Shilvock said in a statement released by the SF Opera this afternoon. “He adores this company but he believes that, after a decade at the helm, both he and San Francisco Opera need fresh experiences and fresh artistic approaches.”\u003c/p>\n\u003cp>The Italian-born conductor said he was making way for Shilvock to “move freely into the future with his ideas” and let him take SF Opera into a new direction.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As hard as it is for me to say this about a company I so dearly love, I sincerely believe this is the right path and the right time for me and San Francisco Opera,” Luisotti said.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nicola Luisotti, music director for the San Francisco Opera (SF Opera) since 2009, announced Wednesday that he would be leaving the opera company after the 2017-2018 season, when his contract expires.\u003c/p>\n\u003cp>Luisotti made his announcement in front of the entire opera company — staff, musicians, chorus, dancers and crew — at the War Memorial Opera House theater Wednesday morning.\u003c/p>\n\u003cp>“After much thought and realizing that I will have been associated with San Francisco Opera for over 12 years by the 2017–18 Season, I arrived at the difficult decision not to renew my contract and to look to new opportunities,” Luisotti said. “I believe that close to a decade is about the right time to be leading a company.”\u003c/p>\n\u003cp>Luisotti directed his first SF Opera performance, a production of Verdi’s \u003cem>La Forza del Destino\u003c/em> in 2005. Since then, SF Opera says he has lead about 30 productions and concerts.\u003c/p>\n\u003cp>The announcement “deeply saddened” Matthew Shilvock, who becomes SF Opera’s seventh general director on Aug. 1.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He and I have talked about his decision in-depth many times over the past few months, and, while it was difficult to accept, I have come to understand the incredible selflessness with which he is making this change,” Shilvock said in a statement released by the SF Opera this afternoon. “He adores this company but he believes that, after a decade at the helm, both he and San Francisco Opera need fresh experiences and fresh artistic approaches.”\u003c/p>\n\u003cp>The Italian-born conductor said he was making way for Shilvock to “move freely into the future with his ideas” and let him take SF Opera into a new direction.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“As hard as it is for me to say this about a company I so dearly love, I sincerely believe this is the right path and the right time for me and San Francisco Opera,” Luisotti said.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "police-say-sinead-oconnor-was-found-at-hotel",
"title": "Police Say Sinead O'Connor Was Found at Hotel",
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"content": "\u003cp>Suburban Chicago police say they found Irish singer-songwriter Sinead O’Connor after she went missing earlier this week staying at a hotel.\u003c/p>\n\u003cp>Wilmette police spokesman Eric Peterson said Tuesday that 10 departments helped canvass area hotels. He said finding O’Connor safe Monday afternoon was “a wonderful outcome.”\u003c/p>\n\u003cp>He declined to provide other details, including about where exactly O’Connor was found, her condition or where she is now.\u003c/p>\n\u003cp>A rambling message posted Monday evening on O’Connor’s \u003ca href=\"https://www.facebook.com/sineadoconnor/posts/1104773712894949\" target=\"_blank\" rel=\"noopener\">official Facebook page\u003c/a> referred to emotional trauma she had been through over the years.\u003c/p>\n\u003cp>https://www.facebook.com/sineadoconnor/posts/1104773712894949\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>O’Connor scored an international hit in 1990 with her rendition of Prince’s ballad “Nothing Compares 2 U.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Suburban Chicago police say they found Irish singer-songwriter Sinead O’Connor after she went missing earlier this week staying at a hotel.\u003c/p>\n\u003cp>Wilmette police spokesman Eric Peterson said Tuesday that 10 departments helped canvass area hotels. He said finding O’Connor safe Monday afternoon was “a wonderful outcome.”\u003c/p>\n\u003cp>He declined to provide other details, including about where exactly O’Connor was found, her condition or where she is now.\u003c/p>\n\u003cp>A rambling message posted Monday evening on O’Connor’s \u003ca href=\"https://www.facebook.com/sineadoconnor/posts/1104773712894949\" target=\"_blank\" rel=\"noopener\">official Facebook page\u003c/a> referred to emotional trauma she had been through over the years.\u003c/p>\n\u003cp>https://www.facebook.com/sineadoconnor/posts/1104773712894949\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Texas singer-songwriter Guy Clark, who helped mentor a generation of songwriters and wrote hits like “L.A. Freeway” and “Desperados Waiting for a Train,” has died. He was 74.\u003c/p>\n\u003cp>Clark died Tuesday at his home in Nashville, Tennessee, according to his manager, Keith Case. He’d been in poor health, although Case didn’t give an official cause of death.\u003c/p>\n\u003cp>A native of Monahans, Texas, Clark belonged to a group of highly influential Texas songwriters that included Townes Van Zandt and Mickey Newbury. Together with his painter-songwriter wife, Susanna, Clark’s home in Nashville became a gathering place for artists like Rodney Crowell and Steve Earle. He wrote songs for Johnny Cash, Ricky Skaggs, Jerry Jeff Walker, Bobby Bare, Vince Gill and John Conlee.\u003c/p>\n\u003cp>Born in 1941, Clark’s upbringing in west Texas inspired the scenes and characters for many of his songs, including “Desperados,” based on an oil well digger who once stayed at his grandmother’s shotgun hotel. His interest in music was inspired by his father’s law partner, and most of the first songs he learned to sing and play were in Spanish.\u003c/p>\n\u003cp>He moved to Houston in the 1960s, where he met Van Zandt and several other folk songwriters and played in coffee shops and bars. He married his first wife, Susan Spaw, and they had a son, Travis, in 1966. After his split with Susan, he met painter Susanna Talley and they moved to Los Angeles to pursue his music career.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His dissatisfaction with the city’s hectic lifestyle was the basis of his song “L.A. Freeway,” which was recorded by Walker on his debut album. He and Susanna moved to Nashville in 1971, where his success as a songwriter led to a recording contract with RCA, and he released his first album, “Old No. 1,” in 1975. The album included songs like “She Ain’t Going Nowhere” and “Texas 1947,” which Cash also recorded.\u003c/p>\n\u003cp>“The only songs I have gotten cut were the ones I wrote for myself to sing,” Clark said in an interview with The Associated Press in 2013. “And I didn’t even think about the radio. Or think about other artists doing them. So I just quit wasting my time thinking about it. Because the best work always comes from writing for yourself and writing stuff you know about, rather than, ‘What would George Jones like?’ or ‘What would George Strait like?'”\u003c/p>\n\u003cp>His home was a Bohemian artistic enclave, with paintings on the wall and stacked in every corner, hundreds of tapes of recordings and a workshop where he made dobros and guitars. He was close friends with many of Nashville’s talented musicians, including Steve Earle, Emmylou Harris, Lyle Lovett and Shawn Camp.\u003c/p>\n\u003cp>“He was the best self-editor that I have ever known … and it was one of the first gifts of generosity he gave me,” said Crowell, who wrote many songs with Clark, including his hit, “She’s Crazy for Leavin'” and “Stuff That Works.”\u003c/p>\n\u003cp>“It’s almost like his music was embedded in the land,” said fellow Texan Sarah Jarosz, a Grammy-nominated singer-songwriter and mandolin player. “The songs, with their depth, soul and simplicity were an important part of life for so many. As a young songwriter, I continue to find great inspiration from his music — a never ending journey and discovery of masterful songwriting. He touched countless lives with the gift of song, and the world is a much better place having had him in it.”\u003c/p>\n\u003cp>His songs were very detailed, literary and full of imagery, such as “The Randall Knife,” about the knife his father carried with him through World War II. A tribute album to Clark, “This One’s for Him,” which featured recordings by Rosanne Cash, Willie Nelson, Kris Kristofferson and John Prine, won album of the year at the Americana Music Association’s Honors and Awards in 2012.\u003c/p>\n\u003cp>Clark received the Poet’s Award from the Academy of Country Music in 2012. He was inducted into the Nashville Songwriter’s Hall of Fame in 2004.\u003c/p>\n\u003cp>“I am glad that I raised the bar to some extent, if in fact I did, but, I mean, you can’t live on that every day,” Clark said in 2013. “You have to reinvent yourself the next day. You have to write as good and continue to do so. And that gets harder.”\u003c/p>\n\u003cp>He recorded several albums, and although he never achieved the same success as a performer, but he was beloved in the folk and Americana musical community. His final album, “My Favorite Picture of You,” won a Grammy in 2014 for best folk album. The title song was inspired by his wife, who died in 2012 and who is featured on the album’s cover. The picture shows a frustrated Susanna, her arms crossed and a glare on her face.\u003c/p>\n\u003cp>“Townes (Van Zandt) and I were in that house that she is in front of and we were drunk, drunk, just obnoxiously drunk,” Clark said during a 2013 interview with the AP. “And she had just had enough.”\u003c/p>\n\u003cp>He is survived by his son Travis and daughter-in-law Krista McMurtry Clark; grandchildren Dylan and Ellie Clark; sisters Caroline Clark Dugan and Jan Clark. Funeral arrangements are pending.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Texas singer-songwriter Guy Clark, who helped mentor a generation of songwriters and wrote hits like “L.A. Freeway” and “Desperados Waiting for a Train,” has died. He was 74.\u003c/p>\n\u003cp>Clark died Tuesday at his home in Nashville, Tennessee, according to his manager, Keith Case. He’d been in poor health, although Case didn’t give an official cause of death.\u003c/p>\n\u003cp>A native of Monahans, Texas, Clark belonged to a group of highly influential Texas songwriters that included Townes Van Zandt and Mickey Newbury. Together with his painter-songwriter wife, Susanna, Clark’s home in Nashville became a gathering place for artists like Rodney Crowell and Steve Earle. He wrote songs for Johnny Cash, Ricky Skaggs, Jerry Jeff Walker, Bobby Bare, Vince Gill and John Conlee.\u003c/p>\n\u003cp>Born in 1941, Clark’s upbringing in west Texas inspired the scenes and characters for many of his songs, including “Desperados,” based on an oil well digger who once stayed at his grandmother’s shotgun hotel. His interest in music was inspired by his father’s law partner, and most of the first songs he learned to sing and play were in Spanish.\u003c/p>\n\u003cp>He moved to Houston in the 1960s, where he met Van Zandt and several other folk songwriters and played in coffee shops and bars. He married his first wife, Susan Spaw, and they had a son, Travis, in 1966. After his split with Susan, he met painter Susanna Talley and they moved to Los Angeles to pursue his music career.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His dissatisfaction with the city’s hectic lifestyle was the basis of his song “L.A. Freeway,” which was recorded by Walker on his debut album. He and Susanna moved to Nashville in 1971, where his success as a songwriter led to a recording contract with RCA, and he released his first album, “Old No. 1,” in 1975. The album included songs like “She Ain’t Going Nowhere” and “Texas 1947,” which Cash also recorded.\u003c/p>\n\u003cp>“The only songs I have gotten cut were the ones I wrote for myself to sing,” Clark said in an interview with The Associated Press in 2013. “And I didn’t even think about the radio. Or think about other artists doing them. So I just quit wasting my time thinking about it. Because the best work always comes from writing for yourself and writing stuff you know about, rather than, ‘What would George Jones like?’ or ‘What would George Strait like?'”\u003c/p>\n\u003cp>His home was a Bohemian artistic enclave, with paintings on the wall and stacked in every corner, hundreds of tapes of recordings and a workshop where he made dobros and guitars. He was close friends with many of Nashville’s talented musicians, including Steve Earle, Emmylou Harris, Lyle Lovett and Shawn Camp.\u003c/p>\n\u003cp>“He was the best self-editor that I have ever known … and it was one of the first gifts of generosity he gave me,” said Crowell, who wrote many songs with Clark, including his hit, “She’s Crazy for Leavin'” and “Stuff That Works.”\u003c/p>\n\u003cp>“It’s almost like his music was embedded in the land,” said fellow Texan Sarah Jarosz, a Grammy-nominated singer-songwriter and mandolin player. “The songs, with their depth, soul and simplicity were an important part of life for so many. As a young songwriter, I continue to find great inspiration from his music — a never ending journey and discovery of masterful songwriting. He touched countless lives with the gift of song, and the world is a much better place having had him in it.”\u003c/p>\n\u003cp>His songs were very detailed, literary and full of imagery, such as “The Randall Knife,” about the knife his father carried with him through World War II. A tribute album to Clark, “This One’s for Him,” which featured recordings by Rosanne Cash, Willie Nelson, Kris Kristofferson and John Prine, won album of the year at the Americana Music Association’s Honors and Awards in 2012.\u003c/p>\n\u003cp>Clark received the Poet’s Award from the Academy of Country Music in 2012. He was inducted into the Nashville Songwriter’s Hall of Fame in 2004.\u003c/p>\n\u003cp>“I am glad that I raised the bar to some extent, if in fact I did, but, I mean, you can’t live on that every day,” Clark said in 2013. “You have to reinvent yourself the next day. You have to write as good and continue to do so. And that gets harder.”\u003c/p>\n\u003cp>He recorded several albums, and although he never achieved the same success as a performer, but he was beloved in the folk and Americana musical community. His final album, “My Favorite Picture of You,” won a Grammy in 2014 for best folk album. The title song was inspired by his wife, who died in 2012 and who is featured on the album’s cover. The picture shows a frustrated Susanna, her arms crossed and a glare on her face.\u003c/p>\n\u003cp>“Townes (Van Zandt) and I were in that house that she is in front of and we were drunk, drunk, just obnoxiously drunk,” Clark said during a 2013 interview with the AP. “And she had just had enough.”\u003c/p>\n\u003cp>He is survived by his son Travis and daughter-in-law Krista McMurtry Clark; grandchildren Dylan and Ellie Clark; sisters Caroline Clark Dugan and Jan Clark. Funeral arrangements are pending.\u003c/p>\n\u003cp>__\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Emilio Navaira, a legend in the Tejano music scene, has died at 53.\u003c/p>\n\u003cp>Navaira was found unconscious at his home on Monday night, according to police in New Braunfels, Texas. Police say he appears to have died of natural causes.\u003c/p>\n\u003cp>The singer — known to many as simply “Emilio” — was famous in both the U.S. and Mexico. He was a Tejano superstar who shared the stage with Selena several times and became \u003ca href=\"http://www.spokesman.com/stories/1996/may/01/king-of-tejano-after-death-of-female-tejano-star/\" target=\"_blank\" rel=\"noopener\">the most prominent figure in the genre\u003c/a> after Selena’s death.\u003c/p>\n\u003cp>“He was riding that wave of when Tejano was strong,” A.B. Quintanilla, Selena’s brother, \u003ca href=\"http://www.npr.org/2016/05/17/478417145/tejano-music-king-emilio-navaira-dies-at-53\" target=\"_blank\" rel=\"noopener\">told All Things Considered\u003c/a>. “The ladies loved him, you know what I’m saying, and he packed the houses.”\u003c/p>\n\u003cp>But he also found crossover success with English-language country songs, such as “It’s Not the End of the World.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6iJnQ4_JIDA\u003c/p>\n\u003cp>In 1995, Navaira told NPR that switching languages and genres wasn’t much of a stretch.\u003c/p>\n\u003cp>“Being a Tejano singer, I’ve always sang country — so all my audience knows already. The audience that I have in the Latin world knows I’ve been doing this for a while,” he said.\u003c/p>\n\u003cp>“It’s more a surprise to the people who don’t know Emilio as a Latin star — that all of a sudden, ‘Where’s this guy coming from? Where does he have this following?’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emilio’s following is now in mourning: News 4 San Antonio has collected \u003ca href=\"http://news4sanantonio.com/news/local/tejano-music-icon-emilio-navaira-dies-at-53\" target=\"_blank>some of the remembrances</a> on social media.</p>\n<p>In 2008, Navaira was seriously injured in a bus crash; it was later determined he had been <a href=\" http: https: fullattribution>Copyright 2016 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=Tejano+Music+Legend+Emilio+Navaira+Dies+At+53&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\n\u003c/a>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emilio Navaira, a legend in the Tejano music scene, has died at 53.\u003c/p>\n\u003cp>Navaira was found unconscious at his home on Monday night, according to police in New Braunfels, Texas. Police say he appears to have died of natural causes.\u003c/p>\n\u003cp>The singer — known to many as simply “Emilio” — was famous in both the U.S. and Mexico. He was a Tejano superstar who shared the stage with Selena several times and became \u003ca href=\"http://www.spokesman.com/stories/1996/may/01/king-of-tejano-after-death-of-female-tejano-star/\" target=\"_blank\" rel=\"noopener\">the most prominent figure in the genre\u003c/a> after Selena’s death.\u003c/p>\n\u003cp>“He was riding that wave of when Tejano was strong,” A.B. Quintanilla, Selena’s brother, \u003ca href=\"http://www.npr.org/2016/05/17/478417145/tejano-music-king-emilio-navaira-dies-at-53\" target=\"_blank\" rel=\"noopener\">told All Things Considered\u003c/a>. “The ladies loved him, you know what I’m saying, and he packed the houses.”\u003c/p>\n\u003cp>But he also found crossover success with English-language country songs, such as “It’s Not the End of the World.”\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/6iJnQ4_JIDA'\n title='//www.youtube.com/embed/6iJnQ4_JIDA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1995, Navaira told NPR that switching languages and genres wasn’t much of a stretch.\u003c/p>\n\u003cp>“Being a Tejano singer, I’ve always sang country — so all my audience knows already. The audience that I have in the Latin world knows I’ve been doing this for a while,” he said.\u003c/p>\n\u003cp>“It’s more a surprise to the people who don’t know Emilio as a Latin star — that all of a sudden, ‘Where’s this guy coming from? Where does he have this following?’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Emilio’s following is now in mourning: News 4 San Antonio has collected \u003ca href=\"http://news4sanantonio.com/news/local/tejano-music-icon-emilio-navaira-dies-at-53\" target=\"_blank>some of the remembrances</a> on social media.</p>\n<p>In 2008, Navaira was seriously injured in a bus crash; it was later determined he had been <a href=\" http: https: fullattribution>Copyright 2016 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=Tejano+Music+Legend+Emilio+Navaira+Dies+At+53&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\n\u003c/a>\u003c/p>\n\u003c/div>\u003c/p>",
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"disqusTitle": "Live Review: Beyoncé, Unexplainable Celestial Being, Slays at Levi's Stadium",
"title": "Live Review: Beyoncé, Unexplainable Celestial Being, Slays at Levi's Stadium",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>The next time I hear someone suggest Beyoncé doesn’t deserve to be taken seriously as an artist because she’s a pop star, or because there are other writers credited on her new album, I’m going to punch them in the mouth.\u003c/p>\n\u003cp>Note: I don't actually condone physical violence, and would certainly never suggest it as the appropriate response to an incorrect Pop Culture Opinion. Still, that was the first complete-sentence thought I managed to sputter out loud last night, as I sat in bumper-to-bumper traffic with roughly 50,000 other people, every one of us just trying to inch a half-mile outside of Levi’s Stadium as the clock struck midnight and it turned from May 16 to May 17, with damn near every person in every car dazed, drained, energized, aglow, and grinning ear-to-ear as though, perhaps, we'd all just witnessed the Apollo 11 moon landing. Live. From the moon.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24593\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-6-800x652.jpg\" alt=\"FullSizeRender (6)\" width=\"800\" height=\"652\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-800x652.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-400x326.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-768x626.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1440x1174.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1920x1566.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1180x962.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-960x783.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s not just that the \"she's not a real artist\" argument, which handily strips Beyoncé of any shred of agency, is boring and sexist (though it is both of those things, and if you have a few hours I'm more than happy to talk about it over drinks). But more importantly: after watching the most famous woman in the country work harder and tougher and more joyfully than I’ve ever seen any human work on a stage before -- and we’re talking \u003ci>hard\u003c/i> calisthenics, for two straight hours, in a series of high-heeled boots and glittery, thong-bottomed jumpsuits, long curls loose and flying, while belting her way through more than 30 songs from her 17-year career, all without once sounding out of breath -- it's also never been more obvious why it's wrong.\u003c/p>\n\u003cp>“If you’re proud of who you are, say ‘I slay,’” said B early in the evening, smiling and scanning the stadium, assessing her crowd as it roared to life. We'd been treated to Too $hort, E-40 and DJ Khaled while we waited, which in most other circumstances would be quite the show, full-stop, in and of itself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Not here.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24584\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.Flames-800x600.jpg\" alt=\"Beyonce.Flames\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“If you’re proud of where you come from, say ‘I slay,’” said B.\u003c/p>\n\u003cp>\u003ci>I SLAY!\u003c/i> we told her, most of us sounding pretty dumb, because Beyoncé is one of the few people alive who sounds cool when she says \"I slay.\" No matter. She had just emerged from a rotating, skyscraper-sized cube made of LED lights; she had a team of eight acrobatically gifted women dancing behind her; a tireless female drummer to her right and a ferocious female bassist to her left, and a Super Bowl-sized stadium of followers screaming her name in every other direction.\u003c/p>\n\u003cp>Group therapy had commenced.\u003c/p>\n\u003cfigure id=\"attachment_24588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-24588 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.fire_-800x1197.jpg\" alt=\"Beyonce.fire\" width=\"800\" height=\"1197\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-800x1197.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-400x599.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-768x1149.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-1180x1766.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-960x1437.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_.jpg 1283w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy Parkwood Entertainment\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with \"Formation,\" the politically charged call to arms that sent football fans \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2016/02/18/the-beyonce-backlash-continues-sheriff-cites-super-bowl-show-after-shooting-near-home/\" target=\"_blank\">clutching for their pearls\u003c/a> when she stole Coldplay's show with it at the aforementioned Big Ol' American Sports Event at Levi's in February, Beyoncé dove full-speed into a set that leaned heavily on \u003cem>Lemonade\u003c/em>, her much-discussed, barely three-week old manifesto about love and pain and infidelity and the messy realities of being a woman, not to mention an obscenely famous woman of color, in America.\u003c/p>\n\u003cp>\"Sorry\" saw thousands of middle fingers in the air, waving with a gusto that suggested the fingers themselves had been waiting patiently for years to do just that. \"Hold Up\" was jaunty testimony as much as it was an admonition, a map of hurt and marital betrayal, even as she segued easily into the relationship celebration of \"Countdown\" and strutted athletically down a catwalk into the middle of the crowd. \"Don't Hurt Yourself\" invited the most committed, gleeful headbanging I've ever seen from an R&B or pop star, helped in no small part by Beyoncé's (again, female) electric guitarist standing in for Jack White, wailing through heavily distorted riffs, rocking an Afro and shredded jeans.\u003c/p>\n\u003cp>\"This is a song about the most important relationship in your life, and that's the one you have with yourself,\" Beyoncé said by way of introducing \"Me Myself and I,\" off her debut solo album, somehow managing to sound earnest while also staying on message with the precision of a knife-thrower. \"Every other relationship is just a bonus.\"\u003c/p>\n\u003cfigure id=\"attachment_24586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-24586 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.WithDancers-800x551.jpg\" alt=\"Beyonce.WithDancers\" width=\"800\" height=\"551\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-800x551.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-400x275.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-768x529.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-1440x992.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-1180x812.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-960x661.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy Parkwood Entertainment\u003c/figcaption>\u003c/figure>\n\u003cp>With a few other exceptions -- \"Flawless\" was a beast of a performance; \"Crazy In Love\" opened with a dark, ominous downtempo rendition that emphasized the negative connotations of \"crazy\" before B flashed a smile and jumped into its rightful pace; the sloppy, sexy devotion of \"Drunk In Love\" also took on a new gravity in light of the cracks we've now seen in its central relationship -- songs from previous albums got shorter treatments. Destiny's Child tracks, in particular, became something like a tangled teaser-medley of lyrics about independent ladies and survivors and jelly (\u003cem>this\u003c/em> jelly, to be specific, and whether or not you're ready for it).\u003c/p>\n\u003cp>As the show charged on, my initial frustration at the medley approach to early songs was outweighed by the power of juxtaposition; nothing highlights how much she's grown like hearing 2003's \"Baby Boy\" (ft. Sean Paul, though this show did not, thankfully, feature Sean Paul) in close proximity to the layered, orchestral, triumphant \"All Night\" -- which Beyoncé referred to as her favorite song to sing from the new album, because \"it's about redemption.\" (See: knife-thrower storyline crafting, above.)\u003c/p>\n\u003cp>That juxtaposition also helped to eliminate any doubt that this woman can carry a stadium show by herself. Not only was Jay Z conspicuously missing from the premises, his parts were actually removed from her songs -- and I didn't miss them. In the same vein, the sets were certainly big visually (video clips from \u003cem>Lemonade\u003c/em>, aerial dancers and complicated platforms of various sizes, fireworks, more than a half-dozen costume changes). But it was tough not to draw a comparison to Taylor Swift's '1989' tour, which also came to Levi's Stadium, and during which the stage became something like the set for an \u003ca href=\"http://ww2.kqed.org/arts/2015/08/17/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium/\" target=\"_blank\">over-the-top, Taylor Swift-themed musical\u003c/a>; the dancers and complex video elements at that performance seemed crucial to making it interesting enough to last two hours.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24595\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-8-800x579.jpg\" alt=\"FullSizeRender (8)\" width=\"800\" height=\"579\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-768x556.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1440x1042.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1920x1390.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1180x854.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-960x695.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When Beyoncé's on stage, you don't need much else. I never got to see Michael Jackson live, but I have to imagine it was a little like this. (\"Hey, this is cool, but let's add some more grandiose set design just so people have something else to look at while Michael's dancing,\" said no artistic director ever.)\u003c/p>\n\u003cp>As the evening wound to a close, B disappeared and reemerged in white, her dancers stone-faced, bound in costumes that looked like rope. Together, barefoot, they took to a rectangular, ankle-deep pool of water at the edge of the catwalk to dance for the duration of \"Freedom,\" the drum-driven, heart-pounding Kendrick Lamar collaboration on \u003cem>Lemonade\u003c/em>. Hair was flying, water was flying, arms and legs took the shape of wings. It looked primal. It looked like liberation. It looked exhausting.\u003c/p>\n\u003cp>\"You know, she doesn't \u003cem>have\u003c/em> to work this hard,\" I yelled to my friend, as her dancers left and Beyoncé closed the show solo, still barefoot, with \"Halo.\" \"She's not even lip-syncing!\" my friend yelled back, and it was true: Beyoncé was clearly singing her ass off, all while doing squats and lunges and high-kicks in heels for, let me repeat it, 120 minutes straight.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-24596\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-5.jpg\" alt=\"FullSizeRender (5)\" width=\"640\" height=\"632\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-400x395.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-96x96.jpg 96w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>But the thought I woke up with this morning -- after three hours of traffic and three and a half hours of sleep -- was something like: Actually, she \u003cem>does\u003c/em> have to work that hard. Because the more \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2016/05/03/every-track-on-beyonces-lemonade-debuts-on-billboard-hot-100-as-radiohead-fades-out-or-maybe-not/\" target=\"_blank\">records she breaks\u003c/a>, the more people are waiting for her to slip. No matter \u003cem>what\u003c/em> she does, people will line up to say she doesn't deserve her success, that she's a pretty lady pop star propped up by shrewd male writers and producers; to proclaim that her newfound public political consciousness is just a well-crafted but disingenuous marketing ploy, instead of entertaining the possibility that a 34-year-old performer who's been in the spotlight since age 16 might grow up and develop fresh ideas and want to go in new directions, and that doing all of that on an international stage will obviously, at times, get messy.\u003c/p>\n\u003cp>But whether it was calculated or genuine or somewhere in between, the sparkle of a tear in Beyoncé's eye as she put her hand to her chest, looked around the stadium, and smiled a gracious, humble, goddamn beautiful smile before saying \"thank you\" one last time and disappearing below the stage said everything I needed to know about what \u003cem>she\u003c/em> thinks she deserves. She might not have always been clear on that. It might have even taken heartbreak for her to see it.\u003c/p>\n\u003cp>And if that's not proof that the personal is political -- especially, yes, if you're a woman, and \u003cem>especially\u003c/em> if you're an obscenely famous woman of color in America -- I sure as hell don't know what is.\u003c/p>\n\u003cp>--\u003cimg class=\"aligncenter size-medium wp-image-24597\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-10-800x595.jpg\" alt=\"FullSizeRender (10)\" width=\"800\" height=\"595\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-800x595.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-400x297.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-768x571.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1440x1071.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1920x1427.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1180x877.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-960x714.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Some non-\u003cem>Lemonade\u003c/em> highlights and stray thoughts:\u003c/p>\n\u003cul>\n\u003cli>Would be remiss not to mention the gut-punch-emotional cover of Prince's \"The Beautiful Ones\" that ended with B on all fours, belting into the mic like it was a lifeline, followed by a set break/costume change during which the LED skyscraper glowed purple, the entirety of \"Purple Rain\" blasted over the sound system, and confetti fell from the sky while nearly 50,000 cell phone lights swayed from side to side.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Also, a chorus from D'Angelo's \"Untitled (How Does It Feel)\" popping up in the midst of \"Rocket.\"\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>On at least three separate occasions when Beyoncé crouched down and invited the front row to sing into the microphone, the crowd members who apparently grabbed said opportunity were adult men who then growl-yelled the next lyric so forcefully that she started cracking up.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Waiting to see how many Beyoncé-sweat covered towels show up on eBay in the next week or two, as she obliged at least five or six fans who offered relief from the front row.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>The parking situation was a nightmare both on the way in and the way out. Also, the \u003ca href=\"http://www.nfl.com/qs/allclear/index.jsp\" target=\"_blank\">NFL's idiotic no-purse policy\u003c/a>, under which Levi's Stadium employees offer concert-goers clear plastic bags to hold their possessions, contributed to an interesting \"turning over your affects as you arrive at prison\" feeling. Beyoncé prison, though. It's way better than regular prison.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>It's pretty well understood that the wages of superstardom in this country involve giving up any semblance of privacy; that once you reach a certain level of fame, people are going to pick apart, criticize, and capitalize on your personal life whether you like it or not. Wrapping up the hungered-for \"personal story\" in a shiny bow and demanding payment for it the way Beyoncé has with this record and tour is one of the smartest chess moves in pop music history, and I don't care whose idea you think it was.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>As the throngs of people shoved toward the exits, a man \u003ca href=\"https://twitter.com/gmeline/status/732459633848127490\" target=\"_blank\">got down on one knee and proposed to his girlfriend\u003c/a>, prompting shrieks from about a hundred people nearby. She said yes, of course, and they hugged. Then a quick-witted bystander offered the bride-to-be some sage advice: \"Take his ass to Red Lobster!\" Really hope she did.\u003c/li>\n\u003c/ul>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Beyoncé's Formation Tour returns to Levi's Stadium on Sept. 17. \u003ca href=\"http://www.ticketmaster.com/event/1C0050948EE32832?CAMEFROM=CFC_49ERS_WEB_LS_EVENT\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"excerpt": "At the Bay Area stop of her ‘Lemonade’ tour, Beyoncé twirls on her haters in a joyful, two-hour communion of artistry and endurance.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The next time I hear someone suggest Beyoncé doesn’t deserve to be taken seriously as an artist because she’s a pop star, or because there are other writers credited on her new album, I’m going to punch them in the mouth.\u003c/p>\n\u003cp>Note: I don't actually condone physical violence, and would certainly never suggest it as the appropriate response to an incorrect Pop Culture Opinion. Still, that was the first complete-sentence thought I managed to sputter out loud last night, as I sat in bumper-to-bumper traffic with roughly 50,000 other people, every one of us just trying to inch a half-mile outside of Levi’s Stadium as the clock struck midnight and it turned from May 16 to May 17, with damn near every person in every car dazed, drained, energized, aglow, and grinning ear-to-ear as though, perhaps, we'd all just witnessed the Apollo 11 moon landing. Live. From the moon.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24593\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-6-800x652.jpg\" alt=\"FullSizeRender (6)\" width=\"800\" height=\"652\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-800x652.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-400x326.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-768x626.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1440x1174.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1920x1566.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-1180x962.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-6-960x783.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>It’s not just that the \"she's not a real artist\" argument, which handily strips Beyoncé of any shred of agency, is boring and sexist (though it is both of those things, and if you have a few hours I'm more than happy to talk about it over drinks). But more importantly: after watching the most famous woman in the country work harder and tougher and more joyfully than I’ve ever seen any human work on a stage before -- and we’re talking \u003ci>hard\u003c/i> calisthenics, for two straight hours, in a series of high-heeled boots and glittery, thong-bottomed jumpsuits, long curls loose and flying, while belting her way through more than 30 songs from her 17-year career, all without once sounding out of breath -- it's also never been more obvious why it's wrong.\u003c/p>\n\u003cp>“If you’re proud of who you are, say ‘I slay,’” said B early in the evening, smiling and scanning the stadium, assessing her crowd as it roared to life. We'd been treated to Too $hort, E-40 and DJ Khaled while we waited, which in most other circumstances would be quite the show, full-stop, in and of itself.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Not here.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24584\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.Flames-800x600.jpg\" alt=\"Beyonce.Flames\" width=\"800\" height=\"600\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-800x600.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-400x300.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-768x576.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-1440x1080.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-1180x885.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.Flames-960x720.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>“If you’re proud of where you come from, say ‘I slay,’” said B.\u003c/p>\n\u003cp>\u003ci>I SLAY!\u003c/i> we told her, most of us sounding pretty dumb, because Beyoncé is one of the few people alive who sounds cool when she says \"I slay.\" No matter. She had just emerged from a rotating, skyscraper-sized cube made of LED lights; she had a team of eight acrobatically gifted women dancing behind her; a tireless female drummer to her right and a ferocious female bassist to her left, and a Super Bowl-sized stadium of followers screaming her name in every other direction.\u003c/p>\n\u003cp>Group therapy had commenced.\u003c/p>\n\u003cfigure id=\"attachment_24588\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-24588 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.fire_-800x1197.jpg\" alt=\"Beyonce.fire\" width=\"800\" height=\"1197\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-800x1197.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-400x599.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-768x1149.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-1180x1766.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_-960x1437.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.fire_.jpg 1283w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy Parkwood Entertainment\u003c/figcaption>\u003c/figure>\n\u003cp>After opening with \"Formation,\" the politically charged call to arms that sent football fans \u003ca href=\"https://www.washingtonpost.com/news/post-nation/wp/2016/02/18/the-beyonce-backlash-continues-sheriff-cites-super-bowl-show-after-shooting-near-home/\" target=\"_blank\">clutching for their pearls\u003c/a> when she stole Coldplay's show with it at the aforementioned Big Ol' American Sports Event at Levi's in February, Beyoncé dove full-speed into a set that leaned heavily on \u003cem>Lemonade\u003c/em>, her much-discussed, barely three-week old manifesto about love and pain and infidelity and the messy realities of being a woman, not to mention an obscenely famous woman of color, in America.\u003c/p>\n\u003cp>\"Sorry\" saw thousands of middle fingers in the air, waving with a gusto that suggested the fingers themselves had been waiting patiently for years to do just that. \"Hold Up\" was jaunty testimony as much as it was an admonition, a map of hurt and marital betrayal, even as she segued easily into the relationship celebration of \"Countdown\" and strutted athletically down a catwalk into the middle of the crowd. \"Don't Hurt Yourself\" invited the most committed, gleeful headbanging I've ever seen from an R&B or pop star, helped in no small part by Beyoncé's (again, female) electric guitarist standing in for Jack White, wailing through heavily distorted riffs, rocking an Afro and shredded jeans.\u003c/p>\n\u003cp>\"This is a song about the most important relationship in your life, and that's the one you have with yourself,\" Beyoncé said by way of introducing \"Me Myself and I,\" off her debut solo album, somehow managing to sound earnest while also staying on message with the precision of a knife-thrower. \"Every other relationship is just a bonus.\"\u003c/p>\n\u003cfigure id=\"attachment_24586\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-24586 size-medium\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/Beyonce.WithDancers-800x551.jpg\" alt=\"Beyonce.WithDancers\" width=\"800\" height=\"551\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-800x551.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-400x275.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-768x529.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-1440x992.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-1180x812.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/Beyonce.WithDancers-960x661.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Courtesy Parkwood Entertainment\u003c/figcaption>\u003c/figure>\n\u003cp>With a few other exceptions -- \"Flawless\" was a beast of a performance; \"Crazy In Love\" opened with a dark, ominous downtempo rendition that emphasized the negative connotations of \"crazy\" before B flashed a smile and jumped into its rightful pace; the sloppy, sexy devotion of \"Drunk In Love\" also took on a new gravity in light of the cracks we've now seen in its central relationship -- songs from previous albums got shorter treatments. Destiny's Child tracks, in particular, became something like a tangled teaser-medley of lyrics about independent ladies and survivors and jelly (\u003cem>this\u003c/em> jelly, to be specific, and whether or not you're ready for it).\u003c/p>\n\u003cp>As the show charged on, my initial frustration at the medley approach to early songs was outweighed by the power of juxtaposition; nothing highlights how much she's grown like hearing 2003's \"Baby Boy\" (ft. Sean Paul, though this show did not, thankfully, feature Sean Paul) in close proximity to the layered, orchestral, triumphant \"All Night\" -- which Beyoncé referred to as her favorite song to sing from the new album, because \"it's about redemption.\" (See: knife-thrower storyline crafting, above.)\u003c/p>\n\u003cp>That juxtaposition also helped to eliminate any doubt that this woman can carry a stadium show by herself. Not only was Jay Z conspicuously missing from the premises, his parts were actually removed from her songs -- and I didn't miss them. In the same vein, the sets were certainly big visually (video clips from \u003cem>Lemonade\u003c/em>, aerial dancers and complicated platforms of various sizes, fireworks, more than a half-dozen costume changes). But it was tough not to draw a comparison to Taylor Swift's '1989' tour, which also came to Levi's Stadium, and during which the stage became something like the set for an \u003ca href=\"http://ww2.kqed.org/arts/2015/08/17/live-review-taylor-swift-regular-super-normal-girl-like-you-and-me-at-levis-stadium/\" target=\"_blank\">over-the-top, Taylor Swift-themed musical\u003c/a>; the dancers and complex video elements at that performance seemed crucial to making it interesting enough to last two hours.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-medium wp-image-24595\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-8-800x579.jpg\" alt=\"FullSizeRender (8)\" width=\"800\" height=\"579\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-800x579.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-400x290.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-768x556.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1440x1042.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1920x1390.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-1180x854.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-8-960x695.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>When Beyoncé's on stage, you don't need much else. I never got to see Michael Jackson live, but I have to imagine it was a little like this. (\"Hey, this is cool, but let's add some more grandiose set design just so people have something else to look at while Michael's dancing,\" said no artistic director ever.)\u003c/p>\n\u003cp>As the evening wound to a close, B disappeared and reemerged in white, her dancers stone-faced, bound in costumes that looked like rope. Together, barefoot, they took to a rectangular, ankle-deep pool of water at the edge of the catwalk to dance for the duration of \"Freedom,\" the drum-driven, heart-pounding Kendrick Lamar collaboration on \u003cem>Lemonade\u003c/em>. Hair was flying, water was flying, arms and legs took the shape of wings. It looked primal. It looked like liberation. It looked exhausting.\u003c/p>\n\u003cp>\"You know, she doesn't \u003cem>have\u003c/em> to work this hard,\" I yelled to my friend, as her dancers left and Beyoncé closed the show solo, still barefoot, with \"Halo.\" \"She's not even lip-syncing!\" my friend yelled back, and it was true: Beyoncé was clearly singing her ass off, all while doing squats and lunges and high-kicks in heels for, let me repeat it, 120 minutes straight.\u003c/p>\n\u003cp>\u003cimg class=\"aligncenter size-full wp-image-24596\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-5.jpg\" alt=\"FullSizeRender (5)\" width=\"640\" height=\"632\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5.jpg 640w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-400x395.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-5-96x96.jpg 96w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003c/p>\n\u003cp>But the thought I woke up with this morning -- after three hours of traffic and three and a half hours of sleep -- was something like: Actually, she \u003cem>does\u003c/em> have to work that hard. Because the more \u003ca href=\"https://www.washingtonpost.com/news/morning-mix/wp/2016/05/03/every-track-on-beyonces-lemonade-debuts-on-billboard-hot-100-as-radiohead-fades-out-or-maybe-not/\" target=\"_blank\">records she breaks\u003c/a>, the more people are waiting for her to slip. No matter \u003cem>what\u003c/em> she does, people will line up to say she doesn't deserve her success, that she's a pretty lady pop star propped up by shrewd male writers and producers; to proclaim that her newfound public political consciousness is just a well-crafted but disingenuous marketing ploy, instead of entertaining the possibility that a 34-year-old performer who's been in the spotlight since age 16 might grow up and develop fresh ideas and want to go in new directions, and that doing all of that on an international stage will obviously, at times, get messy.\u003c/p>\n\u003cp>But whether it was calculated or genuine or somewhere in between, the sparkle of a tear in Beyoncé's eye as she put her hand to her chest, looked around the stadium, and smiled a gracious, humble, goddamn beautiful smile before saying \"thank you\" one last time and disappearing below the stage said everything I needed to know about what \u003cem>she\u003c/em> thinks she deserves. She might not have always been clear on that. It might have even taken heartbreak for her to see it.\u003c/p>\n\u003cp>And if that's not proof that the personal is political -- especially, yes, if you're a woman, and \u003cem>especially\u003c/em> if you're an obscenely famous woman of color in America -- I sure as hell don't know what is.\u003c/p>\n\u003cp>--\u003cimg class=\"aligncenter size-medium wp-image-24597\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/FullSizeRender-10-800x595.jpg\" alt=\"FullSizeRender (10)\" width=\"800\" height=\"595\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-800x595.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-400x297.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-768x571.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1440x1071.jpg 1440w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1920x1427.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-1180x877.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/05/FullSizeRender-10-960x714.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Some non-\u003cem>Lemonade\u003c/em> highlights and stray thoughts:\u003c/p>\n\u003cul>\n\u003cli>Would be remiss not to mention the gut-punch-emotional cover of Prince's \"The Beautiful Ones\" that ended with B on all fours, belting into the mic like it was a lifeline, followed by a set break/costume change during which the LED skyscraper glowed purple, the entirety of \"Purple Rain\" blasted over the sound system, and confetti fell from the sky while nearly 50,000 cell phone lights swayed from side to side.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Also, a chorus from D'Angelo's \"Untitled (How Does It Feel)\" popping up in the midst of \"Rocket.\"\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>On at least three separate occasions when Beyoncé crouched down and invited the front row to sing into the microphone, the crowd members who apparently grabbed said opportunity were adult men who then growl-yelled the next lyric so forcefully that she started cracking up.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Waiting to see how many Beyoncé-sweat covered towels show up on eBay in the next week or two, as she obliged at least five or six fans who offered relief from the front row.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>The parking situation was a nightmare both on the way in and the way out. Also, the \u003ca href=\"http://www.nfl.com/qs/allclear/index.jsp\" target=\"_blank\">NFL's idiotic no-purse policy\u003c/a>, under which Levi's Stadium employees offer concert-goers clear plastic bags to hold their possessions, contributed to an interesting \"turning over your affects as you arrive at prison\" feeling. Beyoncé prison, though. It's way better than regular prison.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>It's pretty well understood that the wages of superstardom in this country involve giving up any semblance of privacy; that once you reach a certain level of fame, people are going to pick apart, criticize, and capitalize on your personal life whether you like it or not. Wrapping up the hungered-for \"personal story\" in a shiny bow and demanding payment for it the way Beyoncé has with this record and tour is one of the smartest chess moves in pop music history, and I don't care whose idea you think it was.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>As the throngs of people shoved toward the exits, a man \u003ca href=\"https://twitter.com/gmeline/status/732459633848127490\" target=\"_blank\">got down on one knee and proposed to his girlfriend\u003c/a>, prompting shrieks from about a hundred people nearby. She said yes, of course, and they hugged. Then a quick-witted bystander offered the bride-to-be some sage advice: \"Take his ass to Red Lobster!\" Really hope she did.\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Beyoncé's Formation Tour returns to Levi's Stadium on Sept. 17. \u003ca href=\"http://www.ticketmaster.com/event/1C0050948EE32832?CAMEFROM=CFC_49ERS_WEB_LS_EVENT\" target=\"_blank\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "All the Things Joanna Newsom Revealed to Dave Eggers Last Night",
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"content": "\u003cp>[contextly_sidebar id=\"DxM3sXPHwdqoCIi3Lm9zhf0IV7RsnYtz\"]There are certain things I \u003cem>think\u003c/em> I know everything about: \u003ca href=\"http://ww2.kqed.org/pop/tag/gilmore-girls/\">\u003cem>Gilmore Girls\u003c/em>\u003c/a>, \u003ca href=\"http://ww2.kqed.org/pop/2013/08/23/5-reasons-why-adapting-reality-bites-is-a-terrible-idea-winona-ryder-ben-stiller/\">Winona Ryder\u003c/a>, \u003ca href=\"http://ww2.kqed.org/pop/2016/02/18/weird-facts-you-never-knew-about-the-u-s-presidents/\">Abe Lincoln\u003c/a>, the \u003ca href=\"http://ww2.kqed.org/pop/tag/spice-girls/\">Spice Girls\u003c/a>, and Joanna Newsom. Last night, at a City Arts and Lectures event hosted by Dave Eggers, I found out that I had more to learn about the latter. Here are all the new things I discovered about Joanna Newsom and her music:\u003c/p>\n\u003cul>\n\u003cli>Her most interesting fan interaction: A woman approached Joanna, presented her tween daughter and said she gave birth to her while listening to Joanna's music.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>The event took place on Hayes Street at the Nourse Theater, which reminded Joanna of her time working in retail on that very street years ago. She said she was awful at it. When women would try garments on and fish for permission to buy something expensive by saying things like \"It's so beautiful, but I should probably pay rent,\" Joanna would say \"That sounds important! You should pay rent!\" instead of the shop girl refrain, \"Oh, forget that! You deserve it!\"\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Joanna said she was a flaky kid, but that music was \"the thing I never flaked on.\" She learned how to play the piano at the age of four and went on to learn how to play the harp at the age of eight. A childhood teacher recently sent Joanna sheet music of her first ever composition. It was about a camel.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Her very first song was titled \"Flying a Kite.\"\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>When Joanna was at Mills College, she started out as a composition major, but soon switched over to a self study in West African music and then later to creative writing. She claims her poems were terrible, until she realized that they were actually songs.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Joanna is a huge Nabokov fan. She went as far as writing a paper in college on the color mauve's role in \u003cem>Lolita\u003c/em>, one of her all-time favorite pieces of literature.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Joanna says she's \"kind of a jock about songwriting.\" When she gets it right, she bro-yells \"YEAH!\" and goes around kicking things.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>She sang all the harmonies on her last album \u003cem>Divers\u003c/em> to keep up the theme of time folding onto itself. She wanted the layered vocals to symbolize different versions of herself traveling from parallel universes to sing in harmony with each other.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>When asked to explain the concept behind \u003cem>Divers\u003c/em>, Joanna shared that she wanted it to evoke the questions: \"What's the point? Why are we all doing [this] if it all gets extinguished in the end?\" She also intended for the album to represent someone who has just realized that we all die and the journey it takes to process that information.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>On the last record, Joanna had a rule that no collaborator would be in the room for more than one purpose to ensure clarity of purpose.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Before recording \u003cem>Have One on Me\u003c/em>, Joanna tried to sing one day and heard a pop and a hiss emanate from her throat, like opening a soda can. Turns out she had developed nodes on her vocal chords from extensive touring without proper vocal training. Surgery was encouraged, but because of horror stories Joanna had heard about how some who undergo the process lose their ability to sing, she decided to go on a two-month vocal rest instead.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>She would walk around with a button that explained that she wasn't speaking and a dry-erase board to communicate. Because her hometown of Nevada City is also home to a lot of performance artists and buskers, many thought it was an art project. So she changed the language, only to then have people assume she had a \"horrible disease\" or that she was dying. She eventually figured out the right message to get the point across.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>After her vocal rest, she gained 5 notes at the top of her register and 6 notes at the bottom. She now practices \"the same hygiene\" on her voice as she does with her harp, by doing vocal exercises for 30 minutes before every sound check, rehearsal and performance.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>The way she found out Paul Thomas Anderson wanted her to be in the film adaptation of \u003cem>Inherent Vice\u003c/em>: Warner Bros. called out of the blue asking for measurements.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Like the rest of us, Joanna also procrastinates. Her poison: shopping for antiques online.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Joanna loves Kate Bush, but did not fall in love with her until after she had debuted on the musical scene, despite many critics claiming Bush must have been a strong influence early on.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Her favorite methods of self-care and healing: going on walks and cooking for others. \"I love the slowness of it.\"\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>When she's making music, Joanna doesn't imagine anyone ever hearing her songs. Instead, she works from the mindset of living in a post-apocalyptic world and recording from a bomb shelter.\u003c/li>\n\u003c/ul>\n\u003cp>Want to keep your Joanna Newsom education going, check out all these big words from \u003cem>Divers\u003c/em>:\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2015/10/26/all-the-big-words-youll-learn-from-joanna-newsoms-new-album-divers/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>There are certain things I \u003cem>think\u003c/em> I know everything about: \u003ca href=\"http://ww2.kqed.org/pop/tag/gilmore-girls/\">\u003cem>Gilmore Girls\u003c/em>\u003c/a>, \u003ca href=\"http://ww2.kqed.org/pop/2013/08/23/5-reasons-why-adapting-reality-bites-is-a-terrible-idea-winona-ryder-ben-stiller/\">Winona Ryder\u003c/a>, \u003ca href=\"http://ww2.kqed.org/pop/2016/02/18/weird-facts-you-never-knew-about-the-u-s-presidents/\">Abe Lincoln\u003c/a>, the \u003ca href=\"http://ww2.kqed.org/pop/tag/spice-girls/\">Spice Girls\u003c/a>, and Joanna Newsom. Last night, at a City Arts and Lectures event hosted by Dave Eggers, I found out that I had more to learn about the latter. Here are all the new things I discovered about Joanna Newsom and her music:\u003c/p>\n\u003cul>\n\u003cli>Her most interesting fan interaction: A woman approached Joanna, presented her tween daughter and said she gave birth to her while listening to Joanna's music.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>The event took place on Hayes Street at the Nourse Theater, which reminded Joanna of her time working in retail on that very street years ago. She said she was awful at it. When women would try garments on and fish for permission to buy something expensive by saying things like \"It's so beautiful, but I should probably pay rent,\" Joanna would say \"That sounds important! You should pay rent!\" instead of the shop girl refrain, \"Oh, forget that! You deserve it!\"\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Joanna said she was a flaky kid, but that music was \"the thing I never flaked on.\" She learned how to play the piano at the age of four and went on to learn how to play the harp at the age of eight. A childhood teacher recently sent Joanna sheet music of her first ever composition. It was about a camel.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Her very first song was titled \"Flying a Kite.\"\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>When Joanna was at Mills College, she started out as a composition major, but soon switched over to a self study in West African music and then later to creative writing. She claims her poems were terrible, until she realized that they were actually songs.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Joanna is a huge Nabokov fan. She went as far as writing a paper in college on the color mauve's role in \u003cem>Lolita\u003c/em>, one of her all-time favorite pieces of literature.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Joanna says she's \"kind of a jock about songwriting.\" When she gets it right, she bro-yells \"YEAH!\" and goes around kicking things.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>She sang all the harmonies on her last album \u003cem>Divers\u003c/em> to keep up the theme of time folding onto itself. She wanted the layered vocals to symbolize different versions of herself traveling from parallel universes to sing in harmony with each other.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>When asked to explain the concept behind \u003cem>Divers\u003c/em>, Joanna shared that she wanted it to evoke the questions: \"What's the point? Why are we all doing [this] if it all gets extinguished in the end?\" She also intended for the album to represent someone who has just realized that we all die and the journey it takes to process that information.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>On the last record, Joanna had a rule that no collaborator would be in the room for more than one purpose to ensure clarity of purpose.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Before recording \u003cem>Have One on Me\u003c/em>, Joanna tried to sing one day and heard a pop and a hiss emanate from her throat, like opening a soda can. Turns out she had developed nodes on her vocal chords from extensive touring without proper vocal training. Surgery was encouraged, but because of horror stories Joanna had heard about how some who undergo the process lose their ability to sing, she decided to go on a two-month vocal rest instead.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>She would walk around with a button that explained that she wasn't speaking and a dry-erase board to communicate. Because her hometown of Nevada City is also home to a lot of performance artists and buskers, many thought it was an art project. So she changed the language, only to then have people assume she had a \"horrible disease\" or that she was dying. She eventually figured out the right message to get the point across.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>After her vocal rest, she gained 5 notes at the top of her register and 6 notes at the bottom. She now practices \"the same hygiene\" on her voice as she does with her harp, by doing vocal exercises for 30 minutes before every sound check, rehearsal and performance.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>The way she found out Paul Thomas Anderson wanted her to be in the film adaptation of \u003cem>Inherent Vice\u003c/em>: Warner Bros. called out of the blue asking for measurements.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Like the rest of us, Joanna also procrastinates. Her poison: shopping for antiques online.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Joanna loves Kate Bush, but did not fall in love with her until after she had debuted on the musical scene, despite many critics claiming Bush must have been a strong influence early on.\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>Her favorite methods of self-care and healing: going on walks and cooking for others. \"I love the slowness of it.\"\u003c/li>\n\u003c/ul>\n\u003cul>\n\u003cli>When she's making music, Joanna doesn't imagine anyone ever hearing her songs. Instead, she works from the mindset of living in a post-apocalyptic world and recording from a bomb shelter.\u003c/li>\n\u003c/ul>\n\u003cp>Want to keep your Joanna Newsom education going, check out all these big words from \u003cem>Divers\u003c/em>:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Irish singer-songwriter Sinead O’Connor has been found safe, suburban Chicago police said Monday.\u003c/p>\n\u003cp>Wilmette police spokesman Eric Peterson said O’Connor has been located, though he wouldn’t say where she was found or release details about her condition. But he said the singer “is safe and no longer considered a missing or endangered person.”\u003c/p>\n\u003cp>Police issued a well-being check for O’Connor earlier Monday after she reportedly went for a bicycle ride early Sunday and never returned. It’s unclear why she was in Wilmette, an upper-class suburb about 15 miles north of Chicago along Lake Michigan.\u003c/p>\n\u003cp>Police said they received a call from someone expressing concern after she didn’t return.\u003c/p>\n\u003cp>Police said no other information was immediately available about O’Connor, who scored an international hit 1990 with her rendition of Prince’s ballad “Nothing Compares 2 U.” The gifted but troubled singer-songwriter is known as much for her fierce and expressive voice as her shaved head and blunt criticism of the Catholic Church and other institutions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>O’Connor has performed at least twice in Chicago this year, with blues legend Buddy Guy in January and at a cancer charity fundraiser at the Metro Chicago theater in March.\u003c/p>\n\u003cp>Paradigm Talent Agency, which represents O’Connor, declined comment when reached by The Associated Press on Monday. Her publicist didn’t immediately return a message.\u003c/p>\n\u003cp>O’Connor was sued this month by comedian Arsenio Hall over a Facebook post that stated investigators looking into the supplier of drugs used by Prince should question Hall. She also accused him of drugging her. The lawsuit seeks $5 million.\u003c/p>\n\u003cp>In November, she posted a message on Facebook saying she had taken an overdose at a hotel somewhere in Ireland. Irish police later said she had been found safe. The next month, O’Connor posted on Facebook that she had been detained in a hospital for mental health evaluation.\u003c/p>\n\u003cp>Her rendition of “Nothing Compares 2 U” topped charts from Europe to Australia, and earned O’Connor multiple Grammy Award nominations. In 1991, O’Connor was named Artist of the Year by Rolling Stone.\u003c/p>\n\u003cp>But her blunt-spoken manner often drew criticism, especially in the United States.\u003c/p>\n\u003cp>In 1990, some U.S radio stations refused to play her music after she banned the “Star-Spangled Banner” from her show in New Jersey. An outspoken critic of the Roman Catholic Church over the way it handled sexual abuse by clergy, she drew intense criticism in 1992 when she ripped up a picture of Pope John Paul II on “Saturday Night Live.”\u003c/p>\n\u003cp>Over the years O’Connor has voiced support for other young female performers facing intense public scrutiny, including Britney Spears and Miley Cyrus.\u003c/p>\n\u003cp>O’Connor, who was diagnosed with bipolar disorder more than a decade ago, has spoken of her mental health problems. She told Oprah Winfrey in 2007 that before her diagnosis she had struggled with thoughts of suicide and overwhelming fear. She said at the time that medication had helped her find more balance, but “it’s a work in progress.”\u003c/p>\n\u003cp>In 2012, O’Connor she cancelled a planned tour, saying she her doctor had told her to rest after a “very serious breakdown.”\u003c/p>\n\u003cp>O’Connor, who has been married four times and has four children, signed a deal in 2014 to write a memoir.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Jill Lawless in London and Kristin M. Hall in Nashville, Tennessee, contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Irish singer-songwriter Sinead O’Connor has been found safe, suburban Chicago police said Monday.\u003c/p>\n\u003cp>Wilmette police spokesman Eric Peterson said O’Connor has been located, though he wouldn’t say where she was found or release details about her condition. But he said the singer “is safe and no longer considered a missing or endangered person.”\u003c/p>\n\u003cp>Police issued a well-being check for O’Connor earlier Monday after she reportedly went for a bicycle ride early Sunday and never returned. It’s unclear why she was in Wilmette, an upper-class suburb about 15 miles north of Chicago along Lake Michigan.\u003c/p>\n\u003cp>Police said they received a call from someone expressing concern after she didn’t return.\u003c/p>\n\u003cp>Police said no other information was immediately available about O’Connor, who scored an international hit 1990 with her rendition of Prince’s ballad “Nothing Compares 2 U.” The gifted but troubled singer-songwriter is known as much for her fierce and expressive voice as her shaved head and blunt criticism of the Catholic Church and other institutions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>O’Connor has performed at least twice in Chicago this year, with blues legend Buddy Guy in January and at a cancer charity fundraiser at the Metro Chicago theater in March.\u003c/p>\n\u003cp>Paradigm Talent Agency, which represents O’Connor, declined comment when reached by The Associated Press on Monday. Her publicist didn’t immediately return a message.\u003c/p>\n\u003cp>O’Connor was sued this month by comedian Arsenio Hall over a Facebook post that stated investigators looking into the supplier of drugs used by Prince should question Hall. She also accused him of drugging her. The lawsuit seeks $5 million.\u003c/p>\n\u003cp>In November, she posted a message on Facebook saying she had taken an overdose at a hotel somewhere in Ireland. Irish police later said she had been found safe. The next month, O’Connor posted on Facebook that she had been detained in a hospital for mental health evaluation.\u003c/p>\n\u003cp>Her rendition of “Nothing Compares 2 U” topped charts from Europe to Australia, and earned O’Connor multiple Grammy Award nominations. In 1991, O’Connor was named Artist of the Year by Rolling Stone.\u003c/p>\n\u003cp>But her blunt-spoken manner often drew criticism, especially in the United States.\u003c/p>\n\u003cp>In 1990, some U.S radio stations refused to play her music after she banned the “Star-Spangled Banner” from her show in New Jersey. An outspoken critic of the Roman Catholic Church over the way it handled sexual abuse by clergy, she drew intense criticism in 1992 when she ripped up a picture of Pope John Paul II on “Saturday Night Live.”\u003c/p>\n\u003cp>Over the years O’Connor has voiced support for other young female performers facing intense public scrutiny, including Britney Spears and Miley Cyrus.\u003c/p>\n\u003cp>O’Connor, who was diagnosed with bipolar disorder more than a decade ago, has spoken of her mental health problems. She told Oprah Winfrey in 2007 that before her diagnosis she had struggled with thoughts of suicide and overwhelming fear. She said at the time that medication had helped her find more balance, but “it’s a work in progress.”\u003c/p>\n\u003cp>In 2012, O’Connor she cancelled a planned tour, saying she her doctor had told her to rest after a “very serious breakdown.”\u003c/p>\n\u003cp>O’Connor, who has been married four times and has four children, signed a deal in 2014 to write a memoir.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Associated Press writers Jill Lawless in London and Kristin M. Hall in Nashville, Tennessee, contributed to this report.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On a bright morning in Alameda in early May, a bluegrass band plays to about 30 people in sun hats and T-shirts. The crowd is here to tour a native plant garden, but the music commands most of the attention. The four-piece band exchanges virtuosic solos, and the crowd responds clapping along.\u003c/p>\n\u003cp>But one look would tell you this group isn’t an ordinary bluegrass band.\u003c/p>\n\u003cp>At the end of the song, the guitarist, Daisy Kerr, steps forward to the microphone. “We’re the \u003ca href=\"http://www.ramblingminors.com/\">Rambling Minors\u003c/a>,” she announces, adding “Minors: M-I-N-O-R-S.”\u003c/p>\n\u003cp>[soundcloud url=\"https://api.soundcloud.com/tracks/264036523\" 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>Daisy Kerr is 11 years old. She’s slight, almost dwarfed by her adult-size Martin D-28 guitar. On either side of her stand Miles and Matteo Quayle. Miles is 12, and an accomplished fiddle player. His brother, who goes by Teo, plays the mandolin. Andrew Osborn, 13, stands tall behind Daisy and Miles, easily handling his stand-up bass. Despite their mature sound, none of them have started high school yet.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The most surprising thing about the members of this band isn’t their age. It’s that four California youngsters have dedicated themselves to a genre more closely associated with Southern old-timers. Most of the Minors have been playing since they were big enough to hold an instrument, but they mostly played with their families and music teachers. So, when they found other kids who loved bluegrass as much as they did, they were pretty excited.\u003c/p>\n\u003cfigure id=\"attachment_10954686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10954686 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg\" alt=\"The Rambling Minors perform at the “Bringing Back the Natives” garden tour in Alameda. \" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rambling Minors perform at the 'Bringing Back the Natives' garden tour in Alameda. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It all started in 2014 at the \u003ca href=\"https://www.cbaweb.org/Events/FathersDayFestival\">Father’s Day Bluegrass Festival in Grass Valley\u003c/a>. The four Minors, along with former bandmate D’Jango Ruckrich, met through the festival’s Kids on Bluegrass program. The following year, Miles and Teo’s mom, Maria Quayle, arranged a meetup with D’Jango’s parents, and Daisy joined in. They jammed together for the first time at the festival campground, surrounded by pine trees, tents and pickup trucks. Quayle remembers her boys’ excitement.\u003c/p>\n\u003cp>“I think that something really just clicked,” she recalls. “It was like, ‘Wow, I’ve just met some kids that can play like us and enjoy the music, and they play Frisbee!’ ”\u003c/p>\n\u003cp>Before they even had a band name, they scored their first gig, performing at a harvest festival at Full Belly Farm in Yolo County. Since then, they’ve played all kinds of shows -- at festivals, on radio stations, even opening for award-winning fiddler Michael Cleveland. But they still needed a bass player, and Andrew was a perfect fit. He’s been providing the rhythm and the bass since February.\u003c/p>\n\u003cfigure id=\"attachment_10954689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10954689\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg\" alt=\"Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-1180x772.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-960x628.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s really nice to see young people really finding what it is they love and really digging deep into that thing,” says musician Tristan Clarridge. He’s also Miles and Teo’s music teacher, and he says of the Rambling Minors: “Even aside from the wonderful music they’re playing, it’s just a great experience for young people to be having.”\u003c/p>\n\u003cp>The group is busy practicing for a triumphant return to the stage at the Father’s Day Bluegrass Festival the weekend of June 16. They’ve been invited to perform on one of the big stages, only one year after the group first jammed in the campground.\u003c/p>\n\u003cp>Teo is excited. “It feels actually really good to be onstage. It feels like a big accomplishment,” he says.\u003c/p>\n\u003cp>Beyond the upcoming performance, the group has other dreams. When asked where he’d like to see the Rambling Minors go, a smile breaks across his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The Grand Ole Opry,” Teo says.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a bright morning in Alameda in early May, a bluegrass band plays to about 30 people in sun hats and T-shirts. The crowd is here to tour a native plant garden, but the music commands most of the attention. The four-piece band exchanges virtuosic solos, and the crowd responds clapping along.\u003c/p>\n\u003cp>But one look would tell you this group isn’t an ordinary bluegrass band.\u003c/p>\n\u003cp>At the end of the song, the guitarist, Daisy Kerr, steps forward to the microphone. “We’re the \u003ca href=\"http://www.ramblingminors.com/\">Rambling Minors\u003c/a>,” she announces, adding “Minors: M-I-N-O-R-S.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='100%' height='166'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=https://api.soundcloud.com/tracks/264036523&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/264036523'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Daisy Kerr is 11 years old. She’s slight, almost dwarfed by her adult-size Martin D-28 guitar. On either side of her stand Miles and Matteo Quayle. Miles is 12, and an accomplished fiddle player. His brother, who goes by Teo, plays the mandolin. Andrew Osborn, 13, stands tall behind Daisy and Miles, easily handling his stand-up bass. Despite their mature sound, none of them have started high school yet.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The most surprising thing about the members of this band isn’t their age. It’s that four California youngsters have dedicated themselves to a genre more closely associated with Southern old-timers. Most of the Minors have been playing since they were big enough to hold an instrument, but they mostly played with their families and music teachers. So, when they found other kids who loved bluegrass as much as they did, they were pretty excited.\u003c/p>\n\u003cfigure id=\"attachment_10954686\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-10954686 size-medium\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg\" alt=\"The Rambling Minors perform at the “Bringing Back the Natives” garden tour in Alameda. \" width=\"800\" height=\"532\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-800x532.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-400x266.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-1180x785.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/RamblinMinors2-960x639.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rambling Minors perform at the 'Bringing Back the Natives' garden tour in Alameda. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It all started in 2014 at the \u003ca href=\"https://www.cbaweb.org/Events/FathersDayFestival\">Father’s Day Bluegrass Festival in Grass Valley\u003c/a>. The four Minors, along with former bandmate D’Jango Ruckrich, met through the festival’s Kids on Bluegrass program. The following year, Miles and Teo’s mom, Maria Quayle, arranged a meetup with D’Jango’s parents, and Daisy joined in. They jammed together for the first time at the festival campground, surrounded by pine trees, tents and pickup trucks. Quayle remembers her boys’ excitement.\u003c/p>\n\u003cp>“I think that something really just clicked,” she recalls. “It was like, ‘Wow, I’ve just met some kids that can play like us and enjoy the music, and they play Frisbee!’ ”\u003c/p>\n\u003cp>Before they even had a band name, they scored their first gig, performing at a harvest festival at Full Belly Farm in Yolo County. Since then, they’ve played all kinds of shows -- at festivals, on radio stations, even opening for award-winning fiddler Michael Cleveland. But they still needed a bass player, and Andrew was a perfect fit. He’s been providing the rhythm and the bass since February.\u003c/p>\n\u003cfigure id=\"attachment_10954689\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-10954689\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg\" alt=\"Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville.\" width=\"800\" height=\"523\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-800x523.jpg 800w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-400x262.jpg 400w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-1180x772.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/10/2016/05/DaisyExercises-960x628.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Daisy Kerr performs vocal exercises during a workshop with musician Keith Little at her home in Placerville. \u003ccite>(Lacy Jane Roberts/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s really nice to see young people really finding what it is they love and really digging deep into that thing,” says musician Tristan Clarridge. He’s also Miles and Teo’s music teacher, and he says of the Rambling Minors: “Even aside from the wonderful music they’re playing, it’s just a great experience for young people to be having.”\u003c/p>\n\u003cp>The group is busy practicing for a triumphant return to the stage at the Father’s Day Bluegrass Festival the weekend of June 16. They’ve been invited to perform on one of the big stages, only one year after the group first jammed in the campground.\u003c/p>\n\u003cp>Teo is excited. “It feels actually really good to be onstage. It feels like a big accomplishment,” he says.\u003c/p>\n\u003cp>Beyond the upcoming performance, the group has other dreams. When asked where he’d like to see the Rambling Minors go, a smile breaks across his face.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The Grand Ole Opry,” Teo says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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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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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"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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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"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",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"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
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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