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"content": "\u003cp>Beyoncé’s \u003cem>Lemonade\u003c/em> arrived tonight via HBO, and now, in its immediate aftermath, there is no other way to say it: we have all witnessed the greatest pop moment thus far of the 21st century.\u003c/p>\n\u003cp>I’m old enough to remember watching the premiere of Michael Jackson’s “Thriller” video on TV as a kid, how mesmerizing it felt, and how everyone was talking about it the next day, the next month, the next year.\u003c/p>\n\u003cp>What Beyoncé has done is “Thriller” times 20.\u003c/p>\n\u003cp>A visual album about the real-life trauma of Jay-Z’s cheating on Beyoncé, \u003cem>Lemonade\u003c/em> follows an adapted version of the Kübler-Ross model, a.k.a. the five stages of grief — denial, anger, bargaining, depression and acceptance — around the realization of Jay-Z’s unfaithfulness. Numerous references to coming home late, not being able to look his wife in the eye, Bey’s regrets about her wedding ring and “side chicks” prevail. Prominently, Bey’s confidence eventually takes center stage; this is a feminist album that operates on reality and not a PC narrative.\u003c/p>\n\u003cp>If you’re aware of the Kübler-Ross model, you know that the final stage is “acceptance.” This is why, even when Beyoncé sang of anger and depression in the first half, I \u003ca href=\"https://twitter.com/gmeline/status/724044941530255361\" target=\"_blank\" rel=\"noopener\">started to believe\u003c/a> that \u003cem>Lemonade\u003c/em> was not going to be a divorce album.\u003c/p>\n\u003cfigure id=\"attachment_11520971\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11520971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Bay.1-1180x778.jpg\" alt=\"Beyoncé in 'Lemonade.'\" width=\"640\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1-960x633.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1.jpg 1632w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé in ‘Lemonade.’\u003c/figcaption>\u003c/figure>\n\u003cp>This gave me slight disappointment. How incredible would it be, how empowering to every woman who’d been cheated on, to divorce Jay-Z on live television over his cheating — complete with very detailed lyrics, middle fingers, expletives and “you coulda had this” shots of Jay-Z’s child, Blue Ivy, and the vision of Beyoncé’s body?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Beyoncé is not beholden to all women in the world. Life is not a Tumblr post. And love makes us embrace certain sacrifices. If, for the first 40 minutes, \u003cem>Lemonade\u003c/em> is a kiss-off that seems to inevitably end in divorce, then the next 20 minutes are a reminder that the aftermath of infidelity is not always easy.\u003c/p>\n\u003cp>Let’s get real for a second. Have you ever cheated on someone? I have. It’s terrible, except you’re getting satisfaction in this way that you could never get otherwise, and it’s wonderful, like being in love again, and goddamn, there is something that feels so \u003cem>right\u003c/em> about doing something so wrong.\u003c/p>\n\u003cp>Realness continued, though: Have you ever been cheated on? I have, and it’s terrible, but in a different and altogether more devastating way. You want to die. You are in shock, denial, anger — all those stages of grief. You are a wreck, and will be, for at least a few years.\u003c/p>\n\u003cfigure id=\"attachment_11520970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11520970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Bey2-1180x609.jpg\" alt=\"Beyoncé and Jay-Z in 'Lemonade.'\" width=\"640\" height=\"330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2-1180x609.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2-400x206.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2-800x413.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2-960x495.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2.jpg 1494w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé and Jay-Z in ‘Lemonade.’\u003c/figcaption>\u003c/figure>\n\u003cp>But even someone as strong, famous, and wealthy as Beyoncé cannot ignore the strength of real love. Something happens after the one you love betrays you. If you’re ambivalent, you can let them go. But if you love them passionately, and have always loved them, you enter into a stage of empathy that, while not fully forgiving them, understands why they’ve done what they’ve done.\u003c/p>\n\u003cp>That’s why it’s so powerful when Jay-Z actually appears on camera in \u003cem>Lemonade\u003c/em>. Beyoncé is welcoming him into her album, but by extension back into her life. Furthermore, Jay is agreeing to be in this video, this album, this film that in large part is a vicious indictment of his infidelity.\u003c/p>\n\u003cp>Add to all of this the incredible film direction. The omnipresent blackness, continued from “Formation” — Michael Brown’s mother, Trayvon Martin’s mother. The many references to motherhood — Bible pages stopping a period; the eyes of Blue Ivy. The utter poetic nature of it all. The gift Beyoncé has given to black womanhood. There are layers upon layers to \u003cem>Lemonade\u003c/em> that will take time to fully unravel.\u003c/p>\n\u003cp>But for now, I can’t imagine any pop culture moment in the last 16 years that rivals this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is an inherent barrier in pop music at large. It says: No, you cannot come in. With \u003cem>Lemonade\u003c/em>, Beyoncé has let us in — with personal songs, artistic visuals, incredible music and deeply intimate lyrics. She has simply given us the greatest pop moment of the 21st century, thus far.\u003c/p>\n\n",
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"excerpt": "A visual album about the real-life trauma of Jay-Z's cheating on Beyoncé, \u003cem>Lemonade\u003c/em> follows the Kübler-Ross model, a.k.a. the five stages of grief.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé’s \u003cem>Lemonade\u003c/em> arrived tonight via HBO, and now, in its immediate aftermath, there is no other way to say it: we have all witnessed the greatest pop moment thus far of the 21st century.\u003c/p>\n\u003cp>I’m old enough to remember watching the premiere of Michael Jackson’s “Thriller” video on TV as a kid, how mesmerizing it felt, and how everyone was talking about it the next day, the next month, the next year.\u003c/p>\n\u003cp>What Beyoncé has done is “Thriller” times 20.\u003c/p>\n\u003cp>A visual album about the real-life trauma of Jay-Z’s cheating on Beyoncé, \u003cem>Lemonade\u003c/em> follows an adapted version of the Kübler-Ross model, a.k.a. the five stages of grief — denial, anger, bargaining, depression and acceptance — around the realization of Jay-Z’s unfaithfulness. Numerous references to coming home late, not being able to look his wife in the eye, Bey’s regrets about her wedding ring and “side chicks” prevail. Prominently, Bey’s confidence eventually takes center stage; this is a feminist album that operates on reality and not a PC narrative.\u003c/p>\n\u003cp>If you’re aware of the Kübler-Ross model, you know that the final stage is “acceptance.” This is why, even when Beyoncé sang of anger and depression in the first half, I \u003ca href=\"https://twitter.com/gmeline/status/724044941530255361\" target=\"_blank\" rel=\"noopener\">started to believe\u003c/a> that \u003cem>Lemonade\u003c/em> was not going to be a divorce album.\u003c/p>\n\u003cfigure id=\"attachment_11520971\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11520971\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Bay.1-1180x778.jpg\" alt=\"Beyoncé in 'Lemonade.'\" width=\"640\" height=\"422\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1-1180x778.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1-400x264.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1-960x633.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bay.1.jpg 1632w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé in ‘Lemonade.’\u003c/figcaption>\u003c/figure>\n\u003cp>This gave me slight disappointment. How incredible would it be, how empowering to every woman who’d been cheated on, to divorce Jay-Z on live television over his cheating — complete with very detailed lyrics, middle fingers, expletives and “you coulda had this” shots of Jay-Z’s child, Blue Ivy, and the vision of Beyoncé’s body?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Beyoncé is not beholden to all women in the world. Life is not a Tumblr post. And love makes us embrace certain sacrifices. If, for the first 40 minutes, \u003cem>Lemonade\u003c/em> is a kiss-off that seems to inevitably end in divorce, then the next 20 minutes are a reminder that the aftermath of infidelity is not always easy.\u003c/p>\n\u003cp>Let’s get real for a second. Have you ever cheated on someone? I have. It’s terrible, except you’re getting satisfaction in this way that you could never get otherwise, and it’s wonderful, like being in love again, and goddamn, there is something that feels so \u003cem>right\u003c/em> about doing something so wrong.\u003c/p>\n\u003cp>Realness continued, though: Have you ever been cheated on? I have, and it’s terrible, but in a different and altogether more devastating way. You want to die. You are in shock, denial, anger — all those stages of grief. You are a wreck, and will be, for at least a few years.\u003c/p>\n\u003cfigure id=\"attachment_11520970\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-11520970\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/Bey2-1180x609.jpg\" alt=\"Beyoncé and Jay-Z in 'Lemonade.'\" width=\"640\" height=\"330\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2-1180x609.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2-400x206.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2-800x413.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2-768x396.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2-960x495.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/Bey2.jpg 1494w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Beyoncé and Jay-Z in ‘Lemonade.’\u003c/figcaption>\u003c/figure>\n\u003cp>But even someone as strong, famous, and wealthy as Beyoncé cannot ignore the strength of real love. Something happens after the one you love betrays you. If you’re ambivalent, you can let them go. But if you love them passionately, and have always loved them, you enter into a stage of empathy that, while not fully forgiving them, understands why they’ve done what they’ve done.\u003c/p>\n\u003cp>That’s why it’s so powerful when Jay-Z actually appears on camera in \u003cem>Lemonade\u003c/em>. Beyoncé is welcoming him into her album, but by extension back into her life. Furthermore, Jay is agreeing to be in this video, this album, this film that in large part is a vicious indictment of his infidelity.\u003c/p>\n\u003cp>Add to all of this the incredible film direction. The omnipresent blackness, continued from “Formation” — Michael Brown’s mother, Trayvon Martin’s mother. The many references to motherhood — Bible pages stopping a period; the eyes of Blue Ivy. The utter poetic nature of it all. The gift Beyoncé has given to black womanhood. There are layers upon layers to \u003cem>Lemonade\u003c/em> that will take time to fully unravel.\u003c/p>\n\u003cp>But for now, I can’t imagine any pop culture moment in the last 16 years that rivals this.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There is an inherent barrier in pop music at large. It says: No, you cannot come in. With \u003cem>Lemonade\u003c/em>, Beyoncé has let us in — with personal songs, artistic visuals, incredible music and deeply intimate lyrics. She has simply given us the greatest pop moment of the 21st century, thus far.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/261294973&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[contextly_sidebar id=\"87VcCSNYf0uckIVqBivtSqA0Q5zsjYtd\"]So by now, you've either seen \u003cem>LEMONADE\u003c/em>, heard it or \u003ca href=\"http://ww2.kqed.org/pop/2016/04/23/the-best-twitter-reactions-to-beyonces-visual-album-lemonade/\" target=\"_blank\">just read all about it on Twitter\u003c/a>. In addition to being a bold feminist exploration and celebration of what it means to be a black woman in America, the visual album is also a raw look at distrust, infidelity, and the limits of love. Two-thirds of the album deal with grief and anger over being cheated on, and the specter of divorce looms large. While watching, one expected Beyoncé to surprise drop divorce papers right afterward.\u003c/p>\n\u003cp>If all of this feels familiar, it's because we've been here before with these two. The year was 2014. The couple were in the midst of their joint \u003cem>On the Run\u003c/em> tour. And Beyonce was not happy (or so she wanted us to believe).\u003c/p>\n\u003cp>Every night, she would appear on stage wearing a wedding gown and would tearfully sing a song called \"Resentment,\" which featured lyrics like \"I’ll always remember feeling like I was no good / Like I couldn’t do it for you like that wack bitch could” and “Been ridin’ with you for 12 years / I gotta look at her in her eyes and see she’s had half of me. She ain’t even half of me. That bitch will never be.” She also covered Lauryn Hill's \"Ex Factor\", mournfully singing its mantra of “It ain’t workin, it ain’t workin.” And Jay Z got in on the action too with a line from \"Song Cry\": “I can understand why you want a divorce now.”\u003c/p>\n\u003cp>Everyone was convinced a divorce was imminent and fans clamored to buy tickets to the tour to witness the most prominent marriage in the world crumble before their eyes. We had been there to see them strut their young love back in 2003 in the music video for Bey's debut single \"Crazy In Love,\" we were there when they revealed the Blue Ivy pregnancy at a live awards show, we watched them love up on each other on yachts every time they went on vacation. So it was only natural, in a twisted, parasitic way, to also be there for their undoing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it all ended up being a marketing scheme. They're still together two years later. And they're still together, despite the insane breakup rollercoaster that is \u003cem>LEMONADE\u003c/em>. While manipulating us with this same narrative twice seemed cheap to me at first, ultimately, there is crafty artistic brilliance underneath it all.\u003c/p>\n\u003cp>Back in 2014, \u003ca href=\"http://ww2.kqed.org/pop/2014/08/07/beyonce-and-jay-z-divorce-on-the-run-tour-san-francisco/\" target=\"_blank\">I wrote\u003c/a> the following and it still stands:\u003c/p>\n\u003cblockquote>\u003cp>This entire divorce thing is part publicity stunt, part performance art. Messing with the idea of their marriage and family for profit [is] a cynical move, but perhaps there are two marriages at work here, the one they live at home and the one they live for us on stage. Maybe they feel fine messing with our conception of them because, at the end of the day, we \u003cem>don’t\u003c/em> know them; it’s all fiction. And what makes better fiction than a plot twist or a heartbreaking betrayal? As much as we are obsessed with happily ever after, we sure do get bored of it pretty quickly.\u003c/p>\n\u003cp>Maybe the fantasy they package and present to us holds no real value in their day-to-day reality; maybe they are just playing characters in a modern day opera, putting on the show they know we want to see.\u003c/p>\u003c/blockquote>\n\u003cp>And \u003cem>LEMONADE\u003c/em> definitely delivered in that regard, putting on an operatic spectacle that'll be remembered as a defining moment in music history.\u003c/p>\n\u003cp>So is this the real life? Or is this just fantasy? Who knows and who cares, when it's this genius.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Thirsty for more LEMONADE? Read up:\u003c/em>\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>\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/04/23/the-best-twitter-reactions-to-beyonces-visual-album-lemonade/\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/261294973&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>So by now, you've either seen \u003cem>LEMONADE\u003c/em>, heard it or \u003ca href=\"http://ww2.kqed.org/pop/2016/04/23/the-best-twitter-reactions-to-beyonces-visual-album-lemonade/\" target=\"_blank\">just read all about it on Twitter\u003c/a>. In addition to being a bold feminist exploration and celebration of what it means to be a black woman in America, the visual album is also a raw look at distrust, infidelity, and the limits of love. Two-thirds of the album deal with grief and anger over being cheated on, and the specter of divorce looms large. While watching, one expected Beyoncé to surprise drop divorce papers right afterward.\u003c/p>\n\u003cp>If all of this feels familiar, it's because we've been here before with these two. The year was 2014. The couple were in the midst of their joint \u003cem>On the Run\u003c/em> tour. And Beyonce was not happy (or so she wanted us to believe).\u003c/p>\n\u003cp>Every night, she would appear on stage wearing a wedding gown and would tearfully sing a song called \"Resentment,\" which featured lyrics like \"I’ll always remember feeling like I was no good / Like I couldn’t do it for you like that wack bitch could” and “Been ridin’ with you for 12 years / I gotta look at her in her eyes and see she’s had half of me. She ain’t even half of me. That bitch will never be.” She also covered Lauryn Hill's \"Ex Factor\", mournfully singing its mantra of “It ain’t workin, it ain’t workin.” And Jay Z got in on the action too with a line from \"Song Cry\": “I can understand why you want a divorce now.”\u003c/p>\n\u003cp>Everyone was convinced a divorce was imminent and fans clamored to buy tickets to the tour to witness the most prominent marriage in the world crumble before their eyes. We had been there to see them strut their young love back in 2003 in the music video for Bey's debut single \"Crazy In Love,\" we were there when they revealed the Blue Ivy pregnancy at a live awards show, we watched them love up on each other on yachts every time they went on vacation. So it was only natural, in a twisted, parasitic way, to also be there for their undoing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it all ended up being a marketing scheme. They're still together two years later. And they're still together, despite the insane breakup rollercoaster that is \u003cem>LEMONADE\u003c/em>. While manipulating us with this same narrative twice seemed cheap to me at first, ultimately, there is crafty artistic brilliance underneath it all.\u003c/p>\n\u003cp>Back in 2014, \u003ca href=\"http://ww2.kqed.org/pop/2014/08/07/beyonce-and-jay-z-divorce-on-the-run-tour-san-francisco/\" target=\"_blank\">I wrote\u003c/a> the following and it still stands:\u003c/p>\n\u003cblockquote>\u003cp>This entire divorce thing is part publicity stunt, part performance art. Messing with the idea of their marriage and family for profit [is] a cynical move, but perhaps there are two marriages at work here, the one they live at home and the one they live for us on stage. Maybe they feel fine messing with our conception of them because, at the end of the day, we \u003cem>don’t\u003c/em> know them; it’s all fiction. And what makes better fiction than a plot twist or a heartbreaking betrayal? As much as we are obsessed with happily ever after, we sure do get bored of it pretty quickly.\u003c/p>\n\u003cp>Maybe the fantasy they package and present to us holds no real value in their day-to-day reality; maybe they are just playing characters in a modern day opera, putting on the show they know we want to see.\u003c/p>\u003c/blockquote>\n\u003cp>And \u003cem>LEMONADE\u003c/em> definitely delivered in that regard, putting on an operatic spectacle that'll be remembered as a defining moment in music history.\u003c/p>\n\u003cp>So is this the real life? Or is this just fantasy? Who knows and who cares, when it's this genius.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Thirsty for more LEMONADE? Read up:\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/261294973&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[contextly_sidebar id=\"2fCvmZr5zndH8CgFiSfoFFY6Ei3ntiG8\"]Beyoncé just caused innumerable heart palpitations, tears and hysterics with the release of her new visual album, \u003cem>LEMONADE\u003c/em>, which is basically an hour-long diss track against her \u003ca href=\"http://ww2.kqed.org/pop/2016/04/23/beyonces-lemonade-isnt-the-first-time-shes-used-divorce-to-play-with-our-emotions/\">no-good, cheating husband\u003c/a> Jay Z. 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"content": "\u003cp>\u003cem>“Dearly beloved: we are gathered here today to get through this thing called life.”\u003c/em>\u003c/p>\n\u003cp>Is there a more accurate mission statement for all of pop music?\u003c/p>\n\u003cp>Pop music — the best of it, at least — knows that life is messy and unkempt. Life is not easy. It rips our hearts to pieces. It inherently causes friction, tension, anxiety. It dangles illusory promises, and then takes them away, leaving us in need of comfort and solace.\u003c/p>\n\u003cp>Life rarely offers us that solace. But Prince always, always did.\u003c/p>\n\u003cfigure id=\"attachment_11514049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/PrinceUpscaled.jpg.jpg\" alt=\"Prince performing in the hit film 'Purple Rain.'\" width=\"800\" height=\"538\" class=\"size-full wp-image-11514049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PrinceUpscaled.jpg.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PrinceUpscaled.jpg-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PrinceUpscaled.jpg-768x516.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince performing in the hit film ‘Purple Rain.’\u003c/figcaption>\u003c/figure>\n\u003cp>Prince, who died today at age 57, whose musical genius and cultural impact is impossible to fit into any obituary, was more than a brilliant songwriter. More than a dynamic singer. More than an impossibly lithe dancer. Prince was something most pop stars aren’t: he was there for us.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prince knew the heartbreak of losing a love so strong that life doesn’t feel worth living. The song? “Nothing Compares 2 U.” Prince knew the tumult of growing up in a house with fighting and resentment. The song? “When Doves Cry.” Prince knew the joys of sex, accepted and explored its many forms, and made it feel like the most natural thing in the world instead of a taboo that we’re supposed to feel weird about. The song — well, too many to name.\u003c/p>\n\u003cp>This is what Prince did for us: put words to our feelings, when those feelings were most complex. When society gave us no framework for understanding situations, Prince built one for us.\u003c/p>\n\u003cp>“I’m not a woman / I’m not a man / I’m something that you’ll never understand” spoke for thousands in the shadows during the Reagan years. “Am I black or white? Am I straight or gay?” were more than just lyrics to “Controversy” — they were forbidden questions in an America still guided by Phyllis Schlafly and Jerry Falwell.\u003c/p>\n\u003cfigure id=\"attachment_10959927\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Prince.jpg\" alt=\"The cover of Prince's "Let's Go Crazy" single, which was played in the background of the video under dispute. (Photo: Paisley Park)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10959927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Prince’s “Let’s Go Crazy” single.\u003c/figcaption>\u003c/figure>\n\u003cp>Have you ever trusted someone so much that you became blind to their betrayal, and only loved them more afterward? That’s “When You Were Mine.” Have you ever been hit on by someone who’s obviously so much on the rebound that, even though you’re lonesome too, you decline their advances because it’d just be messy? That’s “I Could Never Take the Place of Your Man.” Have you ever pleaded with someone keeping you on hand as a second option to just \u003cem>choose\u003c/em> already? That’s “The Beautiful Ones.” \u003c/p>\n\u003cp>All of this music emerged so effortlessly that it felt like breathing air. I last saw Prince \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">just two months ago, at the Paramount Theatre in Oakland\u003c/a>, and the only way I can describe it is to say that music simply poured out of the man. At the piano, Prince unreeled song after song with a glorious skill that could break the resolve of any atheist in the room, for here, surely, was the apparatus of divine creation.\u003c/p>\n\u003cp>Some would call it genius, but Prince transcended “genius.” Today, testimonials came from \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/prince-celebrities-react-to-the-the-loss-of-the-purple-one/\" target=\"_blank\" rel=\"noopener\">every possible celebrity\u003c/a>, from Katy Perry and Neil deGrasse Tyson to Barack Obama. This is how massive Prince’s impact was: the President of the United States declared that “nobody’s spirit was stronger, bolder, or more creative,” and it \u003cem>still\u003c/em> feels inadequate.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6SFNW5F8K9Y\u003c/p>\n\u003cp>That’s because there were so many moments. Performing the \u003ca href=\"https://youtu.be/7NN3gsSf-Ys\" target=\"_blank\" rel=\"noopener\">greatest Super Bowl halftime show\u003c/a> in history. Starring in the \u003ca>best midnight movie\u003c/a> of the 1980s. Recording his biggest hit single \u003ca href=\"https://en.wikipedia.org/wiki/Purple_Rain_%28song%29#Recording\" target=\"_blank\" rel=\"noopener\">live in one take\u003c/a>, at its very first public performance. Laying a group of rock ‘n’rollers to waste with the \u003ca href=\"https://www.youtube.com/watch?v=6SFNW5F8K9Y\" target=\"_blank\" rel=\"noopener\">guitar solo to end all guitar solos\u003c/a>, and then throwing the guitar up into the air like a boss. (Of course, it doesn’t come down; my only explanation is that God wanted it as a souvenir.)\u003c/p>\n\u003cp>These moments were not extraordinary; they were just part of what it was to be Prince. In 2011, I saw him \u003ca href=\"http://citysound.bohemian.com/2013/04/25/live-review-prince-at-the-dna-lounge-san-francisco/\" target=\"_blank\" rel=\"noopener\">at the DNA Lounge in San Francisco with 800 other people\u003c/a>. It cost $275. It was worth every dime, and here was the biggest takeaway: \u003c/p>\n\u003cblockquote>\u003cp>Can you name any other musician who WANTS to play as much as Prince?… This is what Prince \u003cem>does\u003c/em>, people. He shows up and sings as perfectly as he’s ever sung, plays the shit out of every instrument in range, he twists his guitar pegs to tune his strings mid-solo, he turns around and mixes his own monitor board mid-song, he plays guitar behind his head, he gyrates his pelvis and commands sing-alongs and throws out his guitar picks and plays, plays, plays, all in a day’s work — except for him it isn’t work, it’s normal life, the same way you or I walk down the street or buy milk or complain about the internet.\n\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11515137\" class=\"wp-caption aligncenter\" style=\"max-width: 632px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/prpdbd.jpg\" alt=\"Prince's pedal board, DNA Lounge, 2013.\" width=\"632\" height=\"406\" class=\"size-full wp-image-11515137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/prpdbd.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/prpdbd-400x257.jpg 400w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003cfigcaption class=\"wp-caption-text\">Prince’s pedal board, DNA Lounge, 2013. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When an artist is that gifted, they usually let their ego swell. They lose touch with the world. Prince didn’t. In recent months, he spoke of Black Lives Matter, and of the water crisis in Flint. He quoted Kendrick Lamar. He was never overtly political, but his actions showed that he still, at age 57, wanted a better world.\u003c/p>\n\u003cp>As for our personal worlds, it is a gift to us all that Prince left behind so much music. This is why he was so universally loved; Prince gave so much in return, across races, genders, borders and generations. At \u003ca href=\"http://www.setlist.fm/setlist/prince/2016/fox-theater-atlanta-ga-4bf1fbf6.html\" target=\"_blank\" rel=\"noopener\">his last concert\u003c/a>, in Atlanta, the very final song Prince performed was “Diamonds and Pearls,” and the last line of that last song seems more relevant than ever right now: “All I can do,” he sang, “is just offer you my love.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With that love, Prince — may there never be another like him — helped us all through the highs and lows, the heartbreak and joy, of this thing called life. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>“Dearly beloved: we are gathered here today to get through this thing called life.”\u003c/em>\u003c/p>\n\u003cp>Is there a more accurate mission statement for all of pop music?\u003c/p>\n\u003cp>Pop music — the best of it, at least — knows that life is messy and unkempt. Life is not easy. It rips our hearts to pieces. It inherently causes friction, tension, anxiety. It dangles illusory promises, and then takes them away, leaving us in need of comfort and solace.\u003c/p>\n\u003cp>Life rarely offers us that solace. But Prince always, always did.\u003c/p>\n\u003cfigure id=\"attachment_11514049\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/PrinceUpscaled.jpg.jpg\" alt=\"Prince performing in the hit film 'Purple Rain.'\" width=\"800\" height=\"538\" class=\"size-full wp-image-11514049\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PrinceUpscaled.jpg.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PrinceUpscaled.jpg-400x269.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/PrinceUpscaled.jpg-768x516.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince performing in the hit film ‘Purple Rain.’\u003c/figcaption>\u003c/figure>\n\u003cp>Prince, who died today at age 57, whose musical genius and cultural impact is impossible to fit into any obituary, was more than a brilliant songwriter. More than a dynamic singer. More than an impossibly lithe dancer. Prince was something most pop stars aren’t: he was there for us.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince knew the heartbreak of losing a love so strong that life doesn’t feel worth living. The song? “Nothing Compares 2 U.” Prince knew the tumult of growing up in a house with fighting and resentment. The song? “When Doves Cry.” Prince knew the joys of sex, accepted and explored its many forms, and made it feel like the most natural thing in the world instead of a taboo that we’re supposed to feel weird about. The song — well, too many to name.\u003c/p>\n\u003cp>This is what Prince did for us: put words to our feelings, when those feelings were most complex. When society gave us no framework for understanding situations, Prince built one for us.\u003c/p>\n\u003cp>“I’m not a woman / I’m not a man / I’m something that you’ll never understand” spoke for thousands in the shadows during the Reagan years. “Am I black or white? Am I straight or gay?” were more than just lyrics to “Controversy” — they were forbidden questions in an America still guided by Phyllis Schlafly and Jerry Falwell.\u003c/p>\n\u003cfigure id=\"attachment_10959927\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Prince.jpg\" alt=\"The cover of Prince's "Let's Go Crazy" single, which was played in the background of the video under dispute. (Photo: Paisley Park)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10959927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Prince’s “Let’s Go Crazy” single.\u003c/figcaption>\u003c/figure>\n\u003cp>Have you ever trusted someone so much that you became blind to their betrayal, and only loved them more afterward? That’s “When You Were Mine.” Have you ever been hit on by someone who’s obviously so much on the rebound that, even though you’re lonesome too, you decline their advances because it’d just be messy? That’s “I Could Never Take the Place of Your Man.” Have you ever pleaded with someone keeping you on hand as a second option to just \u003cem>choose\u003c/em> already? That’s “The Beautiful Ones.” \u003c/p>\n\u003cp>All of this music emerged so effortlessly that it felt like breathing air. I last saw Prince \u003ca href=\"http://ww2.kqed.org/arts/2016/02/29/live-review-prince-alone-with-a-piano-at-the-paramount-theatre-in-oakland/\" target=\"_blank\" rel=\"noopener\">just two months ago, at the Paramount Theatre in Oakland\u003c/a>, and the only way I can describe it is to say that music simply poured out of the man. At the piano, Prince unreeled song after song with a glorious skill that could break the resolve of any atheist in the room, for here, surely, was the apparatus of divine creation.\u003c/p>\n\u003cp>Some would call it genius, but Prince transcended “genius.” Today, testimonials came from \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/prince-celebrities-react-to-the-the-loss-of-the-purple-one/\" target=\"_blank\" rel=\"noopener\">every possible celebrity\u003c/a>, from Katy Perry and Neil deGrasse Tyson to Barack Obama. This is how massive Prince’s impact was: the President of the United States declared that “nobody’s spirit was stronger, bolder, or more creative,” and it \u003cem>still\u003c/em> feels inadequate.\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/6SFNW5F8K9Y'\n title='//www.youtube.com/embed/6SFNW5F8K9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s because there were so many moments. Performing the \u003ca href=\"https://youtu.be/7NN3gsSf-Ys\" target=\"_blank\" rel=\"noopener\">greatest Super Bowl halftime show\u003c/a> in history. Starring in the \u003ca>best midnight movie\u003c/a> of the 1980s. Recording his biggest hit single \u003ca href=\"https://en.wikipedia.org/wiki/Purple_Rain_%28song%29#Recording\" target=\"_blank\" rel=\"noopener\">live in one take\u003c/a>, at its very first public performance. Laying a group of rock ‘n’rollers to waste with the \u003ca href=\"https://www.youtube.com/watch?v=6SFNW5F8K9Y\" target=\"_blank\" rel=\"noopener\">guitar solo to end all guitar solos\u003c/a>, and then throwing the guitar up into the air like a boss. (Of course, it doesn’t come down; my only explanation is that God wanted it as a souvenir.)\u003c/p>\n\u003cp>These moments were not extraordinary; they were just part of what it was to be Prince. In 2011, I saw him \u003ca href=\"http://citysound.bohemian.com/2013/04/25/live-review-prince-at-the-dna-lounge-san-francisco/\" target=\"_blank\" rel=\"noopener\">at the DNA Lounge in San Francisco with 800 other people\u003c/a>. It cost $275. It was worth every dime, and here was the biggest takeaway: \u003c/p>\n\u003cblockquote>\u003cp>Can you name any other musician who WANTS to play as much as Prince?… This is what Prince \u003cem>does\u003c/em>, people. He shows up and sings as perfectly as he’s ever sung, plays the shit out of every instrument in range, he twists his guitar pegs to tune his strings mid-solo, he turns around and mixes his own monitor board mid-song, he plays guitar behind his head, he gyrates his pelvis and commands sing-alongs and throws out his guitar picks and plays, plays, plays, all in a day’s work — except for him it isn’t work, it’s normal life, the same way you or I walk down the street or buy milk or complain about the internet.\n\u003c/p>\u003c/blockquote>\n\u003cfigure id=\"attachment_11515137\" class=\"wp-caption aligncenter\" style=\"max-width: 632px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/prpdbd.jpg\" alt=\"Prince's pedal board, DNA Lounge, 2013.\" width=\"632\" height=\"406\" class=\"size-full wp-image-11515137\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/prpdbd.jpg 632w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/prpdbd-400x257.jpg 400w\" sizes=\"(max-width: 632px) 100vw, 632px\">\u003cfigcaption class=\"wp-caption-text\">Prince’s pedal board, DNA Lounge, 2013. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When an artist is that gifted, they usually let their ego swell. They lose touch with the world. Prince didn’t. In recent months, he spoke of Black Lives Matter, and of the water crisis in Flint. He quoted Kendrick Lamar. He was never overtly political, but his actions showed that he still, at age 57, wanted a better world.\u003c/p>\n\u003cp>As for our personal worlds, it is a gift to us all that Prince left behind so much music. This is why he was so universally loved; Prince gave so much in return, across races, genders, borders and generations. At \u003ca href=\"http://www.setlist.fm/setlist/prince/2016/fox-theater-atlanta-ga-4bf1fbf6.html\" target=\"_blank\" rel=\"noopener\">his last concert\u003c/a>, in Atlanta, the very final song Prince performed was “Diamonds and Pearls,” and the last line of that last song seems more relevant than ever right now: “All I can do,” he sang, “is just offer you my love.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With that love, Prince — may there never be another like him — helped us all through the highs and lows, the heartbreak and joy, of this thing called life. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "cy-and-davids-picks-altered-states-25-years-of-power-pop-and-bay-area-dance-week",
"title": "Cy and David's Picks: Altered States, 25 Years of Power Pop, and Bay Area Dance Week",
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"content": "\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio/thedolist/2016/04/TDL20160422.mp3\u003c/p>\n\u003c/aside>\n\u003cp>\u003cstrong>April 28: \u003c/strong> People have been comparing Page Burkum and Jack Torrey’s of the\u003ca href=\"http://www.thecactusblossoms.com/index.html\" target=\"_blank\" rel=\"noopener\"> Cactus Blossoms\u003c/a> to the \u003ca href=\"https://en.wikipedia.org/wiki/The_Everly_Brothers\" target=\"_blank\" rel=\"noopener\">Everly Brothers\u003c/a>, because despite the different last names, they really are two brothers singing in close harmony. But there’s also a little Bob Wills and Buddy Holly in their look and inspiration. (Though not sure where you find cactus blossoms in Minnesota, Burkum and Torrey’s home state.)\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Cactus Blossoms - Stoplight Kisses (Official Music Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0kWEfeRjS7E?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003cbr>\nAnyway, the lyrics are weird and smart. On “Clown Collector” they sing “History repeats all the time. It’s going to make you laugh when the clown starts crying.” It’s a great double bill. They opening for the throwback sound Pokey LaFarge at \u003ca href=\"http://thefillmore.com/\" target=\"_blank\" rel=\"noopener\">The Fillmore\u003c/a>. Details \u003ca href=\"http://thefillmore.com/event/34717699110/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=enLUXU4N7pE\u003c/p>\n\u003cp>\u003cstrong>Continuing through Sept. 25:\u003c/strong> The \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> is doing something better than any other Bay Area museum, looking at cultural and historical aspects of marijuana use in American society. This is a timely exhibit as Californians get ready to vote this fall on a \u003ca href=\"http://ww2.kqed.org/news/2016/03/28/what-could-change-if-recreational-pot-is-legalized-in-california\" target=\"_blank\" rel=\"noopener\">measure to legalize pot for adult use in the state\u003c/a>. At this exhibit, you can sample the scent of different strains of cannabis, tell the truth about your own pot use in the Cannabis Confessional, and\u003cbr>\nwatch 30 years worth of PSAs about marijuana (scary). Details \u003ca href=\"http://museumca.org/exhibit/altered-state-marijuana-california\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ekabpUoNLew\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>April 22 & 23:\u003c/strong> The \u003ca href=\"http://www.calbach.org/\" target=\"_blank\" rel=\"noopener\">California Bach Society \u003c/a>is performing some gorgeous choral music this weekend. Artistic Director Paul Flight is leading the society’s 30 singers in three pieces: the double-choir motet \u003cem>Singet dem Herrn\u003c/em> (\u003cem>Sing a new song to the Lord\u003c/em>), \u003cem>Der Geist hilft unser Schwachheit auf \u003c/em>(\u003cem>The Spirit Gives Aid to our Weakness\u003c/em>), and \u003cem>Jesu meine Freude\u003c/em> (\u003cem>Jesus my Joy\u003c/em>). And you don’t have to be Lutheran to love these beautiful songs of praise. Details \u003ca href=\"http://www.calbach.org/season.html#fourthConcert\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, about the performances in San Francisco, Palo Alto, and Berkeley. \u003ca href=\"http://www.calbach.org/season.html#fourthConcert\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003c/p>\n\u003cp>https://vimeo.com/159298737\u003c/p>\n\u003cp>\u003cstrong>April 22 – May 1:\u003c/strong> You’ll have lots of chances to kick up your heels in the next eight days during \u003ca href=\"http://bayareandw.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Dance week.\u003c/a> The festival starts Friday at 12noon at Union Square, where anyone can join the flash mob dancing to the Beatles “Twist and Shout.” (But you’ll fit in better if you follow the training video from \u003ca href=\"http://www.rhythmandmotion.com/\" target=\"_blank\" rel=\"noopener\">Rhythm and Motion\u003cb> \u003c/b>\u003c/a> dance instructor Dudley Flores\u003cstrong> \u003c/strong>above.) Then there are about 400 other dance events, many of them free, listed \u003ca href=\"http://bayareandw.org/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003cstrong>. \u003c/strong>And we’re highlighting just a few:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZdvOesczMzU\u003c/p>\n\u003cp>\u003cstrong>Through April 30:\u003c/strong> The great modern dance maestro \u003ca href=\"https://linesballet.org/performances/spring-season/\" target=\"_blank\" rel=\"noopener\">Alonzo King collaborates with jazz greats Charles Lloyd and Jason Moran on a world premiere at YBCA\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6Co08dOKovM\u003c/p>\n\u003cp>\u003cstrong>April 24\u003c/strong>: sjDANCEco presents its \u003ca href=\"http://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">14th annual festival at Santana Row Park, \u003c/a>with nearly 70 dance groups slated to perform-10-5pm and it’s free.\u003c/p>\n\u003cp>\u003cstrong>April 22\u003c/strong>: \u003ca href=\"https://calperformances.org/?gclid=CILQqJTUoMwCFc-Ffgodl2EDaA&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>presents \u003ca href=\"https://calperformances.org/performances/2015-16/citizen-dance/citizen-dance.php\" target=\"_blank\" rel=\"noopener\">Citizen Dance,\u003c/a> with members of UC Berkeley’s dance community in free outdoor performances near Zellerbach hall Friday evening at 5pm.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OlSGg9KT5Bs\u003c/p>\n\u003cp>\u003cstrong>April 23\u003c/strong>: And AXIS Dance, the amazing Oakland ensemble with a mission to change the face of dance and disability offers the Bay Area premiere of \u003cem>To Go Again\u003c/em>, a new work by choreographer Joe Goode. AXIS does amazing things with wheelchairs. \u003ca href=\"http://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">That’s Saturday at Bing Hall at Stanford.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qffy6uHkcTU\u003c/p>\n\u003cp>\u003cstrong>April 26\u003c/strong>: The Canadian band Sloan is celebrating 25 years of crisp, smart power-pop. On this tour, they’re playing every song from their 1996 classic \u003cem>One Chord to Another\u003c/em>, then another set of newer material. Sloan is kind of the socialist commune of rockers, with each band member sharing songwriting and management duties. And yet they’re still together. Details for their\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\"> Rickshaw Stop performance are\u003c/a>\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\">.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003caside class=\"aligncenter\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>\u003cstrong>April 28: \u003c/strong> People have been comparing Page Burkum and Jack Torrey’s of the\u003ca href=\"http://www.thecactusblossoms.com/index.html\" target=\"_blank\" rel=\"noopener\"> Cactus Blossoms\u003c/a> to the \u003ca href=\"https://en.wikipedia.org/wiki/The_Everly_Brothers\" target=\"_blank\" rel=\"noopener\">Everly Brothers\u003c/a>, because despite the different last names, they really are two brothers singing in close harmony. But there’s also a little Bob Wills and Buddy Holly in their look and inspiration. (Though not sure where you find cactus blossoms in Minnesota, Burkum and Torrey’s home state.)\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Cactus Blossoms - Stoplight Kisses (Official Music Video)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/0kWEfeRjS7E?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003cbr>\nAnyway, the lyrics are weird and smart. On “Clown Collector” they sing “History repeats all the time. It’s going to make you laugh when the clown starts crying.” It’s a great double bill. They opening for the throwback sound Pokey LaFarge at \u003ca href=\"http://thefillmore.com/\" target=\"_blank\" rel=\"noopener\">The Fillmore\u003c/a>. Details \u003ca href=\"http://thefillmore.com/event/34717699110/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/enLUXU4N7pE'\n title='//www.youtube.com/embed/enLUXU4N7pE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Continuing through Sept. 25:\u003c/strong> The \u003ca href=\"http://museumca.org/\" target=\"_blank\" rel=\"noopener\">Oakland Museum of California\u003c/a> is doing something better than any other Bay Area museum, looking at cultural and historical aspects of marijuana use in American society. This is a timely exhibit as Californians get ready to vote this fall on a \u003ca href=\"http://ww2.kqed.org/news/2016/03/28/what-could-change-if-recreational-pot-is-legalized-in-california\" target=\"_blank\" rel=\"noopener\">measure to legalize pot for adult use in the state\u003c/a>. At this exhibit, you can sample the scent of different strains of cannabis, tell the truth about your own pot use in the Cannabis Confessional, and\u003cbr>\nwatch 30 years worth of PSAs about marijuana (scary). Details \u003ca href=\"http://museumca.org/exhibit/altered-state-marijuana-california\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ekabpUoNLew'\n title='//www.youtube.com/embed/ekabpUoNLew'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>April 22 & 23:\u003c/strong> The \u003ca href=\"http://www.calbach.org/\" target=\"_blank\" rel=\"noopener\">California Bach Society \u003c/a>is performing some gorgeous choral music this weekend. Artistic Director Paul Flight is leading the society’s 30 singers in three pieces: the double-choir motet \u003cem>Singet dem Herrn\u003c/em> (\u003cem>Sing a new song to the Lord\u003c/em>), \u003cem>Der Geist hilft unser Schwachheit auf \u003c/em>(\u003cem>The Spirit Gives Aid to our Weakness\u003c/em>), and \u003cem>Jesu meine Freude\u003c/em> (\u003cem>Jesus my Joy\u003c/em>). And you don’t have to be Lutheran to love these beautiful songs of praise. Details \u003ca href=\"http://www.calbach.org/season.html#fourthConcert\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, about the performances in San Francisco, Palo Alto, and Berkeley. \u003ca href=\"http://www.calbach.org/season.html#fourthConcert\" target=\"_blank\" rel=\"noopener\"> \u003c/a>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>April 22 – May 1:\u003c/strong> You’ll have lots of chances to kick up your heels in the next eight days during \u003ca href=\"http://bayareandw.org/\" target=\"_blank\" rel=\"noopener\">Bay Area Dance week.\u003c/a> The festival starts Friday at 12noon at Union Square, where anyone can join the flash mob dancing to the Beatles “Twist and Shout.” (But you’ll fit in better if you follow the training video from \u003ca href=\"http://www.rhythmandmotion.com/\" target=\"_blank\" rel=\"noopener\">Rhythm and Motion\u003cb> \u003c/b>\u003c/a> dance instructor Dudley Flores\u003cstrong> \u003c/strong>above.) Then there are about 400 other dance events, many of them free, listed \u003ca href=\"http://bayareandw.org/events/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>\u003cstrong>. \u003c/strong>And we’re highlighting just a few:\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/ZdvOesczMzU'\n title='//www.youtube.com/embed/ZdvOesczMzU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Through April 30:\u003c/strong> The great modern dance maestro \u003ca href=\"https://linesballet.org/performances/spring-season/\" target=\"_blank\" rel=\"noopener\">Alonzo King collaborates with jazz greats Charles Lloyd and Jason Moran on a world premiere at YBCA\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/6Co08dOKovM'\n title='//www.youtube.com/embed/6Co08dOKovM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 24\u003c/strong>: sjDANCEco presents its \u003ca href=\"http://www.sjdanceco.org/\" target=\"_blank\" rel=\"noopener\">14th annual festival at Santana Row Park, \u003c/a>with nearly 70 dance groups slated to perform-10-5pm and it’s free.\u003c/p>\n\u003cp>\u003cstrong>April 22\u003c/strong>: \u003ca href=\"https://calperformances.org/?gclid=CILQqJTUoMwCFc-Ffgodl2EDaA&gclsrc=aw.ds\" target=\"_blank\" rel=\"noopener\">Cal Performances \u003c/a>presents \u003ca href=\"https://calperformances.org/performances/2015-16/citizen-dance/citizen-dance.php\" target=\"_blank\" rel=\"noopener\">Citizen Dance,\u003c/a> with members of UC Berkeley’s dance community in free outdoor performances near Zellerbach hall Friday evening at 5pm.\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/OlSGg9KT5Bs'\n title='//www.youtube.com/embed/OlSGg9KT5Bs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 23\u003c/strong>: And AXIS Dance, the amazing Oakland ensemble with a mission to change the face of dance and disability offers the Bay Area premiere of \u003cem>To Go Again\u003c/em>, a new work by choreographer Joe Goode. AXIS does amazing things with wheelchairs. \u003ca href=\"http://live.stanford.edu/calendar/april-2016/axis-dance-company\" target=\"_blank\" rel=\"noopener\">That’s Saturday at Bing Hall at Stanford.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Qffy6uHkcTU'\n title='//www.youtube.com/embed/Qffy6uHkcTU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>April 26\u003c/strong>: The Canadian band Sloan is celebrating 25 years of crisp, smart power-pop. On this tour, they’re playing every song from their 1996 classic \u003cem>One Chord to Another\u003c/em>, then another set of newer material. Sloan is kind of the socialist commune of rockers, with each band member sharing songwriting and management duties. And yet they’re still together. Details for their\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\"> Rickshaw Stop performance are\u003c/a>\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>\u003ca href=\"http://www.rickshawstop.com/event/1103181-evening-sloan-one-chord-san-francisco/\" target=\"_blank\" rel=\"noopener\">.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Listen to Prince's 2007 'Press Conference' Mini-Concert for Super Bowl Reporters",
"headTitle": "Listen to Prince’s 2007 ‘Press Conference’ Mini-Concert for Super Bowl Reporters | KQED",
"content": "\u003cp>We all know it as the greatest Super Bowl halftime in history: Prince’s 2007 performance, which ended as the artist played “Purple Rain” in the most well-timed cloudburst in all of sports.\u003c/p>\n\u003cp>Lesser known is the press conference given at that year’s Super Bowl by Prince, who \u003ca href=\"http://ww2.kqed.org/arts/2016/04/21/publicist-confirms-pop-superstar-prince-dies-at-his-minnesota-home/\" target=\"_blank\" rel=\"noopener\">died today at age 57\u003c/a>.\u003c/p>\n\u003cp>Halftime acts talking to sports reporters before the big game has always been awkward — witness \u003ca href=\"http://www.sfgate.com/music/article/Coldplay-talks-up-halftime-show-at-Super-Bowl-6807658.php\" target=\"_blank\" rel=\"noopener\">Coldplay’s discomfort here\u003c/a> — but Prince nipped the whole affair in the bud.\u003c/p>\n\u003cp>Instead of answering questions, Prince played a mini-concert for sports reporters. “Contrary to rumor, I’d like to take a few questions right now,” he says — and then rips into “Johnny B. Goode.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/260224805″ params=”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true” width=”100%” height=”450″ iframe=”true” /]\u003c/p>\n\u003cp>KQED’s own Joshua Johnson forwards us this audio from the press conference, including the songs “Anotherloverholenyohead” and “Get on the Boat.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Prince leaves the room by saying: “See you at the Super Bowl – peace.” \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We all know it as the greatest Super Bowl halftime in history: Prince’s 2007 performance, which ended as the artist played “Purple Rain” in the most well-timed cloudburst in all of sports.\u003c/p>\n\u003cp>Lesser known is the press conference given at that year’s Super Bowl by Prince, who \u003ca href=\"http://ww2.kqed.org/arts/2016/04/21/publicist-confirms-pop-superstar-prince-dies-at-his-minnesota-home/\" target=\"_blank\" rel=\"noopener\">died today at age 57\u003c/a>.\u003c/p>\n\u003cp>Halftime acts talking to sports reporters before the big game has always been awkward — witness \u003ca href=\"http://www.sfgate.com/music/article/Coldplay-talks-up-halftime-show-at-Super-Bowl-6807658.php\" target=\"_blank\" rel=\"noopener\">Coldplay’s discomfort here\u003c/a> — but Prince nipped the whole affair in the bud.\u003c/p>\n\u003cp>Instead of answering questions, Prince played a mini-concert for sports reporters. “Contrary to rumor, I’d like to take a few questions right now,” he says — and then rips into “Johnny B. Goode.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”450″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/260224805″&visual=true&”auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&visual=true”'\n title='”https://api.soundcloud.com/tracks/260224805″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>KQED’s own Joshua Johnson forwards us this audio from the press conference, including the songs “Anotherloverholenyohead” and “Get on the Boat.”\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>Prince leaves the room by saying: “See you at the Super Bowl – peace.” \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In case you've been off the internet and haven't turned on the TV or radio for a solid eight hours, we have some bad news for you: Prince has died.\u003c/p>\n\u003cp>If your immediate reaction to this is to burrow under the covers moaning \"This is what it sounds like when doves cry,\" well, we can't blame you. But, to be honest, that is probably not what our close personal friend Prince would have wanted us to do. He would have wanted to us to dance. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/every-animated-gif-of-prince-youll-ever-need/\" target=\"_blank\">get animated\u003c/a>. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\" target=\"_blank\">go crazy\u003c/a>.\u003c/p>\n\u003cp>Here are some opportunities to do just that. We'll update this list as we hear about more.\u003c/p>\n\u003ch4>Thursday, April 21:\u003c/h4>\n\u003cp>\u003cstrong>San Francisco City Hall\u003c/strong> will be \u003ca href=\"https://www.facebook.com/events/244554419266138/\" target=\"_blank\">going purple at 8 pm\u003c/a>, thanks to a lightning-quick social media campaign apparently kicked off by FunCheapSF.\u003c/p>\n\u003cp>\u003cstrong>Also at 8 pm: \u003ca href=\"http://hoodline.com/events/prince-memorial-flashdance-free-outdoor-dance-party\" target=\"_blank\">Prince memorial flash mob\u003c/a>\u003c/strong> at the Ferry Building.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Sweater Funk\u003c/strong> and other DJs will be \u003ca href=\"https://www.facebook.com/events/248024905547554/\" target=\"_blank\">spinning Prince favorites at the Make-Out Room. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>BFF.fm DJs\u003c/strong> will be holding their own with an \u003ca href=\"https://www.facebook.com/events/745189385584326/\" target=\"_blank\">Emergency Prince Tribute tonight at Pops. \u003c/a>\u003c/p>\n\u003ch4>Friday, April 22:\u003c/h4>\n\u003cp>\u003cstrong>\u003cem>Purple Rain\u003c/em>\u003c/strong>, in all its majesty, shall be screened at the \u003ca href=\"https://www.facebook.com/events/137330066669225/\" target=\"_blank\">Roxie Theater at 11:55 pm. \u003c/a>\u003c/p>\n\u003cp>Art space\u003cstrong> Southern Exposure\u003c/strong> will kick off its \u003ca href=\"https://www.soex.org/projects-exhibitions/over-wall\" target=\"_blank\">new exhibition\u003c/a> with a \u003ca href=\"https://www.facebook.com/events/972130089530796/\" target=\"_blank\">Prince dance party\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Church of 8 Wheels\u003c/strong> will host two nights (Friday and Saturday) of \u003ca href=\"https://www.facebook.com/events/1585366411774342/\" target=\"_blank\">Prince-themed roller disco\u003c/a>.\u003c/p>\n\u003ch4>Saturday, April 23:\u003c/h4>\n\u003cp>Oakland's \u003cstrong>Heart and Dagger Saloon\u003c/strong> will be showing \u003cem>Purple Rain\u003c/em> on repeat and \u003ca href=\"https://www.facebook.com/events/509317125920472/\" target=\"_blank\">spinning Prince tunes all night long\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Club BNB\u003c/strong> will be hosting a \u003ca href=\"https://www.facebook.com/events/474053742793568/\" target=\"_blank\">Prince Farewell Dance Party\u003c/a>.\u003c/p>\n\u003cp>R&B station \u003cstrong>KLBX 102.9 FM\u003c/strong> is throwing a \u003ca href=\"http://www.kblx.com/blogs/kblxs-prince-tribute-day-party\" target=\"_blank\">Prince Tribute Day Party\u003c/a> at Liege Spirits Lounge in Oakland. (The first 102 people who show up in purple get a free Prince mix CD.)\u003c/p>\n\u003ch4>Sunday, April 24:\u003c/h4>\n\u003cp>\u003cstrong>Disco Cabana\u003c/strong>'s \u003ca href=\"https://www.facebook.com/events/218598768514659/\" target=\"_blank\">daytime Prince tribute party\u003c/a> was apparently planned weeks ago?!\u003c/p>\n\u003ch4>Wednesday, April 27:\u003c/h4>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/1072684689459060/\" target=\"_blank\">Prince: A Celebration\u003c/a> \u003c/strong>at the \u003cstrong>Elbo Room,\u003c/strong> with DJs Chaki, Cory Sklar, Jeremy Wheat, and more. Proceeds from the $5 door charge will go to benefit the San Francisco AIDS Foundation.\u003c/p>\n\u003ch4>Thursday, April 28:\u003c/h4>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1015 Folsom\u003c/strong> hosts a \u003ca href=\"https://www.facebook.com/events/1091102237628009/\" target=\"_blank\">dance night tribute party\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In case you've been off the internet and haven't turned on the TV or radio for a solid eight hours, we have some bad news for you: Prince has died.\u003c/p>\n\u003cp>If your immediate reaction to this is to burrow under the covers moaning \"This is what it sounds like when doves cry,\" well, we can't blame you. But, to be honest, that is probably not what our close personal friend Prince would have wanted us to do. He would have wanted to us to dance. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/every-animated-gif-of-prince-youll-ever-need/\" target=\"_blank\">get animated\u003c/a>. He would have wanted us to \u003ca href=\"http://ww2.kqed.org/pop/2016/04/21/lets-go-crazy-prince-and-the-subversive-power-of-party-music/\" target=\"_blank\">go crazy\u003c/a>.\u003c/p>\n\u003cp>Here are some opportunities to do just that. We'll update this list as we hear about more.\u003c/p>\n\u003ch4>Thursday, April 21:\u003c/h4>\n\u003cp>\u003cstrong>San Francisco City Hall\u003c/strong> will be \u003ca href=\"https://www.facebook.com/events/244554419266138/\" target=\"_blank\">going purple at 8 pm\u003c/a>, thanks to a lightning-quick social media campaign apparently kicked off by FunCheapSF.\u003c/p>\n\u003cp>\u003cstrong>Also at 8 pm: \u003ca href=\"http://hoodline.com/events/prince-memorial-flashdance-free-outdoor-dance-party\" target=\"_blank\">Prince memorial flash mob\u003c/a>\u003c/strong> at the Ferry Building.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Sweater Funk\u003c/strong> and other DJs will be \u003ca href=\"https://www.facebook.com/events/248024905547554/\" target=\"_blank\">spinning Prince favorites at the Make-Out Room. \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>BFF.fm DJs\u003c/strong> will be holding their own with an \u003ca href=\"https://www.facebook.com/events/745189385584326/\" target=\"_blank\">Emergency Prince Tribute tonight at Pops. \u003c/a>\u003c/p>\n\u003ch4>Friday, April 22:\u003c/h4>\n\u003cp>\u003cstrong>\u003cem>Purple Rain\u003c/em>\u003c/strong>, in all its majesty, shall be screened at the \u003ca href=\"https://www.facebook.com/events/137330066669225/\" target=\"_blank\">Roxie Theater at 11:55 pm. \u003c/a>\u003c/p>\n\u003cp>Art space\u003cstrong> Southern Exposure\u003c/strong> will kick off its \u003ca href=\"https://www.soex.org/projects-exhibitions/over-wall\" target=\"_blank\">new exhibition\u003c/a> with a \u003ca href=\"https://www.facebook.com/events/972130089530796/\" target=\"_blank\">Prince dance party\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The Church of 8 Wheels\u003c/strong> will host two nights (Friday and Saturday) of \u003ca href=\"https://www.facebook.com/events/1585366411774342/\" target=\"_blank\">Prince-themed roller disco\u003c/a>.\u003c/p>\n\u003ch4>Saturday, April 23:\u003c/h4>\n\u003cp>Oakland's \u003cstrong>Heart and Dagger Saloon\u003c/strong> will be showing \u003cem>Purple Rain\u003c/em> on repeat and \u003ca href=\"https://www.facebook.com/events/509317125920472/\" target=\"_blank\">spinning Prince tunes all night long\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Club BNB\u003c/strong> will be hosting a \u003ca href=\"https://www.facebook.com/events/474053742793568/\" target=\"_blank\">Prince Farewell Dance Party\u003c/a>.\u003c/p>\n\u003cp>R&B station \u003cstrong>KLBX 102.9 FM\u003c/strong> is throwing a \u003ca href=\"http://www.kblx.com/blogs/kblxs-prince-tribute-day-party\" target=\"_blank\">Prince Tribute Day Party\u003c/a> at Liege Spirits Lounge in Oakland. (The first 102 people who show up in purple get a free Prince mix CD.)\u003c/p>\n\u003ch4>Sunday, April 24:\u003c/h4>\n\u003cp>\u003cstrong>Disco Cabana\u003c/strong>'s \u003ca href=\"https://www.facebook.com/events/218598768514659/\" target=\"_blank\">daytime Prince tribute party\u003c/a> was apparently planned weeks ago?!\u003c/p>\n\u003ch4>Wednesday, April 27:\u003c/h4>\n\u003cp>\u003cstrong>\u003ca href=\"https://www.facebook.com/events/1072684689459060/\" target=\"_blank\">Prince: A Celebration\u003c/a> \u003c/strong>at the \u003cstrong>Elbo Room,\u003c/strong> with DJs Chaki, Cory Sklar, Jeremy Wheat, and more. Proceeds from the $5 door charge will go to benefit the San Francisco AIDS Foundation.\u003c/p>\n\u003ch4>Thursday, April 28:\u003c/h4>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>1015 Folsom\u003c/strong> hosts a \u003ca href=\"https://www.facebook.com/events/1091102237628009/\" target=\"_blank\">dance night tribute party\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Publicist Confirms: Pop Superstar Prince Dies at his Minnesota Home",
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"content": "\u003cp>CHANHASSEN, Minn. (AP) — Pop superstar Prince, widely acclaimed as one of the most inventive and influential musicians of his era with hits including “Little Red Corvette,” ”Let’s Go Crazy” and “When Doves Cry,” was found dead at his home on Thursday in suburban Minneapolis, according to his publicist. He was 57.\u003c/p>\n\u003cp>His publicist, Yvette Noel-Schure, told The Associated Press that the music icon died at his home in Chanhassen. No details were immediately released.\u003c/p>\n\u003cp>The singer, songwriter, arranger and instrumentalist broke through in the late 1970s with the hits “Why You Wanna Treat Me So Bad?” and “I Wanna Be Your Lover,” and soared over the following decade with such albums as “1999” and “Purple Rain.” The title song from “1999” includes one of the most widely quoted refrains of popular culture: “Tonight I’m gonna party like it’s 1999.”\u003c/p>\n\u003cfigure id=\"attachment_11371761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg\" alt=\"Prince recently toured solo on his 'Piano and a Microphone' tour.\" width=\"800\" height=\"450\" class=\"size-full wp-image-11371761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince recently toured solo on his ‘Piano and a Microphone’ tour. \u003ccite>(Photo courtesy Prince management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Minneapolis native, born Prince Rogers Nelson, stood just 5 feet, 2 inches tall, and seemed to summon the most original and compelling sounds at will, whether playing guitar in a flamboyant style that openly drew upon Jimi Hendrix, switching his vocals from a nasally scream to an erotic falsetto or turning out album after album of stunningly original material. Among his other notable releases: “Sign O’ the Times,” ”Graffiti Bridge” and “The Black Album.”\u003c/p>\n\u003cp>He was also fiercely protective of his independence, battling his record company over control of his material and even his name. Prince once wrote “slave” on his face in protest of not owning his work and famously battled and then departed his label, Warner Bros., before returning a few years ago.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“What’s happening now is the position that I’ve always wanted to be in,” Prince told the AP in 2014. “I was just trying to get here.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6SFNW5F8K9Y\u003c/p>\n\u003cp>In 2004, Prince was inducted into the Rock and Roll Hall of Fame, which hailed him as a musical and social trailblazer.\u003c/p>\n\u003cp>“He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the Eighties,” reads the Hall’s dedication. “Prince made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative.”\u003c/p>\n\u003cp>Rarely lacking in confidence, Price effortlessly absorbed the music of others and made it sound like Prince, whether the James Brown guitar riff on “Kiss” or the Beatle-esque, psychedelic pop of “Raspberry Beret.”\u003c/p>\n\u003cp>He also proved a source of hits for others, from Sinead O’Connor’s “Nothing Compares 2 U” to Cyndi Lauper’s “When You Were Mine.” He also wrote “Manic Monday” for the Bangles\u003c/p>\n\u003cp>Prince had been touring and recording right up until his death, releasing four albums in the last 18 months, including two on the Tidal streaming service last year. He performed in Atlanta last week as part of his “Piano and a Microphone” tour, a stripped down show that has featured a mix of his hits like “Purple Rain” or “Little Red Corvette” and some B-sides from his extensive library.\u003c/p>\n\u003cp>Prince debuted the intimate format at his Paisley Park studios in January, treating fans to a performance that was personal and was both playful and emotional at times.\u003c/p>\n\u003cfigure id=\"attachment_10959927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Prince.jpg\" alt=\"The cover of Prince's "Let's Go Crazy" single, which was played in the background of the video under dispute. (Photo: Paisley Park)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10959927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Prince’s “Let’s Go Crazy” single.\u003c/figcaption>\u003c/figure>\n\u003cp>The musician had seemed to be shedding his reclusive reputation. He hosted several late-night jam sessions where he serenaded Madonna, celebrated the Minnesota Lynx’s WNBA championship and showcased his latest protege, singer Judith Hill.\u003c/p>\n\u003cp>Ever surprising, he announced on stage in New York City last month that he was writing his memoir. “The Beautiful Ones” was expected to be released in the fall of 2017 by publishing house Spiegel & Grau. The publishing house has not yet commented on status of book, but a press release about the memoir says: “Prince will take readers on an unconventional and poetic journey through his life and creative work.” It says the book will include stories about Prince’s music and “the family that shaped him and the people, places, and ideas that fired his creative imagination.”\u003c/p>\n\u003cp>A small group of fans quickly gathered in the rain Thursday outside his music studio, Paisley Park, where Prince’s gold records are on the walls and the purple motorcycle he rode in his 1984 breakout movie, “Purple Rain,” is on display. The white building surrounded by a fence is in Chanhassen, about 20 miles southwest of Minneapolis.\u003c/p>\n\u003cp>Steven Scott, 32, of Eden Prairie, said he was at Paisley Park last Saturday for Prince’s dance party. He called Prince “a beautiful person” whose message was that people should love one another.\u003c/p>\n\u003cp>“He brought people together for the right reasons,” Scott said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: This story is being updated. Check back as details unfold.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>CHANHASSEN, Minn. (AP) — Pop superstar Prince, widely acclaimed as one of the most inventive and influential musicians of his era with hits including “Little Red Corvette,” ”Let’s Go Crazy” and “When Doves Cry,” was found dead at his home on Thursday in suburban Minneapolis, according to his publicist. He was 57.\u003c/p>\n\u003cp>His publicist, Yvette Noel-Schure, told The Associated Press that the music icon died at his home in Chanhassen. No details were immediately released.\u003c/p>\n\u003cp>The singer, songwriter, arranger and instrumentalist broke through in the late 1970s with the hits “Why You Wanna Treat Me So Bad?” and “I Wanna Be Your Lover,” and soared over the following decade with such albums as “1999” and “Purple Rain.” The title song from “1999” includes one of the most widely quoted refrains of popular culture: “Tonight I’m gonna party like it’s 1999.”\u003c/p>\n\u003cfigure id=\"attachment_11371761\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg\" alt=\"Prince recently toured solo on his 'Piano and a Microphone' tour.\" width=\"800\" height=\"450\" class=\"size-full wp-image-11371761\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_..jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/03/Prince.MAIN1_.-768x432.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince recently toured solo on his ‘Piano and a Microphone’ tour. \u003ccite>(Photo courtesy Prince management)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Minneapolis native, born Prince Rogers Nelson, stood just 5 feet, 2 inches tall, and seemed to summon the most original and compelling sounds at will, whether playing guitar in a flamboyant style that openly drew upon Jimi Hendrix, switching his vocals from a nasally scream to an erotic falsetto or turning out album after album of stunningly original material. Among his other notable releases: “Sign O’ the Times,” ”Graffiti Bridge” and “The Black Album.”\u003c/p>\n\u003cp>He was also fiercely protective of his independence, battling his record company over control of his material and even his name. Prince once wrote “slave” on his face in protest of not owning his work and famously battled and then departed his label, Warner Bros., before returning a few years ago.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“What’s happening now is the position that I’ve always wanted to be in,” Prince told the AP in 2014. “I was just trying to get here.”\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/6SFNW5F8K9Y'\n title='//www.youtube.com/embed/6SFNW5F8K9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2004, Prince was inducted into the Rock and Roll Hall of Fame, which hailed him as a musical and social trailblazer.\u003c/p>\n\u003cp>“He rewrote the rulebook, forging a synthesis of black funk and white rock that served as a blueprint for cutting-edge music in the Eighties,” reads the Hall’s dedication. “Prince made dance music that rocked and rock music that had a bristling, funky backbone. From the beginning, Prince and his music were androgynous, sly, sexy and provocative.”\u003c/p>\n\u003cp>Rarely lacking in confidence, Price effortlessly absorbed the music of others and made it sound like Prince, whether the James Brown guitar riff on “Kiss” or the Beatle-esque, psychedelic pop of “Raspberry Beret.”\u003c/p>\n\u003cp>He also proved a source of hits for others, from Sinead O’Connor’s “Nothing Compares 2 U” to Cyndi Lauper’s “When You Were Mine.” He also wrote “Manic Monday” for the Bangles\u003c/p>\n\u003cp>Prince had been touring and recording right up until his death, releasing four albums in the last 18 months, including two on the Tidal streaming service last year. He performed in Atlanta last week as part of his “Piano and a Microphone” tour, a stripped down show that has featured a mix of his hits like “Purple Rain” or “Little Red Corvette” and some B-sides from his extensive library.\u003c/p>\n\u003cp>Prince debuted the intimate format at his Paisley Park studios in January, treating fans to a performance that was personal and was both playful and emotional at times.\u003c/p>\n\u003cfigure id=\"attachment_10959927\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/09/Prince.jpg\" alt=\"The cover of Prince's "Let's Go Crazy" single, which was played in the background of the video under dispute. (Photo: Paisley Park)\" width=\"800\" height=\"450\" class=\"size-full wp-image-10959927\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2015/09/Prince-400x225.jpg 400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cover of Prince’s “Let’s Go Crazy” single.\u003c/figcaption>\u003c/figure>\n\u003cp>The musician had seemed to be shedding his reclusive reputation. He hosted several late-night jam sessions where he serenaded Madonna, celebrated the Minnesota Lynx’s WNBA championship and showcased his latest protege, singer Judith Hill.\u003c/p>\n\u003cp>Ever surprising, he announced on stage in New York City last month that he was writing his memoir. “The Beautiful Ones” was expected to be released in the fall of 2017 by publishing house Spiegel & Grau. The publishing house has not yet commented on status of book, but a press release about the memoir says: “Prince will take readers on an unconventional and poetic journey through his life and creative work.” It says the book will include stories about Prince’s music and “the family that shaped him and the people, places, and ideas that fired his creative imagination.”\u003c/p>\n\u003cp>A small group of fans quickly gathered in the rain Thursday outside his music studio, Paisley Park, where Prince’s gold records are on the walls and the purple motorcycle he rode in his 1984 breakout movie, “Purple Rain,” is on display. The white building surrounded by a fence is in Chanhassen, about 20 miles southwest of Minneapolis.\u003c/p>\n\u003cp>Steven Scott, 32, of Eden Prairie, said he was at Paisley Park last Saturday for Prince’s dance party. He called Prince “a beautiful person” whose message was that people should love one another.\u003c/p>\n\u003cp>“He brought people together for the right reasons,” Scott said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Note: This story is being updated. Check back as details unfold.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment noopener wp-att-11316580\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Silicon Valley has drawn hundreds of thousands of South Asians to the Bay Area in recent years. This influx has led to a massive boom in Indian arts offerings locally, especially music and dance — and most especially South Indian music and dance.\u003c/p>\n\u003cp>“If you look through the pages of our magazine, you will see pages and pages of events that are happening,” says Vandana Kumar, publisher of San Jose-based \u003cem>\u003ca href=\"https://www.indiacurrents.com/\" target=\"_blank\" rel=\"noopener\">India Currents\u003c/a>\u003c/em>, an online and print publication which puts out a comprehensive calendar of All Things Indian. “This is just for the month of April, and I don’t, in fact, have everything listed.”\u003c/p>\n\u003cp>The listings include music, dance, book readings, lectures and other cultural happenings — even non-Indian productions that include Indian talent, like Cirque du Soleil shows. “As long as they can make an Indian connection, they can get featured in our magazine,” Kumar says.\u003c/p>\n\u003cp>\u003cem>India Currents\u003c/em> has more than 190,000 readers nationwide, 70,000 of them in the Bay Area. 30 years ago, when she started the magazine, Kumar says concerts often happened in private living rooms. That’s changed, she says, thanks to Silicon Valley. “The tech boom that happened brought a whole lot of people,” Kumar says. “These were people with jobs, with disposable income, willing to pay for tickets.”\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/260217900″ 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>That’s proved a demographic windfall for organizations like \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">South India Fine Arts \u003c/a>(SIFA). For the last 37 years, the Cupertino-based non-profit has produced a steady stream of concerts celebrating local talent, as well as headliners from India. “The music is thriving at both ends of the globe,” says SIFA President Anu Suresh.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>South Indian traditions\u003c/strong>\u003c/p>\n\u003cp>South Indian music is quite distinct from the Hindustani, or Northern style of music Ravi Shankar popularized with Western audiences in the late 1950s, boosted by his superstar student, George Harrison of The Beatles. While both Indian traditions feature \u003cem>ragas\u003c/em> (scales) and \u003cem>talas\u003c/em> (rhythmic patterns), they employ different instruments and stylistic approaches.\u003c/p>\n\u003cp>\u003cem>Feel like you need a little primer on Indian music? At TEDxMumbai, Dhanashree Pandit-Rai delivered a fun demonstration of some of the elements of Indian classical music.\u003c/em>\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=ZXnV5HzS7nA]\u003c/p>\n\u003cp>Swelling audiences have forced SIFA to start booking for bigger halls for the more popular acts — as well as compete with younger groups doing the same thing. Other nearby presenters include \u003ca href=\"http://kalalayausa.com\" target=\"_blank\" rel=\"noopener\">Kalalaya \u003c/a>in Fremont, \u003ca href=\"https://sites.google.com/site/shreerangaramanujafinearts/\" target=\"_blank\" rel=\"noopener\">Sri Ranga Ramanuja Maha Desikan Fine Arts\u003c/a> (aka SR Fine Arts) in San Jose, and \u003cspan id=\"sites-page-title\" dir=\"ltr\">\u003ca href=\"http://www.sankritilaya.org/\" target=\"_blank\" rel=\"noopener\">SanKritiLaya \u003c/a>in Cupertino\u003c/span>.\u003c/p>\n\u003cp>SIFA board member Meera Chari is magnanimous about the growing number of players on the scene. “Competition is always healthy, and keeps us on our toes, Chari says. “We have no objection to that.” In the same spirit, Suresh adds, “We also try not to overlap the concerts so we can go to each others.”\u003c/p>\n\u003cp>\u003cstrong>Indian migration to Silicon Valley\u003c/strong>\u003c/p>\n\u003cp>Is Carnatic music the next big crossover hit after yoga and Bollywood dance? If so, it’s likely to happen here in the Bay Area. Take a look at the numbers:\u003c/p>\n\u003cfigure id=\"attachment_11511812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511812\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg\" alt=\"According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties. \u003ccite>(Photo: Courtesy of AAPI Data)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://karthick.com/\" target=\"_blank\" rel=\"noopener\">Karthick Ramakrishnan\u003c/a>, Associate Dean of UC Riverside’s School of Public Policy, says the population boom began during the DotCom boom around Y2K, when many programmers from South Asia arrived in the region. “Many of those temporary immigrants ended up staying and applying for green cards,” Ramakrishnan says.\u003c/p>\n\u003cp>As Silicon Valley grew, more Indians came, and as the tech industry’s geographic footprint expanded, they began to settle all over the San Francisco Bay Area, as well as in Southern California. (See graphic.) Even so, the South Bay remains the demographic center of South Asian culture.\u003c/p>\n\u003cp>[contextly_sidebar id=”s171ftoFSpRs0FqlJ7xHJpaERp6aPEWt”]Anu Suresh says the Bay Area has established itself as a respectable satellite to Indian performing arts. It’s become a go-to stop for artists touring internationally. “Today, I think we can proudly say that Bay Area is [the #2] place [outside of India] where all the Indian artists love to come and perform,” Suresh says.\u003c/p>\n\u003cp>The love goes both ways. Packed theaters demonstrate many Indian-Americans want to hear Carnatic music, and they want to their children to learn to play it as well, to connect with their South Indian heritage.\u003c/p>\n\u003cp>\u003cstrong>Home grown talent is easy to find\u003c/strong>\u003c/p>\n\u003cp>Those with demonstrated talent have the opportunity to take their skills to the stage before an enthusiastic crowd. “Performing at SIFA is sort of a graduation of sorts for the kids who have grown up here and studied classical music and had this immersion,” says SIFA board member Meera Chari.\u003c/p>\n\u003cp>On a recent Saturday afternoon, the opening act at the \u003ca href=\"https://cetweb.org/about-us/cet-events/soto-theatre/\" target=\"_blank\" rel=\"noopener\">Soto Theatre\u003c/a> in San Jose was a trio made up of local university students. \u003ca href=\"http://violinvignesh.com/artistprofile/\" target=\"_blank\" rel=\"noopener\">Vignesh Thyagarajan\u003c/a>, on violin, is a sophomore at San Jose State. \u003ca href=\"http://www.brindavani.org/vignesh-venkataraman.html\" target=\"_blank\" rel=\"noopener\">Vignesh Venkataraman\u003c/a>, on mridangam (percussion), is a graduate student at Stanford. So is singer \u003ca href=\"http://subterraneanarthouse.org/past-events/saturday-june-29th-7pm-carnatic-violin-concert-sruti-sarathy/\" target=\"_blank\" rel=\"noopener\">Sruti Sarathy\u003c/a>.\u003c/p>\n\u003cp>“We played together since our very first concerts when we were like, 8 and 10 years old,” Sarathy says. “So we’re very comfortable with each others’ style.”\u003c/p>\n\u003cp>Like her peers, Sarathy has studied classical Indian voice and violin with local masters, as well as teachers in India, via Skype and periodic visits to see her mentors in person. “There are lots of people learning,” Sarathy says. “There are lots of people to practice with, and you just keep getting inspired from watching your peers play and sing. And then we get concerts from India which also keep us motivated.”\u003c/p>\n\u003cfigure id=\"attachment_11511935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg\" alt=\"(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose's Soto Theatre before heading on stage to perform.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose’s Soto Theatre before heading on stage to perform. \u003ccite>(Photo: Courtesy of Prasanna Ranganathan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vandana Kumar of \u003cem>India Currents\u003c/em> says Silicon Valley has provided the technology for a truly trans-Pacific cultural exchange. “People are getting training over Skype or Google Hangouts,” Kumar says. “It’s brought this world so close. Physically, yes, India is 10,000 miles away. But the culture of India is accessible on your phone.”\u003c/p>\n\u003cp>Can young musicians coming up locally hope to make a career of Carnatic music? “In a warm and fuzzy world, that would be a fantastic future,” says Vignesh Venkataraman, who plays mridangam.\u003c/p>\n\u003cp>Venkataraman currently lives at home with his parents in Cupertino. But he’s getting his masters degree at Stanford in computer science and mechanical engineering. “I like to say that it’ll guarantee me financial flexibility to pursue this stuff, the music, on the side,” Venkataraman says.\u003c/p>\n\u003cp>\u003cstrong>This weekend, SIFA features two days of classical music and dance More info \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/series/participate/\" target=\"_blank\" rel=\"attachment noopener wp-att-11316580\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-11316580\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg\" alt=\"pARTicipate-button-400x400\" width=\"300\" height=\"300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/pARTicipate-button-400x400-75x75.jpg 75w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>Silicon Valley has drawn hundreds of thousands of South Asians to the Bay Area in recent years. This influx has led to a massive boom in Indian arts offerings locally, especially music and dance — and most especially South Indian music and dance.\u003c/p>\n\u003cp>“If you look through the pages of our magazine, you will see pages and pages of events that are happening,” says Vandana Kumar, publisher of San Jose-based \u003cem>\u003ca href=\"https://www.indiacurrents.com/\" target=\"_blank\" rel=\"noopener\">India Currents\u003c/a>\u003c/em>, an online and print publication which puts out a comprehensive calendar of All Things Indian. “This is just for the month of April, and I don’t, in fact, have everything listed.”\u003c/p>\n\u003cp>The listings include music, dance, book readings, lectures and other cultural happenings — even non-Indian productions that include Indian talent, like Cirque du Soleil shows. “As long as they can make an Indian connection, they can get featured in our magazine,” Kumar says.\u003c/p>\n\u003cp>\u003cem>India Currents\u003c/em> has more than 190,000 readers nationwide, 70,000 of them in the Bay Area. 30 years ago, when she started the magazine, Kumar says concerts often happened in private living rooms. That’s changed, she says, thanks to Silicon Valley. “The tech boom that happened brought a whole lot of people,” Kumar says. “These were people with jobs, with disposable income, willing to pay for tickets.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='’166′'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/260217900″&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/260217900″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That’s proved a demographic windfall for organizations like \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">South India Fine Arts \u003c/a>(SIFA). For the last 37 years, the Cupertino-based non-profit has produced a steady stream of concerts celebrating local talent, as well as headliners from India. “The music is thriving at both ends of the globe,” says SIFA President Anu Suresh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>South Indian traditions\u003c/strong>\u003c/p>\n\u003cp>South Indian music is quite distinct from the Hindustani, or Northern style of music Ravi Shankar popularized with Western audiences in the late 1950s, boosted by his superstar student, George Harrison of The Beatles. While both Indian traditions feature \u003cem>ragas\u003c/em> (scales) and \u003cem>talas\u003c/em> (rhythmic patterns), they employ different instruments and stylistic approaches.\u003c/p>\n\u003cp>\u003cem>Feel like you need a little primer on Indian music? At TEDxMumbai, Dhanashree Pandit-Rai delivered a fun demonstration of some of the elements of Indian classical music.\u003c/em>\u003c/p>\n\u003cp>\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/ZXnV5HzS7nA'\n title='//www.youtube.com/embed/ZXnV5HzS7nA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Swelling audiences have forced SIFA to start booking for bigger halls for the more popular acts — as well as compete with younger groups doing the same thing. Other nearby presenters include \u003ca href=\"http://kalalayausa.com\" target=\"_blank\" rel=\"noopener\">Kalalaya \u003c/a>in Fremont, \u003ca href=\"https://sites.google.com/site/shreerangaramanujafinearts/\" target=\"_blank\" rel=\"noopener\">Sri Ranga Ramanuja Maha Desikan Fine Arts\u003c/a> (aka SR Fine Arts) in San Jose, and \u003cspan id=\"sites-page-title\" dir=\"ltr\">\u003ca href=\"http://www.sankritilaya.org/\" target=\"_blank\" rel=\"noopener\">SanKritiLaya \u003c/a>in Cupertino\u003c/span>.\u003c/p>\n\u003cp>SIFA board member Meera Chari is magnanimous about the growing number of players on the scene. “Competition is always healthy, and keeps us on our toes, Chari says. “We have no objection to that.” In the same spirit, Suresh adds, “We also try not to overlap the concerts so we can go to each others.”\u003c/p>\n\u003cp>\u003cstrong>Indian migration to Silicon Valley\u003c/strong>\u003c/p>\n\u003cp>Is Carnatic music the next big crossover hit after yoga and Bollywood dance? If so, it’s likely to happen here in the Bay Area. Take a look at the numbers:\u003c/p>\n\u003cfigure id=\"attachment_11511812\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511812\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg\" alt=\"According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-1180x886.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19229_aapidata-indians-ca-qut-960x721.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">According to the US Census, more than 350,000 Indians moved to California in the last 15 years – many of them South Indians – most of them to Santa Clara and Alameda Counties. \u003ccite>(Photo: Courtesy of AAPI Data)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"http://karthick.com/\" target=\"_blank\" rel=\"noopener\">Karthick Ramakrishnan\u003c/a>, Associate Dean of UC Riverside’s School of Public Policy, says the population boom began during the DotCom boom around Y2K, when many programmers from South Asia arrived in the region. “Many of those temporary immigrants ended up staying and applying for green cards,” Ramakrishnan says.\u003c/p>\n\u003cp>As Silicon Valley grew, more Indians came, and as the tech industry’s geographic footprint expanded, they began to settle all over the San Francisco Bay Area, as well as in Southern California. (See graphic.) Even so, the South Bay remains the demographic center of South Asian culture.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>Anu Suresh says the Bay Area has established itself as a respectable satellite to Indian performing arts. It’s become a go-to stop for artists touring internationally. “Today, I think we can proudly say that Bay Area is [the #2] place [outside of India] where all the Indian artists love to come and perform,” Suresh says.\u003c/p>\n\u003cp>The love goes both ways. Packed theaters demonstrate many Indian-Americans want to hear Carnatic music, and they want to their children to learn to play it as well, to connect with their South Indian heritage.\u003c/p>\n\u003cp>\u003cstrong>Home grown talent is easy to find\u003c/strong>\u003c/p>\n\u003cp>Those with demonstrated talent have the opportunity to take their skills to the stage before an enthusiastic crowd. “Performing at SIFA is sort of a graduation of sorts for the kids who have grown up here and studied classical music and had this immersion,” says SIFA board member Meera Chari.\u003c/p>\n\u003cp>On a recent Saturday afternoon, the opening act at the \u003ca href=\"https://cetweb.org/about-us/cet-events/soto-theatre/\" target=\"_blank\" rel=\"noopener\">Soto Theatre\u003c/a> in San Jose was a trio made up of local university students. \u003ca href=\"http://violinvignesh.com/artistprofile/\" target=\"_blank\" rel=\"noopener\">Vignesh Thyagarajan\u003c/a>, on violin, is a sophomore at San Jose State. \u003ca href=\"http://www.brindavani.org/vignesh-venkataraman.html\" target=\"_blank\" rel=\"noopener\">Vignesh Venkataraman\u003c/a>, on mridangam (percussion), is a graduate student at Stanford. So is singer \u003ca href=\"http://subterraneanarthouse.org/past-events/saturday-june-29th-7pm-carnatic-violin-concert-sruti-sarathy/\" target=\"_blank\" rel=\"noopener\">Sruti Sarathy\u003c/a>.\u003c/p>\n\u003cp>“We played together since our very first concerts when we were like, 8 and 10 years old,” Sarathy says. “So we’re very comfortable with each others’ style.”\u003c/p>\n\u003cp>Like her peers, Sarathy has studied classical Indian voice and violin with local masters, as well as teachers in India, via Skype and periodic visits to see her mentors in person. “There are lots of people learning,” Sarathy says. “There are lots of people to practice with, and you just keep getting inspired from watching your peers play and sing. And then we get concerts from India which also keep us motivated.”\u003c/p>\n\u003cfigure id=\"attachment_11511935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-11511935\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg\" alt=\"(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose's Soto Theatre before heading on stage to perform.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/04/RS19224_IMG_4264-qut-960x640.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L to R) Sruti Sarathy, Vignesh Venkataraman and Vignesh Thyagarajan wait in the wings at San Jose’s Soto Theatre before heading on stage to perform. \u003ccite>(Photo: Courtesy of Prasanna Ranganathan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Vandana Kumar of \u003cem>India Currents\u003c/em> says Silicon Valley has provided the technology for a truly trans-Pacific cultural exchange. “People are getting training over Skype or Google Hangouts,” Kumar says. “It’s brought this world so close. Physically, yes, India is 10,000 miles away. But the culture of India is accessible on your phone.”\u003c/p>\n\u003cp>Can young musicians coming up locally hope to make a career of Carnatic music? “In a warm and fuzzy world, that would be a fantastic future,” says Vignesh Venkataraman, who plays mridangam.\u003c/p>\n\u003cp>Venkataraman currently lives at home with his parents in Cupertino. But he’s getting his masters degree at Stanford in computer science and mechanical engineering. “I like to say that it’ll guarantee me financial flexibility to pursue this stuff, the music, on the side,” Venkataraman says.\u003c/p>\n\u003cp>\u003cstrong>This weekend, SIFA features two days of classical music and dance More info \u003ca href=\"http://www.southindiafinearts.org/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theater\u003c/a> (Berkeley Rep) announced Wednesday, Apr. 20 that it will present a new musical based on the hit 2001 film \u003cem>Monsoon Wedding\u003c/em>, directed by Mira Nair.\u003c/p>\n\u003cp>“I have always envisioned \u003cem>Monsoon Wedding\u003c/em> as a fully fleshed out musical,” said Nair in a statement from Berkeley Rep, one of the region’s major theater companies, based in downtown Berkeley. “And to be working with Berkeley Rep to help tell that story just adds to the excitement. I know the end result will be something terrific.”\u003c/p>\n\u003cp>There have been plans for years to bring \u003cem>Monsoon Wedding\u003c/em> to Broadway as a musical, with open \u003ca href=\"https://www.facebook.com/monsoonweddingcasting/?fref=photo\" target=\"_blank\" rel=\"noopener\">casting calls in Palo Alto, New Jersey, and Houston\u003c/a>. \u003ca href=\"http://www.broadwayworld.com/article/Broadway-Bound-MONSOON-WEDDING-Musical-Gets-Winter-Lab-in-NYC-Choreographer-Bill-T-Jones-Joins-Creative-Team-20151103\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a> has reported that choreographer \u003ca href=\"http://www.newyorklivearts.org/company/bill-t-jones.php\" target=\"_blank\" rel=\"noopener\">Bill T. Jones \u003c/a>and music director \u003ca href=\"http://www.playbill.com/person/andy-einhorn-vault-0000005140\" target=\"_blank\" rel=\"noopener\">Andy Einhorn\u003c/a> would be involved with the New York production. But a spokesman for Berkeley Rep says the two Broadway veterans are not involved in the Berkeley production.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BIEJONYNrso\u003c/p>\n\u003cp>The movie and the stage musical track the adventures of an upper middle class Delhi family as it plans an arranged marriage between a daughter and an American man she’s never met. Sabrina Dhawan wrote the screenplay and is working on the Berkeley Rep stage adaptation, with Tony nominated lyricist Susan Birkenhead and Indian composer Vishal Bhardwaj joining the creative team.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s producers say the production is scheduled to open in the spring of 2017 at Berkeley Rep.\u003c/p>\n\u003cp>Nair, coincidentally, will receive the \u003ca href=\"http://blog.sffs.org/home/2016/4/mira-nair-between-two-worlds.html\" target=\"_blank\" rel=\"noopener\">Irving M. Levin Directing Award from the San Francisco Film Society at this year’s San Francisco International Film Festival.\u003c/a> The festival is also featuring an afternoon \u003ca href=\"http://www.sffs.org/sfiff59/films/irving-m-levin-directing-award-an-afternoon-with-mira-nair-monsoon-wedding#.Vxf8vvkrLIU\" target=\"_blank\" rel=\"noopener\">conversation with Nair at the Castro Theater on Sunday, Apr. 24\u003c/a> including a screening of \u003cem>Monsoon Wedding\u003c/em>.\u003c/p>\n\u003cp>“Mira Nair is a brilliant filmmaker I have long admired,” Tony Taccone, Berkeley Rep’s artistic director, said in a statement. “\u003cem>Monsoon Wedding\u003c/em> is one of my favorite films and to have the opportunity to bring it to the stage in the form of a musical is really something to be excited about.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sjQjw-UyAX0\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.berkeleyrep.org/\" target=\"_blank\" rel=\"noopener\">Berkeley Repertory Theater\u003c/a> (Berkeley Rep) announced Wednesday, Apr. 20 that it will present a new musical based on the hit 2001 film \u003cem>Monsoon Wedding\u003c/em>, directed by Mira Nair.\u003c/p>\n\u003cp>“I have always envisioned \u003cem>Monsoon Wedding\u003c/em> as a fully fleshed out musical,” said Nair in a statement from Berkeley Rep, one of the region’s major theater companies, based in downtown Berkeley. “And to be working with Berkeley Rep to help tell that story just adds to the excitement. I know the end result will be something terrific.”\u003c/p>\n\u003cp>There have been plans for years to bring \u003cem>Monsoon Wedding\u003c/em> to Broadway as a musical, with open \u003ca href=\"https://www.facebook.com/monsoonweddingcasting/?fref=photo\" target=\"_blank\" rel=\"noopener\">casting calls in Palo Alto, New Jersey, and Houston\u003c/a>. \u003ca href=\"http://www.broadwayworld.com/article/Broadway-Bound-MONSOON-WEDDING-Musical-Gets-Winter-Lab-in-NYC-Choreographer-Bill-T-Jones-Joins-Creative-Team-20151103\" target=\"_blank\" rel=\"noopener\">Broadway World\u003c/a> has reported that choreographer \u003ca href=\"http://www.newyorklivearts.org/company/bill-t-jones.php\" target=\"_blank\" rel=\"noopener\">Bill T. Jones \u003c/a>and music director \u003ca href=\"http://www.playbill.com/person/andy-einhorn-vault-0000005140\" target=\"_blank\" rel=\"noopener\">Andy Einhorn\u003c/a> would be involved with the New York production. But a spokesman for Berkeley Rep says the two Broadway veterans are not involved in the Berkeley production.\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/BIEJONYNrso'\n title='//www.youtube.com/embed/BIEJONYNrso'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The movie and the stage musical track the adventures of an upper middle class Delhi family as it plans an arranged marriage between a daughter and an American man she’s never met. Sabrina Dhawan wrote the screenplay and is working on the Berkeley Rep stage adaptation, with Tony nominated lyricist Susan Birkenhead and Indian composer Vishal Bhardwaj joining the creative team.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s producers say the production is scheduled to open in the spring of 2017 at Berkeley Rep.\u003c/p>\n\u003cp>Nair, coincidentally, will receive the \u003ca href=\"http://blog.sffs.org/home/2016/4/mira-nair-between-two-worlds.html\" target=\"_blank\" rel=\"noopener\">Irving M. Levin Directing Award from the San Francisco Film Society at this year’s San Francisco International Film Festival.\u003c/a> The festival is also featuring an afternoon \u003ca href=\"http://www.sffs.org/sfiff59/films/irving-m-levin-directing-award-an-afternoon-with-mira-nair-monsoon-wedding#.Vxf8vvkrLIU\" target=\"_blank\" rel=\"noopener\">conversation with Nair at the Castro Theater on Sunday, Apr. 24\u003c/a> including a screening of \u003cem>Monsoon Wedding\u003c/em>.\u003c/p>\n\u003cp>“Mira Nair is a brilliant filmmaker I have long admired,” Tony Taccone, Berkeley Rep’s artistic director, said in a statement. “\u003cem>Monsoon Wedding\u003c/em> is one of my favorite films and to have the opportunity to bring it to the stage in the form of a musical is really something to be excited about.”\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/sjQjw-UyAX0'\n title='//www.youtube.com/embed/sjQjw-UyAX0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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