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"content": "\u003cp>A Minnesota judge appointed a corporate trust company on Wednesday to temporarily oversee Prince’s multimillion-dollar estate, saying the emergency appointment was necessary because the superstar musician doesn’t appear to have a will and immediate decisions must be made about his business interests.\u003c/p>\n\u003cp>Judge Kevin Eide granted a request from Prince’s sister to appoint Bremer Trust as special administrator, giving the company authority to manage and supervise Prince’s assets and identify his heirs. Eide said Prince had no appointed personal representative but had substantial assets and owned businesses that require immediate attention and ongoing management.\u003c/p>\n\u003cp>The judge also noted that identities and addresses of Prince’s heirs need to be determined. Prince’s only full sibling, Tyka Nelson, requested the move Tuesday, telling the court she believed her brother didn’t have a will. Prince also has five surviving half-siblings who could share in the estate.\u003c/p>\n\u003cp>Eide wrote that Prince died “intestate,” meaning he did not have a valid will, and said there was no pending application or petition for probate of a will in any court. However, someone could still come forward with a will or trust document, which happened after Michael Jackson died in June 2009. Jackson’s longtime lawyer John Branca filed a will six days after his death, upending moves by Jackson’s mother to become his estate’s executor based on her assumption there wasn’t a will.\u003c/p>\n\u003cp>For now, Bremer Trust will act as special administrator for six months or until a personal representative is appointed, whichever is less.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Later Wednesday, the estate already had its first claim against it, with a filing from a California man who claimed that Prince had transferred ownership of his music catalog to him in 1995.\u003c/p>\n\u003cp>Prince, 57, died last week at Paisley Park, his famous home and recording studio complex in suburban Minneapolis. His cause of death hasn’t been released. An autopsy was conducted Friday, but results aren’t expected to be released for weeks.\u003c/p>\n\u003cp>The value of his estate isn’t known. Prince made hundreds of millions of dollars for record companies, concert venues and others, and the outpouring of grief and nostalgia after his death prompted fans to buy 2.3 million of his songs in just three days.\u003c/p>\n\u003cp>Prince also owned a dozen properties in Minnesota, most of it undeveloped land and some houses for relatives, worth about $27 million, according to public records. He also sold more than 100 million albums, and concert industry magazine Pollstar reported that in the years Prince’s tours topped the charts — 10 years over four decades performing — they raked in $225 million in ticket sales.\u003c/p>\n\u003cp>But it’s not clear how much money Prince had when he died, given that he had to pay record labels and staff and cover other expenses.\u003c/p>\n\u003cp>On Wednesday, Eide said Bremer Trust was in the best position to handle Prince’s estate. The judge noted that its affiliate, Bremer Bank, had worked with Prince and has knowledge of his personal and business finances.\u003c/p>\n\u003cp>The judge said Nelson and one of Prince’s half-brothers, Omarr Baker, were part of the telephone conference that prompted his decision Wednesday. The judge said no one objected to appointing a special administrator.\u003c/p>\n\u003cp>Under Minnesota law, if a person dies without a will — and with no surviving parents, children, or grandchildren — the next people in line to share in the estate are the surviving siblings, including half-siblings. Prince wasn’t married and had no known living children.\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>A Minnesota judge appointed a corporate trust company on Wednesday to temporarily oversee Prince’s multimillion-dollar estate, saying the emergency appointment was necessary because the superstar musician doesn’t appear to have a will and immediate decisions must be made about his business interests.\u003c/p>\n\u003cp>Judge Kevin Eide granted a request from Prince’s sister to appoint Bremer Trust as special administrator, giving the company authority to manage and supervise Prince’s assets and identify his heirs. Eide said Prince had no appointed personal representative but had substantial assets and owned businesses that require immediate attention and ongoing management.\u003c/p>\n\u003cp>The judge also noted that identities and addresses of Prince’s heirs need to be determined. Prince’s only full sibling, Tyka Nelson, requested the move Tuesday, telling the court she believed her brother didn’t have a will. Prince also has five surviving half-siblings who could share in the estate.\u003c/p>\n\u003cp>Eide wrote that Prince died “intestate,” meaning he did not have a valid will, and said there was no pending application or petition for probate of a will in any court. However, someone could still come forward with a will or trust document, which happened after Michael Jackson died in June 2009. Jackson’s longtime lawyer John Branca filed a will six days after his death, upending moves by Jackson’s mother to become his estate’s executor based on her assumption there wasn’t a will.\u003c/p>\n\u003cp>For now, Bremer Trust will act as special administrator for six months or until a personal representative is appointed, whichever is less.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Later Wednesday, the estate already had its first claim against it, with a filing from a California man who claimed that Prince had transferred ownership of his music catalog to him in 1995.\u003c/p>\n\u003cp>Prince, 57, died last week at Paisley Park, his famous home and recording studio complex in suburban Minneapolis. His cause of death hasn’t been released. An autopsy was conducted Friday, but results aren’t expected to be released for weeks.\u003c/p>\n\u003cp>The value of his estate isn’t known. Prince made hundreds of millions of dollars for record companies, concert venues and others, and the outpouring of grief and nostalgia after his death prompted fans to buy 2.3 million of his songs in just three days.\u003c/p>\n\u003cp>Prince also owned a dozen properties in Minnesota, most of it undeveloped land and some houses for relatives, worth about $27 million, according to public records. He also sold more than 100 million albums, and concert industry magazine Pollstar reported that in the years Prince’s tours topped the charts — 10 years over four decades performing — they raked in $225 million in ticket sales.\u003c/p>\n\u003cp>But it’s not clear how much money Prince had when he died, given that he had to pay record labels and staff and cover other expenses.\u003c/p>\n\u003cp>On Wednesday, Eide said Bremer Trust was in the best position to handle Prince’s estate. The judge noted that its affiliate, Bremer Bank, had worked with Prince and has knowledge of his personal and business finances.\u003c/p>\n\u003cp>The judge said Nelson and one of Prince’s half-brothers, Omarr Baker, were part of the telephone conference that prompted his decision Wednesday. The judge said no one objected to appointing a special administrator.\u003c/p>\n\u003cp>Under Minnesota law, if a person dies without a will — and with no surviving parents, children, or grandchildren — the next people in line to share in the estate are the surviving siblings, including half-siblings. Prince wasn’t married and had no known living children.\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>Mourning Prince and celebrating Beyonce, as if we could talk about anything else.\u003c/p>\n\u003cp>[audio src=\"[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/05/LEMONADE03.mp3\" title=\"Let's Go Crazy Over Beyoncé's LEMONADE\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we mourn Prince and share some facts about his life you might not know:\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://giphy.com/gifs/originals-prince-parker-jackson-when-doves-cry-xT1XGB0FtCkxiFeiU8\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then we make ourselves feel better by celebrating and analyzing Beyoncé's \u003cem>LEMONADE\u003c/em>:\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/04/23/beyonces-lemonade-isnt-the-first-time-shes-used-divorce-to-play-with-our-emotions/\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/04/24/beyonce-11-lemonade-lyrics-that-have-jay-z-researching-witness-protection-programs/\u003c/p>\n\u003cp>And we cap things off with a musical bridge between these two legends -- their joint Grammys performance from 2004:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YOs_XbVZUiA\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://ww2.kqed.org/pop/2016/04/24/beyonce-11-lemonade-lyrics-that-have-jay-z-researching-witness-protection-programs/\u003c/p>\n\u003cp>And we cap things off with a musical bridge between these two legends -- their joint Grammys performance from 2004:\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/YOs_XbVZUiA'\n title='//www.youtube.com/embed/YOs_XbVZUiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b> \u003cem>April 28, 2pm\u003c/em>\u003c/p>\n\u003cp>Sheriff’s deputies investigating the death of superstar Prince have reportedly found prescription painkillers in the artist’s home and are asking for assistance from the Drug Enforcement Agency (DEA), according \u003ca href=\"http://www.nbcnews.com/pop-culture/celebrity/prince-s-death-local-investigators-ask-dea-s-help-case-n563766\" target=\"_blank\" rel=\"noopener\">to several news reports\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”eVNGxOdzC7VuxQMqhL3CzPpAQil0CMPf”]\u003c/p>\n\u003cp>Prince died suddenly last Thursday at the age of 57 at his Minnesota home, less than a week after his plane made an emergency landing in Illinois because he was experiencing health issues, \u003ca href=\"http://www.nbcnews.com/pop-culture/music/prince-s-mysterious-final-flight-stopped-unresponsive-male-source-n560416\" target=\"_blank\" rel=\"noopener\">his representatives later said\u003c/a>.\u003c/p>\n\u003cp>It is unclear whether or not the painkillers played a role in the musician’s death; the day after Prince died, an autopsy was conducted but officials have said that the results would not be ready for weeks. The Carver County Sheriff’s office has reached out to the DEA for assistance in determining where the pills came from and what prescriptions Prince had obtained.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Some of Prince’s friends \u003ca href=\"http://www.tmz.com/2016/04/27/prince-percocet-addiction-doctors/\" target=\"_blank\" rel=\"noopener\">told TMZ\u003c/a> that the artist had been taking Percocet since 2009 and continued to do so after undergoing hip surgery the following year.\u003c/p>\n\u003cp>\u003cem>UPDATE:\u003c/em> The Associated Press reports that the Carver County Sheriff’s office denies reaching out to the DEA for assistance and has convinced a judge to seal the search warrant being used in their investigation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have not asked them for help, or asked them to be a part of the investigation,” Carver County Deputy Sheriff Jason Kamerud told the Associated Press. “We might contact them to help us, but that hasn’t happened. We don’t have the medical examiner’s report yet. We don’t know to what extent pharmaceuticals could be a part of this.”\u003c/p>\n\n",
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"content": "\u003cp>Punk rock mainstays NOFX have been defying music industry trends for three decades. Now the band’s members can add a new achievement to their unlikely success story: Best-selling authors.\u003c/p>\n\u003cp>The collaborative autobiography \u003cem>Hepatitis Bathtub and Other Stories\u003c/em> reached No. 9 on the \u003cem>New York Times\u003c/em> best seller list for paperback nonfiction this week, and the band is on a tour that alternates shows with book signing events.\u003c/p>\n\u003cp>It has them exchanging graffiti-covered backstage rooms and music venues for the more erudite surroundings of the Harvard University book store in Boston on Thursday, the Strand in New York on Friday and Politics and Prose in Washington on Saturday.\u003c/p>\n\u003cp>Singer and bass player Mike Burkett, drummer Erik “Smelly” Sandin and guitarists Eric Melvin and Aaron “El Hefe” Abeyta spoke to The Associated Press on Tuesday at novelist Ann Patchett’s Parnassus Books in Nashville before signing books and paraphernalia for a crowd of fans lined up through the store, many with children — and sometimes grandchildren — in tow.\u003c/p>\n\u003cp>The book written with documentary filmmaker Jeff Alulis features first-person accounts about NOFX’s origins amid the violence of the Los Angeles punk scene in the early 1980s, the damaging influence of unsavory characters surrounding the band in its early years and members’ struggles with drugs, alcohol and general debauchery. All of that was followed by seemingly sudden success following Nirvana’s breakout and the ensuing boom for California punk bands like Green Day and Rancid in the early 1990s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Burkett, known universally as “Fat Mike,” credits the band’s longevity to the fact that none of the members ever thought they’d make any money, and because they remained independent.\u003c/p>\n\u003cp>“Why did kids like listening to punk rock? Because it was secret music,” he said. “That’s why we never went to a major label. If everybody likes it, it’s no fun to like.”\u003c/p>\n\u003cp>Burkett doesn’t apologize for his blunt descriptions in the books of his forays into bondage, bodily fluids and other fetishism. That’s in keeping with the overall approach of the band, he said.\u003c/p>\n\u003cp>“You’ve always got to push. You’ve got to do things different than what’s been done,” Burkett said. “Other bands don’t want to offend audiences. I love offending audiences.”\u003c/p>\n\u003cp>Still, Burkett was shaken by the November attacks by Islamic extremists that left 89 people dead at an Eagles of Death Metal show at a Paris venue where NOFX has played before.\u003c/p>\n\u003cp>“I’m the cross-dressing Jew pervert, singing songs against all religions,” Burkett said. “We’ve always kept going with lyrics that are totally anti-social and not accepted. But now there’s people that will kill you for that.”\u003c/p>\n\u003cp>The band has since ramped up security for its European shows, hiring a former Navy SEAL to coordinate protection for the band.\u003c/p>\n\u003cp>In the book, amusing stories like the inadvertent theft of the Red Hot Chili Peppers’ stage costumes are balanced with darker memories. For example, guitarist Melvin for the first time discloses to bandmates, family and the public that he was sexually abused by a schoolmate’s father as a child.\u003c/p>\n\u003cp>“For years I just kept it inside, not talking about it,” said Melvin. “People are afraid for many different reasons to talk about it — and what you need to do is talk about it and to sort it out.”\u003c/p>\n\u003cp>Drummer Sandin and band mates candidly discuss their struggles to cope with his worsening heroin addiction, followed by his successful effort to quit taking drugs even as his bandmates continue to revel in mind-altering substances.\u003c/p>\n\u003cp>“They gave me the ultimatum that I either needed to get sober or I was going to die for sure,” Sandlin said. “So I got sober and I got clean, and now I’m on the outs because they’re partying and I’m kind of to myself.”\u003c/p>\n\u003cp>“But I’m happy where I’m at,” he said.\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>Punk rock mainstays NOFX have been defying music industry trends for three decades. Now the band’s members can add a new achievement to their unlikely success story: Best-selling authors.\u003c/p>\n\u003cp>The collaborative autobiography \u003cem>Hepatitis Bathtub and Other Stories\u003c/em> reached No. 9 on the \u003cem>New York Times\u003c/em> best seller list for paperback nonfiction this week, and the band is on a tour that alternates shows with book signing events.\u003c/p>\n\u003cp>It has them exchanging graffiti-covered backstage rooms and music venues for the more erudite surroundings of the Harvard University book store in Boston on Thursday, the Strand in New York on Friday and Politics and Prose in Washington on Saturday.\u003c/p>\n\u003cp>Singer and bass player Mike Burkett, drummer Erik “Smelly” Sandin and guitarists Eric Melvin and Aaron “El Hefe” Abeyta spoke to The Associated Press on Tuesday at novelist Ann Patchett’s Parnassus Books in Nashville before signing books and paraphernalia for a crowd of fans lined up through the store, many with children — and sometimes grandchildren — in tow.\u003c/p>\n\u003cp>The book written with documentary filmmaker Jeff Alulis features first-person accounts about NOFX’s origins amid the violence of the Los Angeles punk scene in the early 1980s, the damaging influence of unsavory characters surrounding the band in its early years and members’ struggles with drugs, alcohol and general debauchery. All of that was followed by seemingly sudden success following Nirvana’s breakout and the ensuing boom for California punk bands like Green Day and Rancid in the early 1990s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Burkett, known universally as “Fat Mike,” credits the band’s longevity to the fact that none of the members ever thought they’d make any money, and because they remained independent.\u003c/p>\n\u003cp>“Why did kids like listening to punk rock? Because it was secret music,” he said. “That’s why we never went to a major label. If everybody likes it, it’s no fun to like.”\u003c/p>\n\u003cp>Burkett doesn’t apologize for his blunt descriptions in the books of his forays into bondage, bodily fluids and other fetishism. That’s in keeping with the overall approach of the band, he said.\u003c/p>\n\u003cp>“You’ve always got to push. You’ve got to do things different than what’s been done,” Burkett said. “Other bands don’t want to offend audiences. I love offending audiences.”\u003c/p>\n\u003cp>Still, Burkett was shaken by the November attacks by Islamic extremists that left 89 people dead at an Eagles of Death Metal show at a Paris venue where NOFX has played before.\u003c/p>\n\u003cp>“I’m the cross-dressing Jew pervert, singing songs against all religions,” Burkett said. “We’ve always kept going with lyrics that are totally anti-social and not accepted. But now there’s people that will kill you for that.”\u003c/p>\n\u003cp>The band has since ramped up security for its European shows, hiring a former Navy SEAL to coordinate protection for the band.\u003c/p>\n\u003cp>In the book, amusing stories like the inadvertent theft of the Red Hot Chili Peppers’ stage costumes are balanced with darker memories. For example, guitarist Melvin for the first time discloses to bandmates, family and the public that he was sexually abused by a schoolmate’s father as a child.\u003c/p>\n\u003cp>“For years I just kept it inside, not talking about it,” said Melvin. “People are afraid for many different reasons to talk about it — and what you need to do is talk about it and to sort it out.”\u003c/p>\n\u003cp>Drummer Sandin and band mates candidly discuss their struggles to cope with his worsening heroin addiction, followed by his successful effort to quit taking drugs even as his bandmates continue to revel in mind-altering substances.\u003c/p>\n\u003cp>“They gave me the ultimatum that I either needed to get sober or I was going to die for sure,” Sandlin said. “So I got sober and I got clean, and now I’m on the outs because they’re partying and I’m kind of to myself.”\u003c/p>\n\u003cp>“But I’m happy where I’m at,” he said.\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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"title": "CubaCaribe Festival Takes Stock a Year into the 'Great Cuban Thaw'",
"headTitle": "CubaCaribe Festival Takes Stock a Year into the ‘Great Cuban Thaw’ | KQED",
"content": "\u003cp>The annual \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe dance festival\u003c/a> hit Oakland last weekend, with its “Cuba on my mind” theme for 2016 arriving presciently a year into the Great Cuban Thaw. It’s also been barely a month since Barack Obama’s historic visit to Havana, in the aftermath of which Fidel Castro groused, “we do not need the empire to give us anything.”\u003c/p>\n\u003cp>But it’s safe to say the “empire” itself has greatly benefited from the Cuban diaspora. The vibrant Caribbean music and dance scene in the San Francisco Bay Area attests to the longstanding search by Cuban artists and others from nearby islands for freedom of expression and collaboration opportunities. Cuban ballet dancers, for example, continue to defect to the west, and many of them end up in the Bay Area. As Joan Acocella noted in \u003ca href=\"http://www.newyorker.com/culture/cultural-comment/growing-pains-in-cuban-dance\" target=\"_blank\" rel=\"noopener\">a column last year\u003c/a> for \u003cem>The New Yorker\u003c/em> about the potential impact of the loosening of the trade and travel embargo on “the island’s most important artistic exports, music and dance,” these talented performers crave the modern, often experimental, repertory that is not permitted to flourish in authoritarian soil.\u003c/p>\n\u003cp>The three choreographers represented in the second weekend of the CubaCaribe festival riff on the “Cuba on my mind” theme with imaginative results. Revolution – in some form – is definitely on their minds.\u003c/p>\n\u003cfigure id=\"attachment_11528228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528228\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg\" alt=\"George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon's ‘Chalk Outlines’\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1180x758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1920x1234.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-960x617.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon’s ‘Chalk Outlines (Excerpts)’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Chalk Outlines (Excerpts)\u003c/em>, a dance, poetry, vocal music, and theater piece created in response to deaths of non-whites as a result of police violence from choreographer Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a>, commanding vocalists Valerie Troutt and Rashida Chase sing of Africa, “the mother of civilization,” and invoke Moses (“go tell Pharaoh/let my people go.”) The dancers, all in spanking white, perform crisp and ebullient street dance-style moves, tracing the shapes of corpses with their own bodies. Do we acknowledge the individual humanity of the victims of oppression, Klaymoon seems to be asking with this work, or are they just statistics and chalk outlines at a crime scene?\u003c/p>\n\u003caside class=\"aligncenter\">[vimeo 113939924 w=640&h=360]\u003c/aside>\n\u003cp>With her work \u003cem>Gracias A La Vida\u003c/em>, guest choreographer Krissy Keefer assembles a soundtrack of protest songs from Cuba, Peru, and Argentina, alongside tracks well known to U.S. audiences like Nina Simone’s “Mississippi Goddam,” Neil Young’s “Southern Man,” and Marvin Gaye’s “What’s Going On.” In Keefer’s setting of the music, six dancers from the Alayo Dance Company wield wooden stools and a bracing contemporary dance vocabulary in their evolution from prisoners to freedom fighters, egged on by an impeccable ensemble of musicians.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, CubaCaribe festival founder Ramón Ramos Alayo’s powerful, grounded, African-inspired movement evokes an astonishing meditation on such themes as the dehumanizing side of technology, the complex nature of transitions, and the fragility of the artistic soul, in three short pieces that bookend the program.\u003c/p>\n\u003cp>\u003cem>Where the Butterflies go (A Donde Van Las Mariposas)\u003c/em> identifies the artist with nature’s most fragile and short-lived creatures, darting above a rippling stream that provides essential nourishment. \u003cem>24/7\u003c/em> puts Ramos Ayala’s dancers in an urban setting, where bird calls are drowned out by the static, buzzing, and ringing of phones. Prisoners of invisible handheld devices, the dancers wear tortured, sleep-deprived stares and strut like robots. As the people of Cuba clamor for technology to underpin a new economic order, \u003cem>24/7\u003c/em> seems to warn against buying into a tech-utopian idyll.\u003c/p>\n\u003cfigure id=\"attachment_11528226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528226\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg\" alt=\"Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo's ‘Where the Butterflies Go / A Donde Van las Mariposas’\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo’s ‘Where the Butterflies Go / A Donde Van las Mariposas’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the melancholy but gripping \u003cem>Goodbye\u003c/em>. Enveloped in a swirl of turquoise and a bright red manton, with a sexy cry in her voice, singer Destani Wolf, backed by a splendid trio of musicians, wanders the stage telling us through song that no one knows what tomorrow will bring. Ramos Alayo’s fluid, acrobatic dance moves underscore a resolve to live in the passion of the moment. One of several forceful alliances in this piece is a duet of sisterhood featuring dancers Fredrika Keefer and Jillian Hibbert. Their bond is a glorious mixture of abandon and control that promises shelter in an era of instability and transience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The third and final weekend of the festival moves to San Francisco’s Brava Theater on Friday, Apr. 29 and Saturday, Apr. 30 and promises more of a folkloric bent, with Haitian dance, capoeira, samba de gafieira, and more on the schedule. The festival is also offering dance workshops, and a screening of the documentary \u003cem>They are We\u003c/em> (on Thursday, Apr. 28 at the Museum of the African Disapora) which recounts how an African clan, riven by the slave trade 170 years ago, is reunited through its tribal music. Details on CubaCaribe’s \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>.\u003c/strong>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">CubaCaribe dance festival\u003c/a> hit Oakland last weekend, with its “Cuba on my mind” theme for 2016 arriving presciently a year into the Great Cuban Thaw. It’s also been barely a month since Barack Obama’s historic visit to Havana, in the aftermath of which Fidel Castro groused, “we do not need the empire to give us anything.”\u003c/p>\n\u003cp>But it’s safe to say the “empire” itself has greatly benefited from the Cuban diaspora. The vibrant Caribbean music and dance scene in the San Francisco Bay Area attests to the longstanding search by Cuban artists and others from nearby islands for freedom of expression and collaboration opportunities. Cuban ballet dancers, for example, continue to defect to the west, and many of them end up in the Bay Area. As Joan Acocella noted in \u003ca href=\"http://www.newyorker.com/culture/cultural-comment/growing-pains-in-cuban-dance\" target=\"_blank\" rel=\"noopener\">a column last year\u003c/a> for \u003cem>The New Yorker\u003c/em> about the potential impact of the loosening of the trade and travel embargo on “the island’s most important artistic exports, music and dance,” these talented performers crave the modern, often experimental, repertory that is not permitted to flourish in authoritarian soil.\u003c/p>\n\u003cp>The three choreographers represented in the second weekend of the CubaCaribe festival riff on the “Cuba on my mind” theme with imaginative results. Revolution – in some form – is definitely on their minds.\u003c/p>\n\u003cfigure id=\"attachment_11528228\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528228\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg\" alt=\"George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon's ‘Chalk Outlines’\" width=\"800\" height=\"514\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-800x514.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-400x257.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1180x758.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-1920x1234.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_7359-960x617.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">George Cheng (on the floor) with singers Rashida Chase and Valerie Troutt in Nicole Klaymoon’s ‘Chalk Outlines (Excerpts)’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Chalk Outlines (Excerpts)\u003c/em>, a dance, poetry, vocal music, and theater piece created in response to deaths of non-whites as a result of police violence from choreographer Nicole Klaymoon’s \u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener\">Embodiment Project\u003c/a>, commanding vocalists Valerie Troutt and Rashida Chase sing of Africa, “the mother of civilization,” and invoke Moses (“go tell Pharaoh/let my people go.”) The dancers, all in spanking white, perform crisp and ebullient street dance-style moves, tracing the shapes of corpses with their own bodies. Do we acknowledge the individual humanity of the victims of oppression, Klaymoon seems to be asking with this work, or are they just statistics and chalk outlines at a crime scene?\u003c/p>\n\u003caside class=\"aligncenter\">\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, CubaCaribe festival founder Ramón Ramos Alayo’s powerful, grounded, African-inspired movement evokes an astonishing meditation on such themes as the dehumanizing side of technology, the complex nature of transitions, and the fragility of the artistic soul, in three short pieces that bookend the program.\u003c/p>\n\u003cp>\u003cem>Where the Butterflies go (A Donde Van Las Mariposas)\u003c/em> identifies the artist with nature’s most fragile and short-lived creatures, darting above a rippling stream that provides essential nourishment. \u003cem>24/7\u003c/em> puts Ramos Ayala’s dancers in an urban setting, where bird calls are drowned out by the static, buzzing, and ringing of phones. Prisoners of invisible handheld devices, the dancers wear tortured, sleep-deprived stares and strut like robots. As the people of Cuba clamor for technology to underpin a new economic order, \u003cem>24/7\u003c/em> seems to warn against buying into a tech-utopian idyll.\u003c/p>\n\u003cfigure id=\"attachment_11528226\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11528226\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg\" alt=\"Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo's ‘Where the Butterflies Go / A Donde Van las Mariposas’\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/EJF_6954-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ramón Ramos Alayo and Natalie Aceves in Ramón Ramos Alayo’s ‘Where the Butterflies Go / A Donde Van las Mariposas’ \u003ccite>(Photo: Eli Jacobs Fantauzzi)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then there’s the melancholy but gripping \u003cem>Goodbye\u003c/em>. Enveloped in a swirl of turquoise and a bright red manton, with a sexy cry in her voice, singer Destani Wolf, backed by a splendid trio of musicians, wanders the stage telling us through song that no one knows what tomorrow will bring. Ramos Alayo’s fluid, acrobatic dance moves underscore a resolve to live in the passion of the moment. One of several forceful alliances in this piece is a duet of sisterhood featuring dancers Fredrika Keefer and Jillian Hibbert. Their bond is a glorious mixture of abandon and control that promises shelter in an era of instability and transience.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>The third and final weekend of the festival moves to San Francisco’s Brava Theater on Friday, Apr. 29 and Saturday, Apr. 30 and promises more of a folkloric bent, with Haitian dance, capoeira, samba de gafieira, and more on the schedule. The festival is also offering dance workshops, and a screening of the documentary \u003cem>They are We\u003c/em> (on Thursday, Apr. 28 at the Museum of the African Disapora) which recounts how an African clan, riven by the slave trade 170 years ago, is reunited through its tribal music. Details on CubaCaribe’s \u003ca href=\"http://cubacaribe.org/festival12/\" target=\"_blank\" rel=\"noopener\">website\u003c/a>.\u003c/strong>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Thought you were done being \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\">emotional about Prince\u003c/a>? Not so fast.\u003c/p>\n\u003cp>D'Angelo, whose progressive, eclectic blend of soul, funk and R&B owes a tremendous debt to Prince's influence -- he's\u003ca href=\"http://daily.redbullmusicacademy.com/2014/12/dangelo-black-messiah-inspirations-interview\"> said as much in interviews for years\u003c/a> -- appeared on \u003cem>The Tonight Show \u003c/em>on April 26 to pay tribute to the icon.\u003c/p>\n\u003cp>https://twitter.com/questlove/status/725182139910754304\u003c/p>\n\u003cp>Performing a beautiful rendition of the Prince ballad \"Sometimes It Snows In April,\" D'Angelo had the support of \u003ca href=\"http://www.werprincess.com/#princess\">Princess\u003c/a>, the Prince tribute band comprised of comedian Maya Rudolph and singer-songwriter Gretchen Lieberum.\u003c/p>\n\u003cp>But aside from their voices, D'Angelo is alone in a spotlight at the piano, dressed in a vest that would have made his musical hero proud. So it's all the more heartbreaking when his voice begins to crack with emotion near the end of the song.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6uzBHhPEWpE\u003c/p>\n\u003cp>One take-away: In case there was any doubt, real men definitely cry. And also: We're really lucky to have D'Angelo.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Performing a beautiful rendition of the Prince ballad \"Sometimes It Snows In April,\" D'Angelo had the support of \u003ca href=\"http://www.werprincess.com/#princess\">Princess\u003c/a>, the Prince tribute band comprised of comedian Maya Rudolph and singer-songwriter Gretchen Lieberum.\u003c/p>\n\u003cp>But aside from their voices, D'Angelo is alone in a spotlight at the piano, dressed in a vest that would have made his musical hero proud. So it's all the more heartbreaking when his voice begins to crack with emotion near the end of the song.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The first time I saw Beach House was at the Swedish American Music Hall, in 2008. The space was cozy and intimate. There were folding chairs. I was able to snag a seat front-row center, where Victoria Legrand and Alex Scally brought their dreamy, otherworldly sound to life, and me to tears (albeit, with the help of a generous helping of whiskey). I've seen them five times since, and there's a reason behind this \u003ca href=\"https://www.youtube.com/watch?v=WSLXEdI5ZVs\" target=\"_blank\">devotion\u003c/a>; few other musicians inspire such a full-body fever dream response. A few songs in and I transform into that weirdo who's alone in a crowd, swaying and smiling with his eyes closed.\u003c/p>\n\u003cp>These days, word has gotten out about Beach House and their powerful live shows. The venues are bigger and the magic is spread more thinly. So it was exciting to hear the band announce their latest experiment: \u003ca href=\"http://www.beachhousebaltimore.com/installation/\">six \"installation\" shows\u003c/a> to take place in art galleries, community centers and other alternative venues, featuring no backup band, a mysterious \"design,\" and songs mostly culled from their first two albums (which don't get much play on their traditional tours) and their latest.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The distress over not being able to Instagram any of it was palpable. The entire spectacle made me regret giving up weed years ago.'\u003c/aside>\n\u003cp>But there are conditions: Only 200 people will witness each show. Those lucky enough to snag a ticket are advised to bring a pillow, because everyone sits on the floor. Once you're inside the space, you're there for the duration. No applause. No photos.\u003c/p>\n\u003cp>So what's the point of all this? According to the band, the project's purpose is to recapture the \"pure, embryonic state of mind\" that comes with the initial spark of inspiration, but that gets lost somewhere between pre-studio conception and the stage.\u003c/p>\n\u003cp>Most people who showed up at the Mission District's \u003ca href=\"http://grayarea.org/theater/overview/\" target=\"_blank\">Gray Area Theater\u003c/a> to see what all this fuss is about were down for whatever might be coming, actual pillows from their beds in tow. We were led into a former, gutted theater, the only illumination coming from a multi-colored horizontal bar of light at the bottom of the stage. People stepped over each other in the dark to find a spot to sit. We all huddled together and waited.\u003c/p>\n\u003cfigure id=\"attachment_23324\" class=\"wp-caption alignleft\" style=\"max-width: 267px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/beachhouse-2015-promo-01-shawnbrackbill-1500x2248-300.jpg\">\u003cimg class=\"wp-image-23324 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/beachhouse-2015-promo-01-shawnbrackbill-1500x2248-300.jpg\" alt=\"Victoria Legrand and Alex Scally. (Photo: Sub Pop)\" width=\"267\" height=\"400\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Victoria Legrand and Alex Scally. (Photo: \u003ca href=\"https://www.subpop.com/artists/beach_house\">Sub Pop\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>When showtime finally came, the smoke machines did their work and Legrand and Scally took the stage, although it was easy to miss them in the dark. Eventually, it became clear that a screen separated the duo from the audience. They began to project images of a variety of flowers and live footage onto themselves. Two display cabinets on either side lit up with rows of fiber-optic flowers. The distress over not being able to Instagram any of it was palpable. The entire spectacle made me regret giving up weed years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>As for the music, the band relied heavily on their first and last albums. The night began with \"Saltwater,\" the first track on their debut, and ended with \"Somewhere Tonight,\" the last track on their most recent release, as if the point of the whole evening was to find their way back to their origins and remind themselves why they're in this band in the first place. The cramped space and smaller number of fans underscored this trip back in time, back to that Swedish American Hall show in 2008, before Beach House songs found themselves in flashy car commercials.\u003c/p>\n\u003cp>The sense is that, when you reach a certain level of fame, you lose control. The band no longer belongs to themselves, but to the masses who've latched onto their music. This project felt like their way of pressing the reset button and taking back what's rightfully theirs. No backing band, no sea of iPhones Snapchatting away, no audience participation -- just the two of them making the music they love, as if they were back in their mid-aughts bedrooms, with no one on the other side of the screen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After they left the stage, the 200 fans clapped and hollered for several minutes, in an attempt to prove that we deserved an encore. \"Just one song, please!\" begged one dude. A man working the event eventually came on the mic to say, \"We appreciate your enthusiasm, but the show is over.\" More evidence that this \"installation\" show was less about Beach House giving something to the fans, and more about taking something back.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I saw Beach House was at the Swedish American Music Hall, in 2008. The space was cozy and intimate. There were folding chairs. I was able to snag a seat front-row center, where Victoria Legrand and Alex Scally brought their dreamy, otherworldly sound to life, and me to tears (albeit, with the help of a generous helping of whiskey). I've seen them five times since, and there's a reason behind this \u003ca href=\"https://www.youtube.com/watch?v=WSLXEdI5ZVs\" target=\"_blank\">devotion\u003c/a>; few other musicians inspire such a full-body fever dream response. A few songs in and I transform into that weirdo who's alone in a crowd, swaying and smiling with his eyes closed.\u003c/p>\n\u003cp>These days, word has gotten out about Beach House and their powerful live shows. The venues are bigger and the magic is spread more thinly. So it was exciting to hear the band announce their latest experiment: \u003ca href=\"http://www.beachhousebaltimore.com/installation/\">six \"installation\" shows\u003c/a> to take place in art galleries, community centers and other alternative venues, featuring no backup band, a mysterious \"design,\" and songs mostly culled from their first two albums (which don't get much play on their traditional tours) and their latest.\u003c/p>\n\u003caside class=\"pullquote alignright\">'The distress over not being able to Instagram any of it was palpable. The entire spectacle made me regret giving up weed years ago.'\u003c/aside>\n\u003cp>But there are conditions: Only 200 people will witness each show. Those lucky enough to snag a ticket are advised to bring a pillow, because everyone sits on the floor. Once you're inside the space, you're there for the duration. No applause. No photos.\u003c/p>\n\u003cp>So what's the point of all this? According to the band, the project's purpose is to recapture the \"pure, embryonic state of mind\" that comes with the initial spark of inspiration, but that gets lost somewhere between pre-studio conception and the stage.\u003c/p>\n\u003cp>Most people who showed up at the Mission District's \u003ca href=\"http://grayarea.org/theater/overview/\" target=\"_blank\">Gray Area Theater\u003c/a> to see what all this fuss is about were down for whatever might be coming, actual pillows from their beds in tow. We were led into a former, gutted theater, the only illumination coming from a multi-colored horizontal bar of light at the bottom of the stage. People stepped over each other in the dark to find a spot to sit. We all huddled together and waited.\u003c/p>\n\u003cfigure id=\"attachment_23324\" class=\"wp-caption alignleft\" style=\"max-width: 267px\">\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/beachhouse-2015-promo-01-shawnbrackbill-1500x2248-300.jpg\">\u003cimg class=\"wp-image-23324 size-full\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/beachhouse-2015-promo-01-shawnbrackbill-1500x2248-300.jpg\" alt=\"Victoria Legrand and Alex Scally. (Photo: Sub Pop)\" width=\"267\" height=\"400\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Victoria Legrand and Alex Scally. (Photo: \u003ca href=\"https://www.subpop.com/artists/beach_house\">Sub Pop\u003c/a>)\u003c/figcaption>\u003c/figure>\n\u003cp>When showtime finally came, the smoke machines did their work and Legrand and Scally took the stage, although it was easy to miss them in the dark. Eventually, it became clear that a screen separated the duo from the audience. They began to project images of a variety of flowers and live footage onto themselves. Two display cabinets on either side lit up with rows of fiber-optic flowers. The distress over not being able to Instagram any of it was palpable. The entire spectacle made me regret giving up weed years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>As for the music, the band relied heavily on their first and last albums. The night began with \"Saltwater,\" the first track on their debut, and ended with \"Somewhere Tonight,\" the last track on their most recent release, as if the point of the whole evening was to find their way back to their origins and remind themselves why they're in this band in the first place. The cramped space and smaller number of fans underscored this trip back in time, back to that Swedish American Hall show in 2008, before Beach House songs found themselves in flashy car commercials.\u003c/p>\n\u003cp>The sense is that, when you reach a certain level of fame, you lose control. The band no longer belongs to themselves, but to the masses who've latched onto their music. This project felt like their way of pressing the reset button and taking back what's rightfully theirs. No backing band, no sea of iPhones Snapchatting away, no audience participation -- just the two of them making the music they love, as if they were back in their mid-aughts bedrooms, with no one on the other side of the screen.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>After they left the stage, the 200 fans clapped and hollered for several minutes, in an attempt to prove that we deserved an encore. \"Just one song, please!\" begged one dude. A man working the event eventually came on the mic to say, \"We appreciate your enthusiasm, but the show is over.\" More evidence that this \"installation\" show was less about Beach House giving something to the fans, and more about taking something back.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In 2007, soon after the release of her acclaimed documentary \u003cem>Deliver Us from Evil\u003c/em>, Amy Berg was approached by the estate of Janis Joplin with the idea of making a film about the iconic singer. A lifelong fan, Academy Award-nominated Berg immediately jumped at the opportunity; though Joplin is perhaps the most influential female vocalist in rock & roll history, no one had ever explored her story on film.\u003c/p>\n\u003cp>Eight years later, Berg has completed \u003cem>Janis: Little Girl Blue\u003c/em>, an insightful and moving examination of the musician’s complex, tragic life. Using interviews with those closest to Joplin, riveting performance footage, and the singer’s own personal diaries and correspondence, Berg has assembled a layered and revelatory portrait of a misunderstood figure, as shy and vulnerable offstage as she was explosive and aggressive in front of a band.\u003c/p>\n\u003cp>Soon after meeting with the Joplin family, Berg started gathering interviews whenever she could—on her first visit to Janis’ hometown of Port Arthur, Texas, she filmed a crucial conversation with one of the singer’s high school friends, opening up the notion of Joplin as a woman who never escaped the scars from her painful adolescence as an ambitious outcast in a typical Southern town. For two years, the director continued to shoot with sources across the country, from Joplin’s musical colleagues in San Francisco to her friend and frequent interviewer, television host Dick Cavett.\u003c/p>\n\u003cp>But the project lost momentum, and Berg spent several years trying to get the film back on track. Eventually she met with Oscar-winning filmmaker Alex Gibney (Taxi to the Dark Side, Enron: The Smartest Guys in the Room), who has worked on numerous music-related documentaries over the years, even touching on eras and communities close to Joplin in his films about the blues (Lightning in a Bottle), Ken Kesey’s Merry Pranksters (Magic Trip), and Hunter S. Thompson (Gonzo). Gibney agreed to join the Joplin project as a producer, and put together the funding and resources that Berg required to get the film made.\u003c/p>\n\u003cp>The director determined that she wanted the movie to be told as much as possible in Joplin’s own words, so she dove deep into the singer’s private letters, many of them never previously published. What she discovered was Joplin’s constant need for approval and validation—what Berg calls “the little girl inside of her” with a permanent sense that she had to prove, especially to her own family, that she truly was somebody, that her desire for freedom and individual expression was leading her toward real accomplishment, not just a rejection of her upbringing. Janis’ unique and ultra-powerful voice was driving her journey, shouting angst, pain and heartbreak from every stage she visited.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Berg searched for the perfect person to read the letters and give voice to Joplin’s innermost feelings. She heard an interview with the celebrated Georgia-born indie rock artist Chan Marshall, who performs under the name Cat Power, on the internet, and instantly thought she found the right reader to convey these difficult emotional experiences.\u003cbr>\n“I was terrified because I didn’t want to hurt Janis,” says Marshall. “She’s not a character, not a cartoon, she was a real young woman with so much heart and feeling. But I was moved by the letters—I was the weirdo, the only person in my family who ever left the South, and they reminded me of letters I wrote to my grandmother in hopes of acknowledgment and validation. I felt parallels.”\u003c/p>\n\u003cp>“When I was reading the last letter,” she continues, “I couldn’t do it. I was so upset, I started bawling. But right at the end, I imagined Janis sitting there, saying ‘Do it, it’s cool, do whatever you want.’ She was there all of a sudden, saying ‘You’re helping me out.’ So I felt that spirit vibe for a second, and I was able to finish.”\u003cbr>\nEven for such a legendary subject, finding archival material was a challenge. It was essential to take a thorough look at Joplin’s early years, Berg felt, to really understand what shaped her character and drove her performances. But documentation of her life before she reached the spotlight was sparse, and the director had to dig deep to find photos, flyers, and newspaper clippings to illustrate Joplin’s high school and college years. \u003c/p>\n\u003cp>Even once Joplin became a star, though, footage could be surprisingly difficult to come by. Many archives have been erased or lost, and even coverage of some of her most celebrated performances was often limited to one camera that wasn’t always focused on the lead singer. Berg’s research, though, turned up some extraordinary, never-before-seen clips, including stunning footage (shot by groundbreaking documentary filmmaker D.A. Pennebaker) of Joplin in the recording studio; a scene of her playing the not-yet-released “Me and Bobby McGee” for the musicians in the Grateful Dead and the Band on the Festival Express tour; and audio from her triumphant concert at London’s Royal Albert Hall.\u003c/p>\n\u003cp>Eventually, Berg settled on the five most significant performances—including Joplin’s break through at the Monterey Pop Festival and her set at Woodstock, which she considered one of her worst appearances—to establish the building blocks for the narrative. The edit was challenging as it was solely based on the archive, and since she wanted the film to be from Janis’ perspective, Berg had to make difficult decisions on omitting stories that had no visuals to accompany them. But the sole goal of the edit was to keep Janis’ world feeling small and real and three-dimensional. \u003c/p>\n\u003cp>Along the way, Berg also discovered Joplin’s remarkable rebirth late in her life, when she kicked heroin, found a new romance with a man her friends all believed was the right guy for her, and created her finest album, Pearl. For the first time, Janis could see a real future for herself as an artist—until she slipped and took a final, fateful shot of the drug that killed her in 1971, at the age of 27.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Janis is huge in our collective memory,” says Chan Marshall. “People still listen to her voice and feel that happiness—it’s like a shotgun blast to your chakras.”\u003cbr>\nJanis: Little Girl Blue reminds us of Joplin’s incomparable musical power. More importantly, though, it reveals for the first time the woman behind that voice, the conflicted and fragile visionary who forever transformed the image of and the possibilities for women in rock and roll, and beyond.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2007, soon after the release of her acclaimed documentary \u003cem>Deliver Us from Evil\u003c/em>, Amy Berg was approached by the estate of Janis Joplin with the idea of making a film about the iconic singer. A lifelong fan, Academy Award-nominated Berg immediately jumped at the opportunity; though Joplin is perhaps the most influential female vocalist in rock & roll history, no one had ever explored her story on film.\u003c/p>\n\u003cp>Eight years later, Berg has completed \u003cem>Janis: Little Girl Blue\u003c/em>, an insightful and moving examination of the musician’s complex, tragic life. Using interviews with those closest to Joplin, riveting performance footage, and the singer’s own personal diaries and correspondence, Berg has assembled a layered and revelatory portrait of a misunderstood figure, as shy and vulnerable offstage as she was explosive and aggressive in front of a band.\u003c/p>\n\u003cp>Soon after meeting with the Joplin family, Berg started gathering interviews whenever she could—on her first visit to Janis’ hometown of Port Arthur, Texas, she filmed a crucial conversation with one of the singer’s high school friends, opening up the notion of Joplin as a woman who never escaped the scars from her painful adolescence as an ambitious outcast in a typical Southern town. For two years, the director continued to shoot with sources across the country, from Joplin’s musical colleagues in San Francisco to her friend and frequent interviewer, television host Dick Cavett.\u003c/p>\n\u003cp>But the project lost momentum, and Berg spent several years trying to get the film back on track. Eventually she met with Oscar-winning filmmaker Alex Gibney (Taxi to the Dark Side, Enron: The Smartest Guys in the Room), who has worked on numerous music-related documentaries over the years, even touching on eras and communities close to Joplin in his films about the blues (Lightning in a Bottle), Ken Kesey’s Merry Pranksters (Magic Trip), and Hunter S. Thompson (Gonzo). Gibney agreed to join the Joplin project as a producer, and put together the funding and resources that Berg required to get the film made.\u003c/p>\n\u003cp>The director determined that she wanted the movie to be told as much as possible in Joplin’s own words, so she dove deep into the singer’s private letters, many of them never previously published. What she discovered was Joplin’s constant need for approval and validation—what Berg calls “the little girl inside of her” with a permanent sense that she had to prove, especially to her own family, that she truly was somebody, that her desire for freedom and individual expression was leading her toward real accomplishment, not just a rejection of her upbringing. Janis’ unique and ultra-powerful voice was driving her journey, shouting angst, pain and heartbreak from every stage she visited.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Berg searched for the perfect person to read the letters and give voice to Joplin’s innermost feelings. She heard an interview with the celebrated Georgia-born indie rock artist Chan Marshall, who performs under the name Cat Power, on the internet, and instantly thought she found the right reader to convey these difficult emotional experiences.\u003cbr>\n“I was terrified because I didn’t want to hurt Janis,” says Marshall. “She’s not a character, not a cartoon, she was a real young woman with so much heart and feeling. But I was moved by the letters—I was the weirdo, the only person in my family who ever left the South, and they reminded me of letters I wrote to my grandmother in hopes of acknowledgment and validation. I felt parallels.”\u003c/p>\n\u003cp>“When I was reading the last letter,” she continues, “I couldn’t do it. I was so upset, I started bawling. But right at the end, I imagined Janis sitting there, saying ‘Do it, it’s cool, do whatever you want.’ She was there all of a sudden, saying ‘You’re helping me out.’ So I felt that spirit vibe for a second, and I was able to finish.”\u003cbr>\nEven for such a legendary subject, finding archival material was a challenge. It was essential to take a thorough look at Joplin’s early years, Berg felt, to really understand what shaped her character and drove her performances. But documentation of her life before she reached the spotlight was sparse, and the director had to dig deep to find photos, flyers, and newspaper clippings to illustrate Joplin’s high school and college years. \u003c/p>\n\u003cp>Even once Joplin became a star, though, footage could be surprisingly difficult to come by. Many archives have been erased or lost, and even coverage of some of her most celebrated performances was often limited to one camera that wasn’t always focused on the lead singer. Berg’s research, though, turned up some extraordinary, never-before-seen clips, including stunning footage (shot by groundbreaking documentary filmmaker D.A. Pennebaker) of Joplin in the recording studio; a scene of her playing the not-yet-released “Me and Bobby McGee” for the musicians in the Grateful Dead and the Band on the Festival Express tour; and audio from her triumphant concert at London’s Royal Albert Hall.\u003c/p>\n\u003cp>Eventually, Berg settled on the five most significant performances—including Joplin’s break through at the Monterey Pop Festival and her set at Woodstock, which she considered one of her worst appearances—to establish the building blocks for the narrative. The edit was challenging as it was solely based on the archive, and since she wanted the film to be from Janis’ perspective, Berg had to make difficult decisions on omitting stories that had no visuals to accompany them. But the sole goal of the edit was to keep Janis’ world feeling small and real and three-dimensional. \u003c/p>\n\u003cp>Along the way, Berg also discovered Joplin’s remarkable rebirth late in her life, when she kicked heroin, found a new romance with a man her friends all believed was the right guy for her, and created her finest album, Pearl. For the first time, Janis could see a real future for herself as an artist—until she slipped and took a final, fateful shot of the drug that killed her in 1971, at the age of 27.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If I were to estimate, I’d say a solid 80 percent of my friends who have daughters are proud owners of \u003cem>\u003ca href=\"http://ww2.kqed.org/arts/2015/05/05/beyond-susan-b-anthony-the-rad-women-of-american-history/\" target=\"_blank\" rel=\"noopener\">Rad American Women A-Z\u003c/a>\u003c/em> — a book extolling the contributions of radical women throughout history. In the ongoing trend of \u003ca href=\"http://www.ordinarypeoplechangetheworld.com/\" target=\"_blank\" rel=\"noopener\">historical-figure explainer books\u003c/a> for young readers, the books covers an alphabetical list of women, including Ella Baker, Billie Jean King, Sonia Sotomayor, Hazel Scott and many others.\u003c/p>\n\u003cp>[contextly_sidebar id=”4qDyJjs1q4czmF66hyT1wQsei9ZlSsHm”]\u003c/p>\n\u003cp>Now, authors Kate Schatz and Miriam Klein Stahl have arranged for the release of an official song for the book. Over a moody three-chord organ figure, Carolyn Pennypacker Riggs of Bouquet, Glasser, Daniela Sea and more run through the book’s alphabet of women:\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/259927574″ 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>On the B-side of the 7″ (yes, \u003ca href=\"http://www.radamericanwomen.com/x/\" target=\"_blank\" rel=\"noopener\">it’s a record\u003c/a>, released for Independent Bookstore Day), women like Angela Davis, Rebecca Solnit, Charlene Yi, Alice Bag, and Aminatou Sow & Ann Friedman of \u003cem>Call Your Girlfriend\u003c/em> recite the explanation of the book’s entry for “X” — for the important women throughout history who are unknown today:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/259927039″ 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>\u003c/p>\n\u003cp>\u003cem>Kate Schatz and Miriam Stahl appear at Green Apple Books on Saturday, April 30, at 2pm. \u003ca href=\"http://www.greenapplebooks.com/independent-bookstore-day-clement\" target=\"_blank\" rel=\"noopener\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cp>Prince’s longtime lawyer called the death of the superstar a complete shock and said Monday that the singer lived a clean and healthy lifestyle, disputing suggestions that he had a drug addiction.\u003c/p>\n\u003cp>Prince was found dead in Paisley Park, his home and vast recording studio in Chanhassen, Minnesota, on Thursday at the age of 57. An autopsy was conducted, but complete results won’t be in for weeks. Police have said there was no indication of suicide.\u003c/p>\n\u003cp>Lawyer L. Londell McMillan had known Prince for 25 years and at one time was his manager. In a phone interview Monday night, he told The Associated Press he spoke to Prince the Sunday before he died, after it was reported that his plane made an emergency landing to deal with a medical emergency involving the singer.\u003c/p>\n\u003cp>Prince assured McMillan he was fine.\u003c/p>\n\u003cp>“He said he was doing perfect,” McMillan recalled. “He said, ‘OK, I’ll call you soon.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Celebrity website TMZ, citing unidentified sources, reported that Prince was treated for an overdose of the powerful painkiller Percocet while traveling home from concerts in Atlanta last week. The site said his plane made an emergency landing April 15 in Moline, Illinois, where he was briefly hospitalized. Prince had postponed concerts in Atlanta citing an illness but rescheduled them and performed there April 14.\u003c/p>\n\u003cp>Asked about the TMZ report, McMillan said that while Prince may have been in pain and may have taken medication from time to time, he was “not on any drugs that would be any cause for concern.”\u003c/p>\n\u003cp>“People use medication. The question is, are you on meds in a dangerous way?” he said.\u003c/p>\n\u003cp>McMillan noted that Prince, a vegan, was known for his clean lifestyle.\u003c/p>\n\u003cp>“Everybody who knows Prince knows he wasn’t walking around drugged up,” McMillan said. “That’s foolish. No one ever saw Prince and said, ‘He looks high.’ It wasn’t what he was about.”\u003c/p>\n\u003cp>McMillan also said Prince was in great spirits.\u003c/p>\n\u003cp>“Prince had an amazing life. He enjoyed life,” he said. “He had a lot of fun.”\u003c/p>\n\u003cp>McMillan, whose clients also included Michael Jackson, said he owed his career to Prince. He managed the star amid Prince’s battles with his label, Warner Bros. Records. Prince credited him with coming up with the title “The Artist” when he stopped using his name and took on a symbol instead as part of that battle.\u003c/p>\n\u003cp>“I’m shocked and overwhelmed,” McMillan said of Prince’s death.\u003c/p>\n\u003cp>He was among those present for a private and intimate memorial service at Paisley Park on Saturday. Prince was cremated.\u003c/p>\n\u003cp>“It was a very loving and special, solemn and very appreciative,” McMillan said. “I think he would have been proud of how we celebrated his life.”\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>Prince’s longtime lawyer called the death of the superstar a complete shock and said Monday that the singer lived a clean and healthy lifestyle, disputing suggestions that he had a drug addiction.\u003c/p>\n\u003cp>Prince was found dead in Paisley Park, his home and vast recording studio in Chanhassen, Minnesota, on Thursday at the age of 57. An autopsy was conducted, but complete results won’t be in for weeks. Police have said there was no indication of suicide.\u003c/p>\n\u003cp>Lawyer L. Londell McMillan had known Prince for 25 years and at one time was his manager. In a phone interview Monday night, he told The Associated Press he spoke to Prince the Sunday before he died, after it was reported that his plane made an emergency landing to deal with a medical emergency involving the singer.\u003c/p>\n\u003cp>Prince assured McMillan he was fine.\u003c/p>\n\u003cp>“He said he was doing perfect,” McMillan recalled. “He said, ‘OK, I’ll call you soon.'”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Celebrity website TMZ, citing unidentified sources, reported that Prince was treated for an overdose of the powerful painkiller Percocet while traveling home from concerts in Atlanta last week. The site said his plane made an emergency landing April 15 in Moline, Illinois, where he was briefly hospitalized. Prince had postponed concerts in Atlanta citing an illness but rescheduled them and performed there April 14.\u003c/p>\n\u003cp>Asked about the TMZ report, McMillan said that while Prince may have been in pain and may have taken medication from time to time, he was “not on any drugs that would be any cause for concern.”\u003c/p>\n\u003cp>“People use medication. The question is, are you on meds in a dangerous way?” he said.\u003c/p>\n\u003cp>McMillan noted that Prince, a vegan, was known for his clean lifestyle.\u003c/p>\n\u003cp>“Everybody who knows Prince knows he wasn’t walking around drugged up,” McMillan said. “That’s foolish. No one ever saw Prince and said, ‘He looks high.’ It wasn’t what he was about.”\u003c/p>\n\u003cp>McMillan also said Prince was in great spirits.\u003c/p>\n\u003cp>“Prince had an amazing life. He enjoyed life,” he said. “He had a lot of fun.”\u003c/p>\n\u003cp>McMillan, whose clients also included Michael Jackson, said he owed his career to Prince. He managed the star amid Prince’s battles with his label, Warner Bros. Records. Prince credited him with coming up with the title “The Artist” when he stopped using his name and took on a symbol instead as part of that battle.\u003c/p>\n\u003cp>“I’m shocked and overwhelmed,” McMillan said of Prince’s death.\u003c/p>\n\u003cp>He was among those present for a private and intimate memorial service at Paisley Park on Saturday. Prince was cremated.\u003c/p>\n\u003cp>“It was a very loving and special, solemn and very appreciative,” McMillan said. “I think he would have been proud of how we celebrated his life.”\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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"title": "Meet Mason Bates — The Man Behind Steve Jobs the Opera",
"headTitle": "Meet Mason Bates — The Man Behind Steve Jobs the Opera | KQED",
"content": "\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/261228276″ 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>\u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> writes most of his music in a light, airy home studio on the Peninsula with lots of glass and a view of San Francisco Bay through the trees.\u003c/p>\n\u003cp>But when I visited Bates a few weeks ago, he was working on a piece with a gloomy theme. “\u003cem>Auditorium\u003c/em> starts with the conceit that an orchestra, like a person, can be haunted,” the composer says. “It’s a piece for two orchestras. One that’s living and one that’s dead.”\u003c/p>\n\u003cp>Bates often works to expand the orchestra’s sound universe with electronic dance beats and audio samples. In\u003cem> Auditorium\u003c/em>, which will receive\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Shostakovich-Symphony-No-9.aspx\" target=\"_blank\" rel=\"noopener\"> its world premiere performances from Wednesday, Apr. 27 – Friday, Apr. 29 in concerts with the San Francisco Symphony\u003c/a> at Davies Symphony Hall, Bates will play the laptop in the orchestra, triggering recordings he’s made of a baroque ensemble. “So when the orchestra — the living one — goes to tune, we hear this ghost kind of blow in, building almost a kind of Ouija board type of relationship,” Bates says.\u003c/p>\n\u003cp>\u003cstrong>High profile fans\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“His sense of mystery is tremendous,” says the San Francisco Symphony’s music director Michael Tilson Thomas. “There’s a sparkle of joy of life in Mason’s Bate’s music, along with his wonderful ear for harmony and musical gesture. He makes everything, sound lustrous.”\u003c/p>\n\u003cfigure id=\"attachment_11525587\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11525587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg\" alt=\"Mason Bates: Works for Orchestra from the San Francisco Symphony\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra.jpg 920w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mason Bates: Works for Orchestra from the San Francisco Symphony \u003ccite>(Photo: Courtesy SFS Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates says he works best at home in this studio. He uses both the old fashioned way of writing notes on a page with pencil and paper, as well as more modern tools that fill the room. “There’s the piano, and I’m often banging on that,” Bates says. “And over here among the synths and computer, that’s where I’ m creating the electronic sounds and integrating them into the pieces I’m writing.”\u003c/p>\n\u003cp>Bates says he likes composing especially because it means he can spend time with his wife, a molecular biologist, and their two young children. “I mean not at the same time, that would not work,” he says. “But you know I’m at home, I’m not traveling.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XrvyBCZ4cxc\u003c/p>\n\u003cp>Time at home for any purpose has been precious lately. Bates just started a gig as \u003ca href=\"https://www.kennedy-center.org/calendar/series/MBC\" target=\"_blank\" rel=\"noopener\">composer-in-residence at the Kennedy Center\u003c/a> in Washington D.C. There’s the San Francisco Symphony premiere, and he’s just finished two recording projects, one with the The San Francisco Symphony, and the other with The Boston Modern Orchestra Project. He’ll also be a composer-in residence at the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>this summer in Santa Cruz, where he’ll work for the sixth time with Festival Director \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>, a champion of Bates’ music.\u003c/p>\n\u003cp>“I think Mason is extraordinarily talented,” Alsop says. “I enjoy so much having him involved in the performances as well. Often he’s in the orchestra with his laptop, and his music resonates with audiences of today with younger audiences.”\u003c/p>\n\u003cp>\u003cstrong>A draw for younger audiences\u003c/strong>\u003c/p>\n\u003cp>That’s one reason Bates is in demand. Symphony orchestras around the world are worried about aging audiences and a shrinking music business. Composers like Bates up the cool factor. He sometimes DJ’s after-concert parties, and his compositions aren’t thickets of atonality, as with some modern composers: the electronica and dance beats he favors ride on familiar harmonies.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zhhbJ-9lpW0\u003c/p>\n\u003cp>“It’s a sound world that’s very very appealing,” Alsop says. “Some of it is pop oriented, some not. But it’s something everybody can relate to.”\u003c/p>\n\u003cp>\u003cstrong>Accessibility is important\u003c/strong>\u003c/p>\n\u003cp>A few critics and the occasional older audience member have knocked the pop harmonies and beats in some of Bates’ work. But the composer says he wants to be both accessible and something more. “If you want to go to a deep space, a deep listening experience, then you have to find a way to take the listener along with you,” Bates says.\u003c/p>\n\u003cp>Bates’ newest project is a \u003ca href=\"https://www.santafeopera.org/uploadedFiles/The_Company/News/News_Items/2015-08-05%20Santa%20Fe%20Opera%20Announces%20World%20Premiere.pdf\" target=\"_blank\" rel=\"noopener\">Santa Fe Opera commission for 2017\u003c/a>, written with librettist Mark Campbell, about Apple co-founder Steve Jobs. “What if in an opera about a guy who changed communication, everybody communicates through a sound world,” Bates says. “Maybe Steve Jobs has acoustic guitar and electronica, his wife has these oceanic strings, Woz [Apple co-founder Steve Wozniak] has saxophones. And when they’re all on stage together, worlds are colliding.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bates’ music for the opera includes a theme for Jobs’ spiritual adviser which is full of pulsing synthesizers and vibrating prayer bowls. “Storytelling is the idea that possesses me,” the composer says.\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/261228276″&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/261228276″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.masonbates.com/\" target=\"_blank\" rel=\"noopener\">Mason Bates\u003c/a> writes most of his music in a light, airy home studio on the Peninsula with lots of glass and a view of San Francisco Bay through the trees.\u003c/p>\n\u003cp>But when I visited Bates a few weeks ago, he was working on a piece with a gloomy theme. “\u003cem>Auditorium\u003c/em> starts with the conceit that an orchestra, like a person, can be haunted,” the composer says. “It’s a piece for two orchestras. One that’s living and one that’s dead.”\u003c/p>\n\u003cp>Bates often works to expand the orchestra’s sound universe with electronic dance beats and audio samples. In\u003cem> Auditorium\u003c/em>, which will receive\u003ca href=\"http://www.sfsymphony.org/Buy-Tickets/2015-2016/Shostakovich-Symphony-No-9.aspx\" target=\"_blank\" rel=\"noopener\"> its world premiere performances from Wednesday, Apr. 27 – Friday, Apr. 29 in concerts with the San Francisco Symphony\u003c/a> at Davies Symphony Hall, Bates will play the laptop in the orchestra, triggering recordings he’s made of a baroque ensemble. “So when the orchestra — the living one — goes to tune, we hear this ghost kind of blow in, building almost a kind of Ouija board type of relationship,” Bates says.\u003c/p>\n\u003cp>\u003cstrong>High profile fans\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“His sense of mystery is tremendous,” says the San Francisco Symphony’s music director Michael Tilson Thomas. “There’s a sparkle of joy of life in Mason’s Bate’s music, along with his wonderful ear for harmony and musical gesture. He makes everything, sound lustrous.”\u003c/p>\n\u003cfigure id=\"attachment_11525587\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11525587\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg\" alt=\"Mason Bates: Works for Orchestra from the San Francisco Symphony\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-600x600.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra-75x75.jpg 75w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Mason-Bates-Works-for-Orchestra.jpg 920w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">Mason Bates: Works for Orchestra from the San Francisco Symphony \u003ccite>(Photo: Courtesy SFS Media)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Bates says he works best at home in this studio. He uses both the old fashioned way of writing notes on a page with pencil and paper, as well as more modern tools that fill the room. “There’s the piano, and I’m often banging on that,” Bates says. “And over here among the synths and computer, that’s where I’ m creating the electronic sounds and integrating them into the pieces I’m writing.”\u003c/p>\n\u003cp>Bates says he likes composing especially because it means he can spend time with his wife, a molecular biologist, and their two young children. “I mean not at the same time, that would not work,” he says. “But you know I’m at home, I’m not traveling.”\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/XrvyBCZ4cxc'\n title='//www.youtube.com/embed/XrvyBCZ4cxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Time at home for any purpose has been precious lately. Bates just started a gig as \u003ca href=\"https://www.kennedy-center.org/calendar/series/MBC\" target=\"_blank\" rel=\"noopener\">composer-in-residence at the Kennedy Center\u003c/a> in Washington D.C. There’s the San Francisco Symphony premiere, and he’s just finished two recording projects, one with the The San Francisco Symphony, and the other with The Boston Modern Orchestra Project. He’ll also be a composer-in residence at the \u003ca href=\"http://cabrillomusic.org/\" target=\"_blank\" rel=\"noopener\">Cabrillo Festival of Contemporary Music \u003c/a>this summer in Santa Cruz, where he’ll work for the sixth time with Festival Director \u003ca href=\"http://www.marinalsop.com/\" target=\"_blank\" rel=\"noopener\">Marin Alsop\u003c/a>, a champion of Bates’ music.\u003c/p>\n\u003cp>“I think Mason is extraordinarily talented,” Alsop says. “I enjoy so much having him involved in the performances as well. Often he’s in the orchestra with his laptop, and his music resonates with audiences of today with younger audiences.”\u003c/p>\n\u003cp>\u003cstrong>A draw for younger audiences\u003c/strong>\u003c/p>\n\u003cp>That’s one reason Bates is in demand. Symphony orchestras around the world are worried about aging audiences and a shrinking music business. Composers like Bates up the cool factor. He sometimes DJ’s after-concert parties, and his compositions aren’t thickets of atonality, as with some modern composers: the electronica and dance beats he favors ride on familiar harmonies.\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/zhhbJ-9lpW0'\n title='//www.youtube.com/embed/zhhbJ-9lpW0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s a sound world that’s very very appealing,” Alsop says. “Some of it is pop oriented, some not. But it’s something everybody can relate to.”\u003c/p>\n\u003cp>\u003cstrong>Accessibility is important\u003c/strong>\u003c/p>\n\u003cp>A few critics and the occasional older audience member have knocked the pop harmonies and beats in some of Bates’ work. But the composer says he wants to be both accessible and something more. “If you want to go to a deep space, a deep listening experience, then you have to find a way to take the listener along with you,” Bates says.\u003c/p>\n\u003cp>Bates’ newest project is a \u003ca href=\"https://www.santafeopera.org/uploadedFiles/The_Company/News/News_Items/2015-08-05%20Santa%20Fe%20Opera%20Announces%20World%20Premiere.pdf\" target=\"_blank\" rel=\"noopener\">Santa Fe Opera commission for 2017\u003c/a>, written with librettist Mark Campbell, about Apple co-founder Steve Jobs. “What if in an opera about a guy who changed communication, everybody communicates through a sound world,” Bates says. “Maybe Steve Jobs has acoustic guitar and electronica, his wife has these oceanic strings, Woz [Apple co-founder Steve Wozniak] has saxophones. And when they’re all on stage together, worlds are colliding.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bates’ music for the opera includes a theme for Jobs’ spiritual adviser which is full of pulsing synthesizers and vibrating prayer bowls. “Storytelling is the idea that possesses me,” the composer says.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Prince’s sister on Tuesday said the superstar musician had no known will and asked a Minnesota court to appoint a special administrator to oversee his estate, though the size of his fortune is unclear.\u003c/p>\n\u003cp>Tyka Nelson, Prince’s only surviving full sibling, said in a court filing that immediate action was necessary to manage Prince’s business interests following his death last week. The documents don’t estimate how much his estate may be worth, but Prince made hundreds of millions of dollars for record companies, concert venues and others, and he owned about $27 million in property in Minnesota.\u003c/p>\n\u003cp>Nelson asked that Bremer Trust, a corporate trust company, be named administrator of the estate. The court documents say Bremer Bank provided financial services to Prince for many years.\u003c/p>\n\u003cp>The filing comes less than a week after the pop star died Thursday at his home in suburban Minneapolis. The outpouring of grief and nostalgia prompted fans to buy 2.3 million of his songs in three days.\u003c/p>\n\u003cp>Prince owned a dozen properties in and around his famous Paisley Park complex in suburban Minneapolis: mostly rural pieces of land and some houses for family members. Public records show those properties were worth about $27 million in 2016.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Estimates of how much licensing his personal brand will bring in after death reach to the purple clouds.\u003c/p>\n\u003cp>“He was as big as they get,” said Mark Roesler, chief executive of CMG Worldwide, which handles licensing for the estates of Marilyn Monroe, James Dean and other late stars.\u003c/p>\n\u003cp>Roesler estimates Prince’s post-mortem earnings will match top-earning dead celebrities like Elvis Presley, whose estate made $55 million in 2015, according to Forbes magazine.\u003c/p>\n\u003cp>“Will there be a business built up around Prince 60 years from now like James Dean? The answer is unequivocally yes,” Roesler said Friday.\u003c/p>\n\u003cp>Nelson’s filing said she had “no reason to believe” that Prince executed a will or any other documents saying what should happen to his estate. Nelson’s filing said she doesn’t know Prince’s assets or debts, but said he had “substantial assets” that require protection.\u003c/p>\n\u003cp>Nelson’s attorneys, Matthew Shea and Brian Dillon of the Minneapolis law firm Gray Plant Mooty, did not immediately return phone calls seeking comment.\u003c/p>\n\u003cp>Irwin Feinberg, a Los Angeles trust and probate lawyer who spoke to The Associated Press before Nelson’s filing, said wealthy people usually create trusts to avoid the public spectacle of probate court. He said it would be unusual for Prince not to have done so.\u003c/p>\n\u003cp>Under Minnesota law, if a person dies without a will — and with no surviving parents, children, or grandchildren — the next people in line to share in the estate are the surviving siblings, including half-siblings.\u003c/p>\n\u003cp>Prince wasn’t married and had no known living children. Nelson is his only full sibling, though he has five half-siblings (two other half-siblings have died).\u003c/p>\n\u003cp>The AP did not find liens or mortgages on any of his properties, which range from a sprawling 160-acre piece of grassland between Lake Lucy and Lake Ann, to a three-bedroom bungalow in Minneapolis that is home to his half brother, Omarr Baker.\u003c/p>\n\u003cp>Prince sold over 100 million albums on his lifetime, according to Warner Music Group. And Pollstar, a concert industry magazine, said that in the years that his tours topped the charts — 10 years over four decades performing — the tours raked in $225 million in ticket sales.\u003c/p>\n\u003cp>His best-earning touring year, when he took in $87.4 million, was 2004, the year he was inducted into the Rock and Roll Hall of Fame and two decades after the soundtrack to \u003cem>Purple Rain\u003c/em> went multi-platinum.\u003c/p>\n\u003cp>But what remained in Prince’s hands is, by any estimate, less than the sum of ticket and album sales. In every record deal, a cut goes to the label, background performers and music publishers, though Prince published and wrote his own songs. Concert ticket revenue is split among the venue, the promoter, staff and the cost of travelling around. And Prince was known to throw expensive parties.\u003c/p>\n\u003cp>Court battles in recent years suggest money wasn’t free flowing.\u003c/p>\n\u003cp>In April 2013, Prince lost a suit filed in New York State’s Supreme Court brought by perfume maker Revelations Perfume and Cosmetics Inc. for failing to promote the “3121” perfume line named after his album from 2006 and which he touted, but only once, in a massive concert that started July 7, 2007 near Macy’s in downtown Minneapolis and ended at 5 a.m. at the First Avenue club, a famous venue from \u003cem>Purple Rain\u003c/em>.\u003c/p>\n\u003cp>He was ordered to pay $4.4 million; he never did. Instead, plaintiff lawyers went searching for assets, found about $3 million in various Minnesota bank accounts, and used court orders to freeze them, according to Brian Slipakoff, a New York lawyer who represented the perfume maker. Prince settled for a lower amount shortly after.\u003c/p>\n\u003cp>“It doesn’t suggest there was oodles of cash lying around,” Slipakoff said last week.\u003c/p>\n\u003cp>Prince encountered tax difficulties several times over the years, including owing back taxes to France in 2012, which he paid up, and overdue property taxes around $450,000 in 2010. In 2013, the IRS filed a federal tax lien against him in Carver County Court in Minnesota for $1.6 million. What happened with that case is unclear.\u003c/p>\n\u003cp>Records on file with Carver County, where Paisley Park is located, show that he was up to date on his property taxes when he died.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Nakashima, an AP Business writer, reported from Los Angeles. AP Entertainment Writer Nekesa Mumbi Moody in New York, and Associated Press writers Doug Glass in Minneapolis and Kevin Burbach in Chanhassen, Minnesota, 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>Prince’s sister on Tuesday said the superstar musician had no known will and asked a Minnesota court to appoint a special administrator to oversee his estate, though the size of his fortune is unclear.\u003c/p>\n\u003cp>Tyka Nelson, Prince’s only surviving full sibling, said in a court filing that immediate action was necessary to manage Prince’s business interests following his death last week. The documents don’t estimate how much his estate may be worth, but Prince made hundreds of millions of dollars for record companies, concert venues and others, and he owned about $27 million in property in Minnesota.\u003c/p>\n\u003cp>Nelson asked that Bremer Trust, a corporate trust company, be named administrator of the estate. The court documents say Bremer Bank provided financial services to Prince for many years.\u003c/p>\n\u003cp>The filing comes less than a week after the pop star died Thursday at his home in suburban Minneapolis. The outpouring of grief and nostalgia prompted fans to buy 2.3 million of his songs in three days.\u003c/p>\n\u003cp>Prince owned a dozen properties in and around his famous Paisley Park complex in suburban Minneapolis: mostly rural pieces of land and some houses for family members. Public records show those properties were worth about $27 million in 2016.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Estimates of how much licensing his personal brand will bring in after death reach to the purple clouds.\u003c/p>\n\u003cp>“He was as big as they get,” said Mark Roesler, chief executive of CMG Worldwide, which handles licensing for the estates of Marilyn Monroe, James Dean and other late stars.\u003c/p>\n\u003cp>Roesler estimates Prince’s post-mortem earnings will match top-earning dead celebrities like Elvis Presley, whose estate made $55 million in 2015, according to Forbes magazine.\u003c/p>\n\u003cp>“Will there be a business built up around Prince 60 years from now like James Dean? The answer is unequivocally yes,” Roesler said Friday.\u003c/p>\n\u003cp>Nelson’s filing said she had “no reason to believe” that Prince executed a will or any other documents saying what should happen to his estate. Nelson’s filing said she doesn’t know Prince’s assets or debts, but said he had “substantial assets” that require protection.\u003c/p>\n\u003cp>Nelson’s attorneys, Matthew Shea and Brian Dillon of the Minneapolis law firm Gray Plant Mooty, did not immediately return phone calls seeking comment.\u003c/p>\n\u003cp>Irwin Feinberg, a Los Angeles trust and probate lawyer who spoke to The Associated Press before Nelson’s filing, said wealthy people usually create trusts to avoid the public spectacle of probate court. He said it would be unusual for Prince not to have done so.\u003c/p>\n\u003cp>Under Minnesota law, if a person dies without a will — and with no surviving parents, children, or grandchildren — the next people in line to share in the estate are the surviving siblings, including half-siblings.\u003c/p>\n\u003cp>Prince wasn’t married and had no known living children. Nelson is his only full sibling, though he has five half-siblings (two other half-siblings have died).\u003c/p>\n\u003cp>The AP did not find liens or mortgages on any of his properties, which range from a sprawling 160-acre piece of grassland between Lake Lucy and Lake Ann, to a three-bedroom bungalow in Minneapolis that is home to his half brother, Omarr Baker.\u003c/p>\n\u003cp>Prince sold over 100 million albums on his lifetime, according to Warner Music Group. And Pollstar, a concert industry magazine, said that in the years that his tours topped the charts — 10 years over four decades performing — the tours raked in $225 million in ticket sales.\u003c/p>\n\u003cp>His best-earning touring year, when he took in $87.4 million, was 2004, the year he was inducted into the Rock and Roll Hall of Fame and two decades after the soundtrack to \u003cem>Purple Rain\u003c/em> went multi-platinum.\u003c/p>\n\u003cp>But what remained in Prince’s hands is, by any estimate, less than the sum of ticket and album sales. In every record deal, a cut goes to the label, background performers and music publishers, though Prince published and wrote his own songs. Concert ticket revenue is split among the venue, the promoter, staff and the cost of travelling around. And Prince was known to throw expensive parties.\u003c/p>\n\u003cp>Court battles in recent years suggest money wasn’t free flowing.\u003c/p>\n\u003cp>In April 2013, Prince lost a suit filed in New York State’s Supreme Court brought by perfume maker Revelations Perfume and Cosmetics Inc. for failing to promote the “3121” perfume line named after his album from 2006 and which he touted, but only once, in a massive concert that started July 7, 2007 near Macy’s in downtown Minneapolis and ended at 5 a.m. at the First Avenue club, a famous venue from \u003cem>Purple Rain\u003c/em>.\u003c/p>\n\u003cp>He was ordered to pay $4.4 million; he never did. Instead, plaintiff lawyers went searching for assets, found about $3 million in various Minnesota bank accounts, and used court orders to freeze them, according to Brian Slipakoff, a New York lawyer who represented the perfume maker. Prince settled for a lower amount shortly after.\u003c/p>\n\u003cp>“It doesn’t suggest there was oodles of cash lying around,” Slipakoff said last week.\u003c/p>\n\u003cp>Prince encountered tax difficulties several times over the years, including owing back taxes to France in 2012, which he paid up, and overdue property taxes around $450,000 in 2010. In 2013, the IRS filed a federal tax lien against him in Carver County Court in Minnesota for $1.6 million. What happened with that case is unclear.\u003c/p>\n\u003cp>Records on file with Carver County, where Paisley Park is located, show that he was up to date on his property taxes when he died.\u003c/p>\n\u003cp>___\u003c/p>\n\u003cp>Nakashima, an AP Business writer, reported from Los Angeles. AP Entertainment Writer Nekesa Mumbi Moody in New York, and Associated Press writers Doug Glass in Minneapolis and Kevin Burbach in Chanhassen, Minnesota, 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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"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.",
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"order": 9
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"meta": {
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"id": "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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"hidden-brain": {
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"airtime": "SUN 7pm-8pm",
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"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. ",
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"order": 15
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"jerrybrown": {
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"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. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"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/",
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"source": "American Public Media"
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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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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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.",
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"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",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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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"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"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",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
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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": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"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",
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"source": "kqed",
"order": 5
},
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