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"content": "\u003cp>Dan Hicks, the wildly creative San Francisco singer-songwriter who, with his group Dan Hicks and the Hot Licks, had hits in the 1970s such as “I Scare Myself” and “Canned Music,” died Saturday after a two-year battle with cancer, \u003ca href=\"http://danhicks.net/\" target=\"_blank\" rel=\"noopener\">according to his website\u003c/a>. He was 74.\u003c/p>\n\u003cp>The news was made public via a message on social media from his wife, CT Hicks:\u003c/p>\n\u003cp>https://www.facebook.com/danhicksofficial/photos/a.10150157268112146.343733.48935042145/10153983825567146\u003c/p>\n\u003cp>Cited as an influence by Tom Waits and Elvis Costello, Hicks created his own unique sound that he described as “folk jazz,” but many critics found impossible — and improper — to label, as it managed to also incorporate elements of country, western swing, blue grass and several other genres. Hicks was also known for his witty lyrics, as evident in songs such as “\u003ca href=\"https://www.youtube.com/watch?v=rW9-FOLG-iA\" target=\"_blank\" rel=\"noopener\">How Can I Miss You When You Won’t Go Away?\u003c/a>”\u003c/p>\n\u003cp>“There is no one else who is as unique as he is. There’s no one else who sounds like Dan Hicks, who writes like him, who has that dry sense of humor, or has that manner onstage. He’s really one of a kind,” \u003cem>SF Weekly’s\u003c/em> Lawrence Kay \u003ca href=\"http://www.sfweekly.com/sanfrancisco/return-to-hicksville/Content?oid=2140531\" target=\"_blank\" rel=\"noopener\">wrote in 2000\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Born in Little Rock, Ark. in 1941, his family would be relocated to Santa Rosa, Calif. when Hicks was five. Hicks began playing the drums as an adolescent and would later make a name for himself in San Francisco’s burgeoning folk scene in the 1960s. In 1965, Hicks would become the drummer for The Charlatans, who, along with groups such as the Jefferson Airplane and the Grateful Dead, would help define the city’s psychedelic sound. Later, rock historians would cite the group’s extended residency at the \u003ca href=\"https://web.archive.org/web/20080803183115/http://www.professorposter.com/seed.html\" target=\"_blank\" rel=\"noopener\">Red Dog Saloon in Nevada\u003c/a> in the summer of ’65 as being the precursor to San Francisco’s LSD-focused rock shows of the later ’60s because of the trippy rock posters used to advertise the residency, and the fact that the band would ingest psychedelic drugs while playing.\u003c/p>\n\u003cp>Hicks broke away from the Charlatans in 1968 to focus on his own group, Dan Hicks and the Hot Licks, which he started with violinist David LaFlamme, who would later go on to found another legendary San Francisco group, It’s A Beautiful Day. LaFlamme was replaced by “Symphony” Sid Page, whose heavily-jazz-influenced style would become a hallmark of Hicks’s sound, especially in tracks such as 1974’s “I Scare Myself.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2wBPIcZpFIk\u003c/p>\n\u003cp>The original lineup, which was drummer-less, would break up in 1971 after recording two albums, the first one \u003ci>Original Recordings\u003c/i> with producer Bob Johnston, who also worked with Bob Dylan, Johnny Cash and Leonard Cohen, among others. But it wouldn’t be long before Hicks would start up the group again and record two more albums, the last being \u003ci>Last Trainto Hicksville,\u003c/i> which was the first Hot Licks album with a drummer and garnered wide acclaim, even landeding Hicks on the cover of \u003ci>Rolling Stone.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11306872\" class=\"wp-caption alignright\" style=\"max-width: 365px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Dan-Hicks-Rolling-Stone-1973.jpg\" alt=\"Dan Hicks on the cover of 'Rolling Stone' in December of 1973.\" width=\"365\" height=\"500\" class=\"size-full wp-image-11306872\">\u003cfigcaption class=\"wp-caption-text\">Dan Hicks on the cover of ‘Rolling Stone’ in December of 1973. \u003ccite>(Photo: Annie Leibovitz/Rolling Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1974, with his fame on the rise, Hicks would break up the Hot Licks. When asked why that same year, Hicks was \u003ca href=\"https://en.wikipedia.org/wiki/Dan_Hicks_(singer)\" target=\"_blank\" rel=\"noopener\">quoted saying\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nI didn’t want to be a bandleader anymore. It was a load and a load I didn’t want. I’m basically a loner… I like singing and stuff, but I didn’t necessarily want to be a bandleader\n\u003c/p>\u003c/blockquote>\n\u003cp>Over the next few decades, Hicks would continue to play out and record, playing by himself or with the Acoustic Warriors before reforming the Hot Licks in 2000. Before his death, Hicks would record 17 albums under his name. \u003c/p>\n\u003cp>Hicks was diagnosed with throat cancer in January of 2014, which lead to him canceling the majority of his shows while he underwent chemo therapy, but he still managed to play gigs that were important to him, such as the \u003ca href=\"http://www.mercurynews.com/entertainment/ci_25748542/dan-hicks-ready-roll-after-cancer-treatments\" target=\"_blank\" rel=\"noopener\">Fats Waller Birthday Celebration at SFJAZZ that same summer\u003c/a>. One of the last shows he played, back in \u003ca href=\"http://sfsonic.com/concerts/dan-hicks-caucasian-hip-hop-for-hicksters/\" target=\"_blank\" rel=\"noopener\">February of last year at Yoshi’s\u003c/a>, sold out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dan Hicks, the wildly creative San Francisco singer-songwriter who, with his group Dan Hicks and the Hot Licks, had hits in the 1970s such as “I Scare Myself” and “Canned Music,” died Saturday after a two-year battle with cancer, \u003ca href=\"http://danhicks.net/\" target=\"_blank\" rel=\"noopener\">according to his website\u003c/a>. He was 74.\u003c/p>\n\u003cp>The news was made public via a message on social media from his wife, CT Hicks:\u003c/p>\n\u003cp>https://www.facebook.com/danhicksofficial/photos/a.10150157268112146.343733.48935042145/10153983825567146\u003c/p>\n\u003cp>Cited as an influence by Tom Waits and Elvis Costello, Hicks created his own unique sound that he described as “folk jazz,” but many critics found impossible — and improper — to label, as it managed to also incorporate elements of country, western swing, blue grass and several other genres. Hicks was also known for his witty lyrics, as evident in songs such as “\u003ca href=\"https://www.youtube.com/watch?v=rW9-FOLG-iA\" target=\"_blank\" rel=\"noopener\">How Can I Miss You When You Won’t Go Away?\u003c/a>”\u003c/p>\n\u003cp>“There is no one else who is as unique as he is. There’s no one else who sounds like Dan Hicks, who writes like him, who has that dry sense of humor, or has that manner onstage. He’s really one of a kind,” \u003cem>SF Weekly’s\u003c/em> Lawrence Kay \u003ca href=\"http://www.sfweekly.com/sanfrancisco/return-to-hicksville/Content?oid=2140531\" target=\"_blank\" rel=\"noopener\">wrote in 2000\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Born in Little Rock, Ark. in 1941, his family would be relocated to Santa Rosa, Calif. when Hicks was five. Hicks began playing the drums as an adolescent and would later make a name for himself in San Francisco’s burgeoning folk scene in the 1960s. In 1965, Hicks would become the drummer for The Charlatans, who, along with groups such as the Jefferson Airplane and the Grateful Dead, would help define the city’s psychedelic sound. Later, rock historians would cite the group’s extended residency at the \u003ca href=\"https://web.archive.org/web/20080803183115/http://www.professorposter.com/seed.html\" target=\"_blank\" rel=\"noopener\">Red Dog Saloon in Nevada\u003c/a> in the summer of ’65 as being the precursor to San Francisco’s LSD-focused rock shows of the later ’60s because of the trippy rock posters used to advertise the residency, and the fact that the band would ingest psychedelic drugs while playing.\u003c/p>\n\u003cp>Hicks broke away from the Charlatans in 1968 to focus on his own group, Dan Hicks and the Hot Licks, which he started with violinist David LaFlamme, who would later go on to found another legendary San Francisco group, It’s A Beautiful Day. LaFlamme was replaced by “Symphony” Sid Page, whose heavily-jazz-influenced style would become a hallmark of Hicks’s sound, especially in tracks such as 1974’s “I Scare Myself.”\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/2wBPIcZpFIk'\n title='//www.youtube.com/embed/2wBPIcZpFIk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The original lineup, which was drummer-less, would break up in 1971 after recording two albums, the first one \u003ci>Original Recordings\u003c/i> with producer Bob Johnston, who also worked with Bob Dylan, Johnny Cash and Leonard Cohen, among others. But it wouldn’t be long before Hicks would start up the group again and record two more albums, the last being \u003ci>Last Trainto Hicksville,\u003c/i> which was the first Hot Licks album with a drummer and garnered wide acclaim, even landeding Hicks on the cover of \u003ci>Rolling Stone.\u003c/i>\u003c/p>\n\u003cfigure id=\"attachment_11306872\" class=\"wp-caption alignright\" style=\"max-width: 365px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Dan-Hicks-Rolling-Stone-1973.jpg\" alt=\"Dan Hicks on the cover of 'Rolling Stone' in December of 1973.\" width=\"365\" height=\"500\" class=\"size-full wp-image-11306872\">\u003cfigcaption class=\"wp-caption-text\">Dan Hicks on the cover of ‘Rolling Stone’ in December of 1973. \u003ccite>(Photo: Annie Leibovitz/Rolling Stone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1974, with his fame on the rise, Hicks would break up the Hot Licks. When asked why that same year, Hicks was \u003ca href=\"https://en.wikipedia.org/wiki/Dan_Hicks_(singer)\" target=\"_blank\" rel=\"noopener\">quoted saying\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>\nI didn’t want to be a bandleader anymore. It was a load and a load I didn’t want. I’m basically a loner… I like singing and stuff, but I didn’t necessarily want to be a bandleader\n\u003c/p>\u003c/blockquote>\n\u003cp>Over the next few decades, Hicks would continue to play out and record, playing by himself or with the Acoustic Warriors before reforming the Hot Licks in 2000. Before his death, Hicks would record 17 albums under his name. \u003c/p>\n\u003cp>Hicks was diagnosed with throat cancer in January of 2014, which lead to him canceling the majority of his shows while he underwent chemo therapy, but he still managed to play gigs that were important to him, such as the \u003ca href=\"http://www.mercurynews.com/entertainment/ci_25748542/dan-hicks-ready-roll-after-cancer-treatments\" target=\"_blank\" rel=\"noopener\">Fats Waller Birthday Celebration at SFJAZZ that same summer\u003c/a>. One of the last shows he played, back in \u003ca href=\"http://sfsonic.com/concerts/dan-hicks-caucasian-hip-hop-for-hicksters/\" target=\"_blank\" rel=\"noopener\">February of last year at Yoshi’s\u003c/a>, sold out.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>This story will be updated when more details are learned.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "'Secret' Show Alert: Third Eye Blind, Also Tired of Third Eye Blind, Plays SF Tonight as The Dazzleships",
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"content": "\u003cp>Third Eye Blind, the San Francisco pop-rock band who in 1997 became famous for the song \"Semi-Charmed Life\" (otherwise known as the song with the chorus that goes \u003cem>doo-doo-doo, doo-doo-doo-doo\u003c/em>) as well as a couple other '90s alt-rock tracks whose lyrics you might know whether you want to or not, is doing just fine. I know that singer Stephan Jenkins has a lovely house in Pac Heights and many friends, despite having \u003ca href=\"http://www.avclub.com/article/singer-songwriter-john-vanderslice-on-the-very-per-99379\" target=\"_blank\">made enemies with at least a few locals in the music industry. \u003c/a>Prior to the release of the band's fifth studio album, 2015's \u003cem>Dopamine\u003c/em>, they'd sold roughly 12 million records worldwide. And at 51, Jenkins is still considered a sex symbol...\u003ca href=\"http://noisey.vice.com/blog/a-first-date-with-stephan-jenkins-of-third-eye-blind\" target=\"_blank\">at least by\u003cem> VICE\u003c/em> writers\u003c/a>.\u003c/p>\n\u003cp>But sometimes, after five records and 20 years of fame, even bands like Third Eye Blind want -- well, \u003ca href=\"http://www.usmagazine.com/entertainment/news/stephan-jenkins-third-eye-blinds-next-album-will-be-our-last-2015275\" target=\"_blank\">something else\u003c/a>?\u003c/p>\n\u003cp>That's likely why they've spent the past week crafting an internet presence for a fake British band called \u003ca href=\"https://twitter.com/TheDazzleships\" target=\"_blank\">The Dazzleships\u003c/a>, which is actually just Third Eye Blind, possibly playing David Bowie covers, which according to tipsters is a thing that will be happening at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\">The Chapel\u003c/a> tonight, Friday, Feb. 5, at 9 pm.\u003c/p>\n\u003cp>https://twitter.com/TheDazzleships/status/694927052793729025\u003c/p>\n\u003cp>A zip around the band's five-day-old Twitter account reveals that it's mainly followed by members of Third Eye Blind, Third Eye Blind's management team, and people with Twitter handles like \"\u003ca href=\"https://twitter.com/Gina3eb\" target=\"_blank\">@Gina3eb\u003c/a>.\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Jenkins & Co. even took the time to create \u003cem>multiple\u003c/em> fake Twitter accounts for various members of the band, such as Vic Bigley, \u003ca href=\"https://twitter.com/VicBigley\" target=\"_blank\">a drunk Brixtoner\u003c/a> who types in all caps to say \u003ca href=\"https://twitter.com/VicBigley/status/694709533201969153\" target=\"_blank\">\u003cem>hiiiii-larious\u003c/em> things like this\u003c/a>.\u003c/p>\n\u003cp>The band name, meanwhile, seems to be a reference to \u003ca href=\"https://en.wikipedia.org/wiki/Dazzle_Ships_(album)\" target=\"_blank\">an album by British New Wave / synth maestros OMD\u003c/a> -- a record that marked a new, experimental and ultimately unprofitable sound for that band, whose previous release had been a major commercial success. \u003cem>What is Third Eye Blind trying to tell us?\u003c/em>\u003c/p>\n\u003cp>While we ruminate on that, check out these other subtle, cheeky missives -- typed in cockney, of course!\u003c/p>\n\u003cp>https://twitter.com/TheDazzleships/status/694684193553412096\u003c/p>\n\u003cp>https://twitter.com/TheDazzleships/status/694778064916520960\u003c/p>\n\u003cp>So. Are you free tonight? Is this a thing you want to see? You should probably go\u003ca href=\"https://www.ticketfly.com/purchase/event/1075111?_ga=1.244009733.1881470409.1445904150&__utma=1.1881470409.1445904150.1454702485.1454707436.14&__utmb=1.1.10.1454707436&__utmc=1&__utmx=-&__utmz=1.1454702485.13.11.utmcsr=google%7Cutmccn=(organic)%7Cutmcmd=organic%7Cutmctr=(not%20provided)&__utmv=-&__utmk=161765180\" target=\"_blank\"> buy tickets\u003c/a>. They're only $18, which is a lot less than $700, which is the GA ticket price to see Third Eye Blind tomorrow night, Feb. 6, at the \u003ca href=\"http://www.tasteofthenfl.com/\">25th Annual Taste of the NFL at the Cow Palace\u003c/a>. (Yes, I know it's a fundraiser.)\u003c/p>\n\u003cp>Bonus for tonight: Dancey folk-rock trio from San Francisco's Rin Tin Tiger and indie-pop from Oakland's Emily Afton will both serve as fine support. No, really. Those are both very good local artists and I have no reason nor desire to make fun of them whatsoever.\u003c/p>\n\u003cp>Ooh, also: If we're \u003cdel>lucky\u003c/del> \u003cdel>unlucky\u003c/del> I don't even know anymore, maybe they'll do this one too.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HdcX5AwAEK8\u003c/p>\n\u003cp>\u003cem>[Full disclosure: This writer paid good money to see \u003ca href=\"http://www.wolfgangsvault.com/third-eye-blind/posters/poster/GRK981009.html\" target=\"_blank\">Third Eye Blind with Eve 6 in October of 1998\u003c/a> and has zero regrets.]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Third Eye Blind, the San Francisco pop-rock band who in 1997 became famous for the song \"Semi-Charmed Life\" (otherwise known as the song with the chorus that goes \u003cem>doo-doo-doo, doo-doo-doo-doo\u003c/em>) as well as a couple other '90s alt-rock tracks whose lyrics you might know whether you want to or not, is doing just fine. I know that singer Stephan Jenkins has a lovely house in Pac Heights and many friends, despite having \u003ca href=\"http://www.avclub.com/article/singer-songwriter-john-vanderslice-on-the-very-per-99379\" target=\"_blank\">made enemies with at least a few locals in the music industry. \u003c/a>Prior to the release of the band's fifth studio album, 2015's \u003cem>Dopamine\u003c/em>, they'd sold roughly 12 million records worldwide. And at 51, Jenkins is still considered a sex symbol...\u003ca href=\"http://noisey.vice.com/blog/a-first-date-with-stephan-jenkins-of-third-eye-blind\" target=\"_blank\">at least by\u003cem> VICE\u003c/em> writers\u003c/a>.\u003c/p>\n\u003cp>But sometimes, after five records and 20 years of fame, even bands like Third Eye Blind want -- well, \u003ca href=\"http://www.usmagazine.com/entertainment/news/stephan-jenkins-third-eye-blinds-next-album-will-be-our-last-2015275\" target=\"_blank\">something else\u003c/a>?\u003c/p>\n\u003cp>That's likely why they've spent the past week crafting an internet presence for a fake British band called \u003ca href=\"https://twitter.com/TheDazzleships\" target=\"_blank\">The Dazzleships\u003c/a>, which is actually just Third Eye Blind, possibly playing David Bowie covers, which according to tipsters is a thing that will be happening at \u003ca href=\"http://www.thechapelsf.com/\" target=\"_blank\">The Chapel\u003c/a> tonight, Friday, Feb. 5, at 9 pm.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A zip around the band's five-day-old Twitter account reveals that it's mainly followed by members of Third Eye Blind, Third Eye Blind's management team, and people with Twitter handles like \"\u003ca href=\"https://twitter.com/Gina3eb\" target=\"_blank\">@Gina3eb\u003c/a>.\"\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jenkins & Co. even took the time to create \u003cem>multiple\u003c/em> fake Twitter accounts for various members of the band, such as Vic Bigley, \u003ca href=\"https://twitter.com/VicBigley\" target=\"_blank\">a drunk Brixtoner\u003c/a> who types in all caps to say \u003ca href=\"https://twitter.com/VicBigley/status/694709533201969153\" target=\"_blank\">\u003cem>hiiiii-larious\u003c/em> things like this\u003c/a>.\u003c/p>\n\u003cp>The band name, meanwhile, seems to be a reference to \u003ca href=\"https://en.wikipedia.org/wiki/Dazzle_Ships_(album)\" target=\"_blank\">an album by British New Wave / synth maestros OMD\u003c/a> -- a record that marked a new, experimental and ultimately unprofitable sound for that band, whose previous release had been a major commercial success. \u003cem>What is Third Eye Blind trying to tell us?\u003c/em>\u003c/p>\n\u003cp>While we ruminate on that, check out these other subtle, cheeky missives -- typed in cockney, of course!\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>So. Are you free tonight? Is this a thing you want to see? You should probably go\u003ca href=\"https://www.ticketfly.com/purchase/event/1075111?_ga=1.244009733.1881470409.1445904150&__utma=1.1881470409.1445904150.1454702485.1454707436.14&__utmb=1.1.10.1454707436&__utmc=1&__utmx=-&__utmz=1.1454702485.13.11.utmcsr=google%7Cutmccn=(organic)%7Cutmcmd=organic%7Cutmctr=(not%20provided)&__utmv=-&__utmk=161765180\" target=\"_blank\"> buy tickets\u003c/a>. They're only $18, which is a lot less than $700, which is the GA ticket price to see Third Eye Blind tomorrow night, Feb. 6, at the \u003ca href=\"http://www.tasteofthenfl.com/\">25th Annual Taste of the NFL at the Cow Palace\u003c/a>. (Yes, I know it's a fundraiser.)\u003c/p>\n\u003cp>Bonus for tonight: Dancey folk-rock trio from San Francisco's Rin Tin Tiger and indie-pop from Oakland's Emily Afton will both serve as fine support. No, really. Those are both very good local artists and I have no reason nor desire to make fun of them whatsoever.\u003c/p>\n\u003cp>Ooh, also: If we're \u003cdel>lucky\u003c/del> \u003cdel>unlucky\u003c/del> I don't even know anymore, maybe they'll do this one too.\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/HdcX5AwAEK8'\n title='//www.youtube.com/embed/HdcX5AwAEK8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>[Full disclosure: This writer paid good money to see \u003ca href=\"http://www.wolfgangsvault.com/third-eye-blind/posters/poster/GRK981009.html\" target=\"_blank\">Third Eye Blind with Eve 6 in October of 1998\u003c/a> and has zero regrets.]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Another day, \u003ca href=\"http://www.eonline.com/news/714158/the-20-best-adele-hello-covers-we-found-on-youtube\" target=\"_blank\">another\u003c/a> \u003ca href=\"http://www.fuse.tv/2015/11/best-adele-hello-covers\" target=\"_blank\">Adele\u003c/a> \u003ca href=\"http://www.much.com/here-are-the-best-covers-of-adeles-hello-so-far/\" target=\"_blank\">cover\u003c/a>, \u003ca href=\"http://www.pri.org/stories/2015-12-18/you-need-listen-swahili-cover-hello\" target=\"_blank\">amirite\u003c/a>?\u003c/p>\n\u003cp>Except this one comes just in time for the \u003ca href=\"http://io9.gizmodo.com/quiz-fictional-dystopia-or-the-super-bowl-1757196751\" target=\"_blank\">fictional-dystopia-in-real-life\u003c/a> that is San Francisco during the Super Bowl: backroom deals, taxpayer-funded $4.8 million corporate playgrounds, a police-state atmosphere and dozens of homeless people swept aside for tourists. Go football!\u003c/p>\n\u003cp>\"Hello Ed Lee,\" a new video out today by singer-performance artist Candace Roberts, is an open letter to the mayor and an indictment of all of the above -- with a touchdown pass of San Francisco's untenable housing crisis thrown in for good measure. Set to the somber piano of Adele's \"Hello,\" Roberts' doesn't mince words:\u003c/p>\n\u003cp>\u003cem>Hello from the other side\u003cbr>\nThe Google bus don't give no rides\u003cbr>\nAnd I don't work for Twitter or Airbnb\u003cbr>\nSo I'm struggling to stay here, I'm down on my knees\u003c/em>\u003c/p>\n\u003cp>The video includes the \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\">homeless encampment\u003c/a> along Division Street, \u003ca href=\"http://ww2.kqed.org/news/2015/10/28/s-f-study-documents-sharp-decline-in-missions-latino-population\" target=\"_blank\">anti-eviction rallies\u003c/a> in the Mission, the \u003ca href=\"http://valleywag.gawker.com/dropbox-douchebags-tried-to-kick-children-off-a-soccer-1644947724\" target=\"_blank\">Dropbox soccer bro\u003c/a>, coverage of the \u003ca href=\"http://www.sfexaminer.com/dont-believe-the-super-bowl-50-hype-heres-why/\" target=\"_blank\">$4.8 million Super Bowl City\u003c/a>, a Bayview \u003ca href=\"http://www.cjjc.org/en/press/press-releases/639-bayview-families-march-on-third-street-for-blacklivesmatter-community-healing\" target=\"_blank\">Causa Justa::Just Cause\u003c/a> march protesting black displacement, and more.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By the song's end, Roberts... moves to Vallejo! Take comfort, Candace: the Super Bowl parties in Vallejo are \u003ca href=\"https://www.youtube.com/watch?v=F3cfLnrgaA0\" target=\"_blank\">way cooler anyway\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Qa9KZzYetD4\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another day, \u003ca href=\"http://www.eonline.com/news/714158/the-20-best-adele-hello-covers-we-found-on-youtube\" target=\"_blank\">another\u003c/a> \u003ca href=\"http://www.fuse.tv/2015/11/best-adele-hello-covers\" target=\"_blank\">Adele\u003c/a> \u003ca href=\"http://www.much.com/here-are-the-best-covers-of-adeles-hello-so-far/\" target=\"_blank\">cover\u003c/a>, \u003ca href=\"http://www.pri.org/stories/2015-12-18/you-need-listen-swahili-cover-hello\" target=\"_blank\">amirite\u003c/a>?\u003c/p>\n\u003cp>Except this one comes just in time for the \u003ca href=\"http://io9.gizmodo.com/quiz-fictional-dystopia-or-the-super-bowl-1757196751\" target=\"_blank\">fictional-dystopia-in-real-life\u003c/a> that is San Francisco during the Super Bowl: backroom deals, taxpayer-funded $4.8 million corporate playgrounds, a police-state atmosphere and dozens of homeless people swept aside for tourists. Go football!\u003c/p>\n\u003cp>\"Hello Ed Lee,\" a new video out today by singer-performance artist Candace Roberts, is an open letter to the mayor and an indictment of all of the above -- with a touchdown pass of San Francisco's untenable housing crisis thrown in for good measure. Set to the somber piano of Adele's \"Hello,\" Roberts' doesn't mince words:\u003c/p>\n\u003cp>\u003cem>Hello from the other side\u003cbr>\nThe Google bus don't give no rides\u003cbr>\nAnd I don't work for Twitter or Airbnb\u003cbr>\nSo I'm struggling to stay here, I'm down on my knees\u003c/em>\u003c/p>\n\u003cp>The video includes the \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\">homeless encampment\u003c/a> along Division Street, \u003ca href=\"http://ww2.kqed.org/news/2015/10/28/s-f-study-documents-sharp-decline-in-missions-latino-population\" target=\"_blank\">anti-eviction rallies\u003c/a> in the Mission, the \u003ca href=\"http://valleywag.gawker.com/dropbox-douchebags-tried-to-kick-children-off-a-soccer-1644947724\" target=\"_blank\">Dropbox soccer bro\u003c/a>, coverage of the \u003ca href=\"http://www.sfexaminer.com/dont-believe-the-super-bowl-50-hype-heres-why/\" target=\"_blank\">$4.8 million Super Bowl City\u003c/a>, a Bayview \u003ca href=\"http://www.cjjc.org/en/press/press-releases/639-bayview-families-march-on-third-street-for-blacklivesmatter-community-healing\" target=\"_blank\">Causa Justa::Just Cause\u003c/a> march protesting black displacement, and more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"disqusTitle": "The People vs. Janet Jackson",
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"content": "\u003cp>We revisit Nipplegate and a 1998 profile of bratty prince Leonardo DiCaprio, followed by a game of Who Said It? Stacey Dash or Ann Coulter.\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/thecooler/2016/02/janet.mp3\" title=\"The People vs. Janet Jackson\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/janet-stake.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Since the Super Bowl is right around the corner, we reexamine the furor around Janet Jackson's exposed breast and discuss how that moment in pop culture history projects a lot of uncomfortable truths about America:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\">Nipplegate Revisited: Why America Owes Janet Jackson a Huge Apology\u003c/a>\u003c/p>\n\u003cp>We also dig through old copies of \u003cem>New York Magazine\u003c/em> to unearth a very telling 1998 profile of a very bratty Leonardo DiCaprio:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://nymag.com/nymetro/movies/features/2793/\">Leo, Prince of the City\u003c/a>\u003c/p>\n\u003cp>Written by Nancy Jo Sales, the recipient of this insane voicemail:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe frameborder=\"0\" width=\"480\" height=\"270\" src=\"//www.dailymotion.com/embed/video/x10pkt3\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>We play a game of Who Said It? (Stacey Dash or Ann Coulter Edition):\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/anigif_enhanced-17560-1393877506-2.gif\" rel=\"attachment wp-att-20260\">\u003cimg class=\"aligncenter wp-image-20260\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/anigif_enhanced-17560-1393877506-2.gif\" alt=\"dionne clueless gif\" width=\"300\" height=\"169\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/Ann_Boogie.gif\" rel=\"attachment wp-att-20259\">\u003cimg class=\"aligncenter wp-image-20259\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/Ann_Boogie.gif\" alt=\"ann coulter gif\" width=\"300\" height=\"198\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with a former One Directioner Zayn Malik's first zingle:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C_3d6GntKbk\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>Since the Super Bowl is right around the corner, we reexamine the furor around Janet Jackson's exposed breast and discuss how that moment in pop culture history projects a lot of uncomfortable truths about America:\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://ww2.kqed.org/pop/2016/02/04/nipplegate-revisited-why-america-owes-janet-jackson-a-huge-apology/\">Nipplegate Revisited: Why America Owes Janet Jackson a Huge Apology\u003c/a>\u003c/p>\n\u003cp>We also dig through old copies of \u003cem>New York Magazine\u003c/em> to unearth a very telling 1998 profile of a very bratty Leonardo DiCaprio:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca class=\"embedly-card\" href=\"http://nymag.com/nymetro/movies/features/2793/\">Leo, Prince of the City\u003c/a>\u003c/p>\n\u003cp>Written by Nancy Jo Sales, the recipient of this insane voicemail:\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe frameborder=\"0\" width=\"480\" height=\"270\" src=\"//www.dailymotion.com/embed/video/x10pkt3\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>We play a game of Who Said It? (Stacey Dash or Ann Coulter Edition):\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/anigif_enhanced-17560-1393877506-2.gif\" rel=\"attachment wp-att-20260\">\u003cimg class=\"aligncenter wp-image-20260\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/anigif_enhanced-17560-1393877506-2.gif\" alt=\"dionne clueless gif\" width=\"300\" height=\"169\">\u003c/a>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/Ann_Boogie.gif\" rel=\"attachment wp-att-20259\">\u003cimg class=\"aligncenter wp-image-20259\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/Ann_Boogie.gif\" alt=\"ann coulter gif\" width=\"300\" height=\"198\">\u003c/a>\u003c/p>\n\u003cp>And we cap things off with a former One Directioner Zayn Malik's first zingle:\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/C_3d6GntKbk'\n title='//www.youtube.com/embed/C_3d6GntKbk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Earth, Wind & Fire Founder Maurice White Dead at 74",
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"content": "\u003cp>Earth, Wind & Fire founder Maurice White, whose horn-driven band sold more than 90 million albums and made hits like “September,” ”Shining Star” and “Boogie Wonderland,” died Wednesday at his home in Los Angeles, his brother Verdine said.\u003c/p>\n\u003cp>White, who was 74, suffered from Parkinson’s Disease and had retreated from the public even as the band he founded kept performing.\u003c/p>\n\u003cp>“My brother, hero and best friend Maurice White passed away peacefully last night in his sleep,” Verdine White, also a member of the band, told The Associated Press on Thursday. “While the world has lost another great musician and legend, our family asks that our privacy is respected as we start what will be a very difficult and life changing transition in our lives. Thank you for your prayers and well wishes.”\u003c/p>\n\u003cp>Earth, Wind & Fire, a nine-piece band centered around the two White brothers, singer Philip Bailey and the distinctive horn section, were inducted into the Rock and Roll Hall of Fame in 2000. The band’s most successful period started with the 1975 album “That’s The Way of The World” and continued through the rest of the decade. Other hits included “Serpentine Fire,” “That’s the Way of the World” and a cover of the Beatles’ “Got to Get You Into My Life.”\u003c/p>\n\u003cp>https://www.facebook.com/EarthWindandFire/photos/a.10150267103330989.324607.13458425988/10153178392025989/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>White publicly revealed he had Parkinson’s at the time of the band’s Hall of Fame induction, but he had shown symptoms of the neurological disease back in the 1980s. He stopped touring with the band in 1995 because of weariness from the road combined with his health problems.\u003c/p>\n\u003cp>White said in an interview with The Associated Press in 2000 that he wanted the band’s music to inspire instead of just entertain.\u003c/p>\n\u003cp>“That was the whole objective, to try to inspire young people to believe in themselves and to follow through on their ideas,” he said. “We’ve touched so many people with these songs.”\u003c/p>\n\u003cp>A former session drummer, White founded the band Salty Peppers in the Chicago area in the late 1960s and had some modest success in the Midwest. After relocating to Los Angeles and ditching all of the band members except Verdine, he renamed the outfit Earth, Wind & Fire after the three elements in his astrological chart.\u003c/p>\n\u003cp>Bailey’s bright falsetto defined many of Earth, Wind & Fire’s hits. “We experienced pure magic together,” Bailey said during the band’s Rock and Roll Hall of Fame induction, standing next to White.\u003c/p>\n\u003cp>The band’s early sound was jazzy, but evolved into an exuberant, horn-driven mix of jazz, funk, gospel and Big Band music. Their appeal wasn’t just on records but on stage, their concerts a whirl of dancing, fog machines, multi-colored lights and glittery costumes. Earth, Wind & Fire performed everywhere from the Super Bowl to the White House.\u003c/p>\n\u003cp>Maurice White also had a substantial side career producing other artists, including Barbra Streisand and Cher. In the 1970s, he co-wrote and co-produced the Emotions’ No. 1 hit “Best of My Love.”\u003c/p>\n\u003cp>White was born in Memphis in 1941, the son of a doctor and grandson of a New Orleans piano player. He showed musical gifts at an early age, studying at the Chicago Conservancy. During the 1960s, he backed Muddy Waters, the Impressions and others and worked as a session drummer in Chicago for influential record labels Chess and Okeh.\u003c/p>\n\u003cp>While White’s main residence was in Los Angeles, he was reported to own a second home in Carmel Valley.\u003c/p>\n\u003cp>\u003ci>In celebration of White’s body of work, here’s one of Earth, Wind and Fire’s biggest hits, “September.” NPR Music spoke with White about \u003ca href=\"http://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\" target=\"_blank\" rel=\"noopener\">this particular track back in 2014\u003c/a>.\u003c/i> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Gs069dndIYk\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Additional reporting on this story by KQED Arts reporter Kevin L. Jones.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Earth, Wind & Fire founder Maurice White, whose horn-driven band sold more than 90 million albums and made hits like “September,” ”Shining Star” and “Boogie Wonderland,” died Wednesday at his home in Los Angeles, his brother Verdine said.\u003c/p>\n\u003cp>White, who was 74, suffered from Parkinson’s Disease and had retreated from the public even as the band he founded kept performing.\u003c/p>\n\u003cp>“My brother, hero and best friend Maurice White passed away peacefully last night in his sleep,” Verdine White, also a member of the band, told The Associated Press on Thursday. “While the world has lost another great musician and legend, our family asks that our privacy is respected as we start what will be a very difficult and life changing transition in our lives. Thank you for your prayers and well wishes.”\u003c/p>\n\u003cp>Earth, Wind & Fire, a nine-piece band centered around the two White brothers, singer Philip Bailey and the distinctive horn section, were inducted into the Rock and Roll Hall of Fame in 2000. The band’s most successful period started with the 1975 album “That’s The Way of The World” and continued through the rest of the decade. Other hits included “Serpentine Fire,” “That’s the Way of the World” and a cover of the Beatles’ “Got to Get You Into My Life.”\u003c/p>\n\u003cp>https://www.facebook.com/EarthWindandFire/photos/a.10150267103330989.324607.13458425988/10153178392025989/\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>White publicly revealed he had Parkinson’s at the time of the band’s Hall of Fame induction, but he had shown symptoms of the neurological disease back in the 1980s. He stopped touring with the band in 1995 because of weariness from the road combined with his health problems.\u003c/p>\n\u003cp>White said in an interview with The Associated Press in 2000 that he wanted the band’s music to inspire instead of just entertain.\u003c/p>\n\u003cp>“That was the whole objective, to try to inspire young people to believe in themselves and to follow through on their ideas,” he said. “We’ve touched so many people with these songs.”\u003c/p>\n\u003cp>A former session drummer, White founded the band Salty Peppers in the Chicago area in the late 1960s and had some modest success in the Midwest. After relocating to Los Angeles and ditching all of the band members except Verdine, he renamed the outfit Earth, Wind & Fire after the three elements in his astrological chart.\u003c/p>\n\u003cp>Bailey’s bright falsetto defined many of Earth, Wind & Fire’s hits. “We experienced pure magic together,” Bailey said during the band’s Rock and Roll Hall of Fame induction, standing next to White.\u003c/p>\n\u003cp>The band’s early sound was jazzy, but evolved into an exuberant, horn-driven mix of jazz, funk, gospel and Big Band music. Their appeal wasn’t just on records but on stage, their concerts a whirl of dancing, fog machines, multi-colored lights and glittery costumes. Earth, Wind & Fire performed everywhere from the Super Bowl to the White House.\u003c/p>\n\u003cp>Maurice White also had a substantial side career producing other artists, including Barbra Streisand and Cher. In the 1970s, he co-wrote and co-produced the Emotions’ No. 1 hit “Best of My Love.”\u003c/p>\n\u003cp>White was born in Memphis in 1941, the son of a doctor and grandson of a New Orleans piano player. He showed musical gifts at an early age, studying at the Chicago Conservancy. During the 1960s, he backed Muddy Waters, the Impressions and others and worked as a session drummer in Chicago for influential record labels Chess and Okeh.\u003c/p>\n\u003cp>While White’s main residence was in Los Angeles, he was reported to own a second home in Carmel Valley.\u003c/p>\n\u003cp>\u003ci>In celebration of White’s body of work, here’s one of Earth, Wind and Fire’s biggest hits, “September.” NPR Music spoke with White about \u003ca href=\"http://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\" target=\"_blank\" rel=\"noopener\">this particular track back in 2014\u003c/a>.\u003c/i> \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/Gs069dndIYk'\n title='//www.youtube.com/embed/Gs069dndIYk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003ci>Additional reporting on this story by KQED Arts reporter Kevin L. Jones.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Along the U.S.-Mexico Border, an Unlikely Music is Born",
"headTitle": "Along the U.S.-Mexico Border, an Unlikely Music is Born | KQED",
"content": "\u003cp>Shotgun shells from Border Patrol agents. Bones from decomposed animals. Decaying aluminum cans, an abandoned boot, discarded clothing — these are the items collected along the U.S.-Mexico border that composer Guillermo Galindo uses in his work.\u003c/p>\n\u003cp>To many, they would seem like trash. To Galindo, they’re objects he turns into music evocative of the immigrant experience. \u003c/p>\n\u003cp>Galindo is a Mexican-born U.S. citizen who, with the photographer Richard Misrach, has spent two years creating \u003cem>Border Cantos\u003c/em>, a \u003ca href=\"https://stories.californiasunday.com/2014-11-02/richard-misrach-border-signs/\" target=\"_blank\" rel=\"noopener\">stunning collaboration\u003c/a> that shows the often unseen human element of border crossing. Galindo utilizes discarded items found by Misrach along the U.S.-Mexico border to create handmade instruments, each representing an immigrant’s dream, each making music reflecting the memories and emotions of their imagined owners.\u003c/p>\n\u003cp>Many of them are stringed, like ‘Effigy,’ a scarecrow-like instrument of wood, wire, and discarded clothing. Others are percussive, employing empty bullet shells, stray gloves, or abandoned tires from the border. \u003c/p>\n\u003cfigure id=\"attachment_11301632\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Llantambores.jpg\" alt=\"'Llantambores,' drums caped with skin made from inner tubes used to cross the Rio Grande in Texas and wedged into a structure fashioned out of carpet booties used by immigrants to hide their footsteps; barbed wire that once served as the fence between the two nations surrounds.\" width=\"936\" height=\"527\" class=\"size-full wp-image-11301632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Llantambores.jpg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Llantambores-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Llantambores-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Llantambores-768x432.jpg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">‘Llantambores,’ drums caped with skin made from inner tubes used to cross the Rio Grande in Texas and wedged into a structure fashioned out of carpet booties used by immigrants to hide their footsteps; barbed wire that once served as the fence between the two nations surrounds. \u003ccite>(Courtesy of the artist, Richard Misrach and the San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Misrach and Galindo open \u003cem>Border Cantos\u003c/em> \u003ca href=\"http://sjmusart.org/exhibition/border-cantos-richard-misrach-guillermo-galindo\" target=\"_blank\" rel=\"noopener\">at the San Jose Museum of Art\u003c/a> on Thursday, Feb. 25, but Galindo premieres a performance of his instruments, and compositions for \u003cem>Border Cantos\u003c/em>, \u003ca href=\"http://www.exploratorium.edu/arts/resonance/calendar/guillermo-galindo\" target=\"_blank\" rel=\"noopener\">at the Exploratorium on Thursday, Feb. 11\u003c/a>. (Additional performances are slated for \u003ca href=\"http://sjmusart.org/event/special-performance-guillermo-galindo-march-6\" target=\"_blank\" rel=\"noopener\">March 6\u003c/a> and \u003ca href=\"http://sjmusart.org/event/special-performance-guillermo-galindo-may-5\" target=\"_blank\" rel=\"noopener\">May 5\u003c/a> at the San Jose Museum of Art, and \u003ca href=\"http://www.cityarts.net/event/richard-misrach-guillermo-galindo/\" target=\"_blank\" rel=\"noopener\">April 26 at City Arts & Lectures\u003c/a>.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before the performances, I spoke with Galindo via phone about the challenges he faces in creating his instruments, the ways he expresses immigrants’ inner thoughts and feelings through music, and the reason he no longer collects found items from along the border.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Tell me how this idea started; to make instruments from these found objects. Did Richard start collecting them for you? Did you go collecting them yourself?\u003c/strong> \u003c/p>\n\u003cp>I started by collecting the items in Laredo, Texas. After that, I wrote my first piece using these instruments, integrating them into a classical woodwind group called Quinteto Latino, which I premiered at MACLA in San Jose five years ago. Later, I met Richard and the whole story began. What happened is that I used to go more often to the border to collect these instruments. But since I’m Mexican, I got in more trouble wandering around the border than Richard.\u003c/p>\n\u003cp>\u003cstrong>You were detained by the Border Patrol because of your nationality.\u003c/strong>\u003c/p>\n\u003cp>Yes. I was harassed a lot. Richard was very nice in offering to do it for me, so that I didn’t endanger my life or my being. \u003c/p>\n\u003cp>\u003cstrong>When you first receive an object found along the border, do you immediately know how to turn it into an instrument? Or does it take some time and thought? \u003c/strong>\u003c/p>\n\u003cp>It does totally take some time and thought. Because not all of the items I do find are sonorous, per se, they don’t make sound. So you have to figure out how to make sound out of things that don’t originally make any sounds. \u003c/p>\n\u003cp>\u003cstrong>What’s an example of one of the biggest challenges of that in this project? \u003c/strong>\u003c/p>\n\u003cp>The most challenging one is clothing. The first thing that I did was this loom that you turn around, and it has these contact mics for the clothing as it rotates through the loom. And recently, I put some rocks in socks that I’m using to activate a percussion instrument. \u003c/p>\n\u003cfigure id=\"attachment_11301634\" class=\"wp-caption aligncenter\" style=\"max-width: 1008px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/soundscape.jpg\" alt=\"'Soundscape/ Paisaje sonoro.' The rusted nails suggestive of the border wall can be plucked or stoked, and the valley floor is covered with pages of a Bible inscribed to a girl, found along the Texas border.\" width=\"1008\" height=\"567\" class=\"size-full wp-image-11301634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/soundscape.jpg 1008w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/soundscape-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/soundscape-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/soundscape-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/soundscape-960x540.jpg 960w\" sizes=\"(max-width: 1008px) 100vw, 1008px\">\u003cfigcaption class=\"wp-caption-text\">‘Soundscape/ Paisaje sonoro.’ The rusted nails suggestive of the border wall can be plucked or stoked, and the valley floor is covered with pages of a Bible inscribed to a girl, found along the Texas border. \u003ccite>(Courtesy of the artist, Richard Misrach and the San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When you’re creating these instruments, is it a goal to express the experience of their origin? \u003c/strong>\u003c/p>\n\u003cp>What I try to do here is to have the instrument tell you an imaginary story that it carries with it. The music is an imaginary story that each object has and carries within itself.\u003c/p>\n\u003cp>\u003cstrong>What about their previous owners — through your compositions, do you aim to tell the story of those crossing the border?\u003c/strong>\u003c/p>\n\u003cp>It’s not the journey, but it’s more like the internal journey. What is happening inside the mind, the being of the people that are crossing the border. That includes memories, that includes danger, and that includes also what is happening outside. The expectation of \u003cem>what is going to happen to me\u003c/em>. Good memories, bad memories. Leaving the place where you were born, and grew up. It’s all of this, the internal journey that happens in the interior mind of the immigrant. \u003c/p>\n\u003cp>\u003cstrong>Your music is often sparse, in minor keys, sometimes atonal. Would you say there is a lot of anxiety or worry in the music that you write for these instruments? \u003c/strong>\u003c/p>\n\u003cp>No, no. That’s not correct. There’s every single feeling that you can imagine. I cannot say that it is happy or sad, because that would be a very wrong way to describe it. There are many feelings; nostalgia, even happiness sometimes. There’s expectation, there’s suffering, there are things that remind you of environmental sounds. Just all sorts of things there. \u003c/p>\n\u003cp>\u003cstrong>You and Richard have described this project as a way to correct the “gaping omissions you see in mainstream discussions and media coverage of border issues.” What, from your perspective, is being omitted from the mainstream discussion?\u003c/strong> \u003c/p>\n\u003cp>An objective way to see the problem of immigration, instead of just talking about numbers and talking about human beings as if they were statistics. That is a tragedy that is happening in front of our eyes. We are arriving here to a more human way of considering these issues; for example, in my music, you have to hear the gaps — not only in the music, but the gaps between one sound and the other. The same with Richard’s photography. It’s evocative of things that are very complex to say with just words. The gaps just let you breathe and think what you just heard or what you just saw, and open your mind and space to see things differently. \u003c/p>\n\u003cfigure id=\"attachment_11301637\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/galindog.jpg\" alt=\"Guillermo Galindo.\" width=\"1000\" height=\"563\" class=\"size-full wp-image-11301637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/galindog.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/galindog-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/galindog-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/galindog-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/galindog-960x540.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do these instruments require a lot of maintenance? \u003c/strong>\u003c/p>\n\u003cp>Not really, because I let the instruments give me their needs and talk to me in their own voice. I don’t force them to do anything that they are not supposed to do. That’s my relationship with my instruments, as opposed to instruments that are traditionally conventional, like a violin or a guitar. Those things are made so that you get what you want out of them, you are demanding something out of the instrument. This is the other way around; the instruments are demanding from me how they want to be played.\u003c/p>\n\u003cp>\u003cstrong>What about the relationship between your music and Richard’s photographs? Does your music ever stand on its own, or is it always presented alongside his photographs?\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The music that I have created since I met Richard is very much attached to the photographs and to the objects. None could exist without the other. They are completely complimentary. We spend a lot of time together doing these; we resonate with each other and we inspire each other. \u003c/p>\n\n",
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"excerpt": "Talking with composer Guillermo Galindo about the instruments of ‘Border Cantos,’ made from immigrants' discarded belongings.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Shotgun shells from Border Patrol agents. Bones from decomposed animals. Decaying aluminum cans, an abandoned boot, discarded clothing — these are the items collected along the U.S.-Mexico border that composer Guillermo Galindo uses in his work.\u003c/p>\n\u003cp>To many, they would seem like trash. To Galindo, they’re objects he turns into music evocative of the immigrant experience. \u003c/p>\n\u003cp>Galindo is a Mexican-born U.S. citizen who, with the photographer Richard Misrach, has spent two years creating \u003cem>Border Cantos\u003c/em>, a \u003ca href=\"https://stories.californiasunday.com/2014-11-02/richard-misrach-border-signs/\" target=\"_blank\" rel=\"noopener\">stunning collaboration\u003c/a> that shows the often unseen human element of border crossing. Galindo utilizes discarded items found by Misrach along the U.S.-Mexico border to create handmade instruments, each representing an immigrant’s dream, each making music reflecting the memories and emotions of their imagined owners.\u003c/p>\n\u003cp>Many of them are stringed, like ‘Effigy,’ a scarecrow-like instrument of wood, wire, and discarded clothing. Others are percussive, employing empty bullet shells, stray gloves, or abandoned tires from the border. \u003c/p>\n\u003cfigure id=\"attachment_11301632\" class=\"wp-caption aligncenter\" style=\"max-width: 936px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Llantambores.jpg\" alt=\"'Llantambores,' drums caped with skin made from inner tubes used to cross the Rio Grande in Texas and wedged into a structure fashioned out of carpet booties used by immigrants to hide their footsteps; barbed wire that once served as the fence between the two nations surrounds.\" width=\"936\" height=\"527\" class=\"size-full wp-image-11301632\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Llantambores.jpg 936w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Llantambores-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Llantambores-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Llantambores-768x432.jpg 768w\" sizes=\"(max-width: 936px) 100vw, 936px\">\u003cfigcaption class=\"wp-caption-text\">‘Llantambores,’ drums caped with skin made from inner tubes used to cross the Rio Grande in Texas and wedged into a structure fashioned out of carpet booties used by immigrants to hide their footsteps; barbed wire that once served as the fence between the two nations surrounds. \u003ccite>(Courtesy of the artist, Richard Misrach and the San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Misrach and Galindo open \u003cem>Border Cantos\u003c/em> \u003ca href=\"http://sjmusart.org/exhibition/border-cantos-richard-misrach-guillermo-galindo\" target=\"_blank\" rel=\"noopener\">at the San Jose Museum of Art\u003c/a> on Thursday, Feb. 25, but Galindo premieres a performance of his instruments, and compositions for \u003cem>Border Cantos\u003c/em>, \u003ca href=\"http://www.exploratorium.edu/arts/resonance/calendar/guillermo-galindo\" target=\"_blank\" rel=\"noopener\">at the Exploratorium on Thursday, Feb. 11\u003c/a>. (Additional performances are slated for \u003ca href=\"http://sjmusart.org/event/special-performance-guillermo-galindo-march-6\" target=\"_blank\" rel=\"noopener\">March 6\u003c/a> and \u003ca href=\"http://sjmusart.org/event/special-performance-guillermo-galindo-may-5\" target=\"_blank\" rel=\"noopener\">May 5\u003c/a> at the San Jose Museum of Art, and \u003ca href=\"http://www.cityarts.net/event/richard-misrach-guillermo-galindo/\" target=\"_blank\" rel=\"noopener\">April 26 at City Arts & Lectures\u003c/a>.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before the performances, I spoke with Galindo via phone about the challenges he faces in creating his instruments, the ways he expresses immigrants’ inner thoughts and feelings through music, and the reason he no longer collects found items from along the border.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cstrong>Tell me how this idea started; to make instruments from these found objects. Did Richard start collecting them for you? Did you go collecting them yourself?\u003c/strong> \u003c/p>\n\u003cp>I started by collecting the items in Laredo, Texas. After that, I wrote my first piece using these instruments, integrating them into a classical woodwind group called Quinteto Latino, which I premiered at MACLA in San Jose five years ago. Later, I met Richard and the whole story began. What happened is that I used to go more often to the border to collect these instruments. But since I’m Mexican, I got in more trouble wandering around the border than Richard.\u003c/p>\n\u003cp>\u003cstrong>You were detained by the Border Patrol because of your nationality.\u003c/strong>\u003c/p>\n\u003cp>Yes. I was harassed a lot. Richard was very nice in offering to do it for me, so that I didn’t endanger my life or my being. \u003c/p>\n\u003cp>\u003cstrong>When you first receive an object found along the border, do you immediately know how to turn it into an instrument? Or does it take some time and thought? \u003c/strong>\u003c/p>\n\u003cp>It does totally take some time and thought. Because not all of the items I do find are sonorous, per se, they don’t make sound. So you have to figure out how to make sound out of things that don’t originally make any sounds. \u003c/p>\n\u003cp>\u003cstrong>What’s an example of one of the biggest challenges of that in this project? \u003c/strong>\u003c/p>\n\u003cp>The most challenging one is clothing. The first thing that I did was this loom that you turn around, and it has these contact mics for the clothing as it rotates through the loom. And recently, I put some rocks in socks that I’m using to activate a percussion instrument. \u003c/p>\n\u003cfigure id=\"attachment_11301634\" class=\"wp-caption aligncenter\" style=\"max-width: 1008px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/soundscape.jpg\" alt=\"'Soundscape/ Paisaje sonoro.' The rusted nails suggestive of the border wall can be plucked or stoked, and the valley floor is covered with pages of a Bible inscribed to a girl, found along the Texas border.\" width=\"1008\" height=\"567\" class=\"size-full wp-image-11301634\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/soundscape.jpg 1008w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/soundscape-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/soundscape-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/soundscape-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/soundscape-960x540.jpg 960w\" sizes=\"(max-width: 1008px) 100vw, 1008px\">\u003cfigcaption class=\"wp-caption-text\">‘Soundscape/ Paisaje sonoro.’ The rusted nails suggestive of the border wall can be plucked or stoked, and the valley floor is covered with pages of a Bible inscribed to a girl, found along the Texas border. \u003ccite>(Courtesy of the artist, Richard Misrach and the San Jose Museum of Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>When you’re creating these instruments, is it a goal to express the experience of their origin? \u003c/strong>\u003c/p>\n\u003cp>What I try to do here is to have the instrument tell you an imaginary story that it carries with it. The music is an imaginary story that each object has and carries within itself.\u003c/p>\n\u003cp>\u003cstrong>What about their previous owners — through your compositions, do you aim to tell the story of those crossing the border?\u003c/strong>\u003c/p>\n\u003cp>It’s not the journey, but it’s more like the internal journey. What is happening inside the mind, the being of the people that are crossing the border. That includes memories, that includes danger, and that includes also what is happening outside. The expectation of \u003cem>what is going to happen to me\u003c/em>. Good memories, bad memories. Leaving the place where you were born, and grew up. It’s all of this, the internal journey that happens in the interior mind of the immigrant. \u003c/p>\n\u003cp>\u003cstrong>Your music is often sparse, in minor keys, sometimes atonal. Would you say there is a lot of anxiety or worry in the music that you write for these instruments? \u003c/strong>\u003c/p>\n\u003cp>No, no. That’s not correct. There’s every single feeling that you can imagine. I cannot say that it is happy or sad, because that would be a very wrong way to describe it. There are many feelings; nostalgia, even happiness sometimes. There’s expectation, there’s suffering, there are things that remind you of environmental sounds. Just all sorts of things there. \u003c/p>\n\u003cp>\u003cstrong>You and Richard have described this project as a way to correct the “gaping omissions you see in mainstream discussions and media coverage of border issues.” What, from your perspective, is being omitted from the mainstream discussion?\u003c/strong> \u003c/p>\n\u003cp>An objective way to see the problem of immigration, instead of just talking about numbers and talking about human beings as if they were statistics. That is a tragedy that is happening in front of our eyes. We are arriving here to a more human way of considering these issues; for example, in my music, you have to hear the gaps — not only in the music, but the gaps between one sound and the other. The same with Richard’s photography. It’s evocative of things that are very complex to say with just words. The gaps just let you breathe and think what you just heard or what you just saw, and open your mind and space to see things differently. \u003c/p>\n\u003cfigure id=\"attachment_11301637\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/galindog.jpg\" alt=\"Guillermo Galindo.\" width=\"1000\" height=\"563\" class=\"size-full wp-image-11301637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/galindog.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/galindog-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/galindog-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/galindog-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/galindog-960x540.jpg 960w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Guillermo Galindo. \u003ccite>(Michelle Wetzler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Do these instruments require a lot of maintenance? \u003c/strong>\u003c/p>\n\u003cp>Not really, because I let the instruments give me their needs and talk to me in their own voice. I don’t force them to do anything that they are not supposed to do. That’s my relationship with my instruments, as opposed to instruments that are traditionally conventional, like a violin or a guitar. Those things are made so that you get what you want out of them, you are demanding something out of the instrument. This is the other way around; the instruments are demanding from me how they want to be played.\u003c/p>\n\u003cp>\u003cstrong>What about the relationship between your music and Richard’s photographs? Does your music ever stand on its own, or is it always presented alongside his photographs?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The last time the Bay Area hosted the Super Bowl, President Ronald Reagan was sworn in, \u003ca target=\"_blank\" href=\"http://articles.chicagotribune.com/1985-01-12/news/8501030171_1_inaugural-white-house-swearing-in\" rel=\"noopener\">privately\u003c/a>, for his second term, little LeBron James was 3 weeks old and the San Francisco 49ers beat the Miami Dolphins 38-16 behind quarterback Joe Montana, named the game’s MVP.\u003c/p>\n\u003cp>Compared with halftime \u003ca href=\"http://ww2.kqed.org/news/2016/02/04/stanford-stadium-super-bowl-xix-1985\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2016/02/04/stanford-stadium-super-bowl-xix-1985\" target=\"_blank\" title=\"The Stanford Super Bowl: Wooden Bleachers, a Jetpack and Show Biz, 1985-Style\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "\u003cp>The last time the Bay Area hosted the Super Bowl, President Ronald Reagan was sworn in, \u003ca target=\"_blank\" href=\"http://articles.chicagotribune.com/1985-01-12/news/8501030171_1_inaugural-white-house-swearing-in\" rel=\"noopener\">privately\u003c/a>, for his second term, little LeBron James was 3 weeks old and the San Francisco 49ers beat the Miami Dolphins 38-16 behind quarterback Joe Montana, named the game's MVP.\u003c/p>\n\u003cp>Compared with halftime \u003ca href=\"http://ww2.kqed.org/news/2016/02/04/stanford-stadium-super-bowl-xix-1985\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> ...read more\u003c/a>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last time the Bay Area hosted the Super Bowl, President Ronald Reagan was sworn in, \u003ca target=\"_blank\" href=\"http://articles.chicagotribune.com/1985-01-12/news/8501030171_1_inaugural-white-house-swearing-in\" rel=\"noopener\">privately\u003c/a>, for his second term, little LeBron James was 3 weeks old and the San Francisco 49ers beat the Miami Dolphins 38-16 behind quarterback Joe Montana, named the game’s MVP.\u003c/p>\n\u003cp>Compared with halftime \u003ca href=\"http://ww2.kqed.org/news/2016/02/04/stanford-stadium-super-bowl-xix-1985\" target=\"_blank\" id=\"rssmi_more\" rel=\"noopener\"> …read more\u003c/a> \u003c/p>\n\u003cp>Source:: \u003ca href=\"http://ww2.kqed.org/news/2016/02/04/stanford-stadium-super-bowl-xix-1985\" target=\"_blank\" title=\"The Stanford Super Bowl: Wooden Bleachers, a Jetpack and Show Biz, 1985-Style\" rel=\"noopener\">Arts News\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The aphorism goes: your life can change in a split second. And no one knows this better than Janet Jackson, who went from pop music royalty to scapegoat pariah in a matter of 9/16th of a second, the blink of time her breast was accidentally exposed to an estimated 140 million people during 2004's Super Bowl Halftime Show. What came after was a national overreaction that had very little to do with Janet and everything to do with America's long history of sexism, racism and puritanism.\u003c/p>\n\u003cp>But before we get into all of that, let's travel back in time to the early 1990s for a brief history lesson. The Halftime Show hasn't always been a cultural institution. Back in 1992, the headliners were Dorothy Hamil and Brian Boitano. \u003cem>Who?\u003c/em> you might be wondering. They're figure skaters, who starred alongside gigantic snowmen and rapping kids in iridescent Hammer pants in a performance titled \"Winter Magic.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZjChnNS4JZI\u003c/p>\n\u003cp>Unsurprisingly, this proved snoozy to a large portion of the audience. 10 million viewers switched over to another network to catch \u003cem>In Living Color\u003c/em> instead.\u003c/p>\n\u003cp>The show's producers knew something had to change if they wanted to keep raking in advertising dollars and remain relevant, so a plan was hatched: get Michael Jackson, who was on top of his game at the time, to perform the following year. The gambit worked; the last moments of Michael's performance were the most viewed in history up until that point and the Halftime Show was revitalized as must-see television.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=idg8TNknvDU\u003c/p>\n\u003cp>Fast forward 11 years, and it was Janet's turn to carry on the family legacy of slaying at America's most popular sporting event. She pretty much did that -- although we forget -- with live renditions of hits like “Rhythm Nation” and “All for You.” Then Justin Timberlake joined her on stage for a duet version of his single, “Rock Your Body.\" At the point in the song when he sings, \"Better have you naked by the end of this song,” he was supposed to pull Janet's bustier to reveal a red lace bra, but both pieces ended up ripping off.\u003c/p>\n\u003cp>Then everyone got insanely mad at Justin for messing up. Oh, wait, sorry, I forgot about the patriarchy for a second. Let me try that again: then everyone got insanely mad at Janet for having breasts and no one ever really mentioned Justin again. For example, \u003cem>The Washington Post\u003c/em>’s Tony Kornheiser wrote, \"What Janet Jackson did was bizarre, deliberately flopping out of her costume like that.\" Justin's grabbing hand is entirely erased from the scene.\u003c/p>\n\u003cp>The senseless sexism didn't end there. Janet was disinvited from that year’s Grammys. Meanwhile, Justin was not only allowed to attend, but also performed. Janet was blacklisted from radio and music video channels for the next several years, leading to multiple album flops, while Justin got to be goofy on \u003cem>SNL\u003c/em> and become a movie star.\u003c/p>\n\u003cp>Justin had this to say about getting off scot free, thanks to his white male privilege: “I probably got 10% of the blame, and that says something about society. I think that America’s harsher on women. And I think that America is, you know, unfairly harsh on ethnic people.”\u003c/p>\n\u003cp>That last point brings up the fact that Janet’s first crime was being a woman and the second that she was a black woman.\u003c/p>\n\u003cp>In \u003ca href=\"http://library.uwb.edu/guides/bisskl375/superbowl.pdf\" target=\"_blank\" rel=\"noopener\">a 2009 study\u003c/a>, Shannon L. Holland of Clemson University suggested the vilification of Jackson in the media followed the tradition of \"the Jezebel\" stereotype. For those of you who aren’t as woke as you’d like to be, the term refers to depictions of black women as lustful, promiscuous, insatiable and immoral, a characterization that was used by white slave owners to justify forcing female slaves to procreate and as a legal defense when raping these women.\u003c/p>\n\u003cp>We like to think we’re far removed from America's dark past, as if printing (some of) the facts into textbooks absolved us and negated the impact of all of that history, but situations like the treatment of Janet after the Halftime Show prove that the struggle for civil rights for women and people of color is an ongoing negotiation. The oppression is still all around us; it has simply evolved and learned how to camouflage.\u003c/p>\n\u003cp>The anti-Janet uproar wasn't just confined to talk shows, radio stations and op-eds, thanks to the efforts of Michael Powell, who was the chairman of the FCC at the time. He called the incident a “classless, crass and deplorable stunt” and effectively waged a culture war, which resulted in fining CBS $550,000, policing TV for \"immoral\" content, and implementing a five-second delay for all future live televised performances. The fine per indecency violation was raised from $27,500 to $325,000. All nine American network soap operas eliminated sexual storylines, \u003cem>ER\u003c/em> re-edited an episode that featured some of an injured elderly woman's breast and the Victoria's Secret Fashion Show was scrapped. It even got so bad that 65 ABC stations decided not to air \u003cem>Saving Private Ryan\u003c/em> out of fear that the government would fine them for profanity within the script. Years later, Powell would say: \"I think we've been removed from this long enough for me to tell you that I had to put my best version of outrage on that I could put on. Part of it was surreal, right?\" Right.\u003c/p>\n\u003cp>Many people believed this witch hunt was a way to influence the election (spoiler: the conservatives won on a platform of “moral values” later that year) and distract the nation from the failing war in Iraq. Janet agreed: \"There are much worse things in the world, and for this to be such a focus, I don't understand. They needed something to focus on instead of the war, and I was the perfect vehicle for that.\"\u003c/p>\n\u003cp>A familial connection that brings Janet's concern into sharp focus: FCC head Michael Powell's father is none other than Colin Powell, George W. Bush's Secretary of State and one of the instrumental figures involved in selling the idea of the Iraq War. Things that make you go hmmm.\u003c/p>\n\u003cp>Thankfully, there were some voices that brought a bit of reason to the debate. \u003cem>The New York Times\u003c/em>' \u003ca href=\"http://www.nytimes.com/2005/02/06/arts/the-year-of-living-indecently.html\" target=\"_blank\" rel=\"noopener\">Frank Rich wrote\u003c/a>: “Let us be grateful that Janet Jackson didn’t bare both her breasts” and called the cultural climate “a wave of self-censorship on American television unrivaled since the McCarthy era.” And Robert Thompson, a professor at Syracuse, \u003ca href=\"http://www.si.com/nfl/2016/01/06/janet-jackson-super-bowl-halftime-show\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>: “Which do you think harmed children more: one second of a woman’s breast or 14 minutes of commercials showing how beer will transform your life into a magical, beautiful party? Or the multiple commercials on erectile dysfunction. I think the only children who got hurt were the children of the people who got fired.”\u003c/p>\n\u003cp>And this just scratches the surface. What about this double standard: showcasing breasts in Budweiser or Hooters commercials is deemed acceptable television because, in those contexts, the female anatomy exists solely for the pleasure and benefit of men. Step outside of that framework into any reality where the woman might be in charge of her sexuality or *gasp* enjoy herself and there will be a problem.\u003c/p>\n\u003cp>Over a decade later, Janet is just starting to recover. Her last album, \u003cem>Unbreakable\u003c/em>, debuted at #1 on the \u003cem>Billboard\u003c/em> charts and both the record and her world tour have been well received by critics. But she'll most likely have to work against the damage done by that 9/16th of a second for the rest of her career, a tiny momentary blip that contains projections of some of the ugliest facets of America. And for this, we owe Janet Jackson a huge apology.\u003c/p>\n\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>[audio src=\"https://www.kqed.org/.stream/anon/radio/thecooler/2016/02/janet.mp3\" title=\"The People vs. Janet Jackson\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/janet-stake.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The aphorism goes: your life can change in a split second. And no one knows this better than Janet Jackson, who went from pop music royalty to scapegoat pariah in a matter of 9/16th of a second, the blink of time her breast was accidentally exposed to an estimated 140 million people during 2004's Super Bowl Halftime Show. What came after was a national overreaction that had very little to do with Janet and everything to do with America's long history of sexism, racism and puritanism.\u003c/p>\n\u003cp>But before we get into all of that, let's travel back in time to the early 1990s for a brief history lesson. The Halftime Show hasn't always been a cultural institution. Back in 1992, the headliners were Dorothy Hamil and Brian Boitano. \u003cem>Who?\u003c/em> you might be wondering. They're figure skaters, who starred alongside gigantic snowmen and rapping kids in iridescent Hammer pants in a performance titled \"Winter Magic.\"\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/ZjChnNS4JZI'\n title='//www.youtube.com/embed/ZjChnNS4JZI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Unsurprisingly, this proved snoozy to a large portion of the audience. 10 million viewers switched over to another network to catch \u003cem>In Living Color\u003c/em> instead.\u003c/p>\n\u003cp>The show's producers knew something had to change if they wanted to keep raking in advertising dollars and remain relevant, so a plan was hatched: get Michael Jackson, who was on top of his game at the time, to perform the following year. The gambit worked; the last moments of Michael's performance were the most viewed in history up until that point and the Halftime Show was revitalized as must-see television.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/idg8TNknvDU'\n title='//www.youtube.com/embed/idg8TNknvDU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fast forward 11 years, and it was Janet's turn to carry on the family legacy of slaying at America's most popular sporting event. She pretty much did that -- although we forget -- with live renditions of hits like “Rhythm Nation” and “All for You.” Then Justin Timberlake joined her on stage for a duet version of his single, “Rock Your Body.\" At the point in the song when he sings, \"Better have you naked by the end of this song,” he was supposed to pull Janet's bustier to reveal a red lace bra, but both pieces ended up ripping off.\u003c/p>\n\u003cp>Then everyone got insanely mad at Justin for messing up. Oh, wait, sorry, I forgot about the patriarchy for a second. Let me try that again: then everyone got insanely mad at Janet for having breasts and no one ever really mentioned Justin again. For example, \u003cem>The Washington Post\u003c/em>’s Tony Kornheiser wrote, \"What Janet Jackson did was bizarre, deliberately flopping out of her costume like that.\" Justin's grabbing hand is entirely erased from the scene.\u003c/p>\n\u003cp>The senseless sexism didn't end there. Janet was disinvited from that year’s Grammys. Meanwhile, Justin was not only allowed to attend, but also performed. Janet was blacklisted from radio and music video channels for the next several years, leading to multiple album flops, while Justin got to be goofy on \u003cem>SNL\u003c/em> and become a movie star.\u003c/p>\n\u003cp>Justin had this to say about getting off scot free, thanks to his white male privilege: “I probably got 10% of the blame, and that says something about society. I think that America’s harsher on women. And I think that America is, you know, unfairly harsh on ethnic people.”\u003c/p>\n\u003cp>That last point brings up the fact that Janet’s first crime was being a woman and the second that she was a black woman.\u003c/p>\n\u003cp>In \u003ca href=\"http://library.uwb.edu/guides/bisskl375/superbowl.pdf\" target=\"_blank\" rel=\"noopener\">a 2009 study\u003c/a>, Shannon L. Holland of Clemson University suggested the vilification of Jackson in the media followed the tradition of \"the Jezebel\" stereotype. For those of you who aren’t as woke as you’d like to be, the term refers to depictions of black women as lustful, promiscuous, insatiable and immoral, a characterization that was used by white slave owners to justify forcing female slaves to procreate and as a legal defense when raping these women.\u003c/p>\n\u003cp>We like to think we’re far removed from America's dark past, as if printing (some of) the facts into textbooks absolved us and negated the impact of all of that history, but situations like the treatment of Janet after the Halftime Show prove that the struggle for civil rights for women and people of color is an ongoing negotiation. The oppression is still all around us; it has simply evolved and learned how to camouflage.\u003c/p>\n\u003cp>The anti-Janet uproar wasn't just confined to talk shows, radio stations and op-eds, thanks to the efforts of Michael Powell, who was the chairman of the FCC at the time. He called the incident a “classless, crass and deplorable stunt” and effectively waged a culture war, which resulted in fining CBS $550,000, policing TV for \"immoral\" content, and implementing a five-second delay for all future live televised performances. The fine per indecency violation was raised from $27,500 to $325,000. All nine American network soap operas eliminated sexual storylines, \u003cem>ER\u003c/em> re-edited an episode that featured some of an injured elderly woman's breast and the Victoria's Secret Fashion Show was scrapped. It even got so bad that 65 ABC stations decided not to air \u003cem>Saving Private Ryan\u003c/em> out of fear that the government would fine them for profanity within the script. Years later, Powell would say: \"I think we've been removed from this long enough for me to tell you that I had to put my best version of outrage on that I could put on. Part of it was surreal, right?\" Right.\u003c/p>\n\u003cp>Many people believed this witch hunt was a way to influence the election (spoiler: the conservatives won on a platform of “moral values” later that year) and distract the nation from the failing war in Iraq. Janet agreed: \"There are much worse things in the world, and for this to be such a focus, I don't understand. They needed something to focus on instead of the war, and I was the perfect vehicle for that.\"\u003c/p>\n\u003cp>A familial connection that brings Janet's concern into sharp focus: FCC head Michael Powell's father is none other than Colin Powell, George W. Bush's Secretary of State and one of the instrumental figures involved in selling the idea of the Iraq War. Things that make you go hmmm.\u003c/p>\n\u003cp>Thankfully, there were some voices that brought a bit of reason to the debate. \u003cem>The New York Times\u003c/em>' \u003ca href=\"http://www.nytimes.com/2005/02/06/arts/the-year-of-living-indecently.html\" target=\"_blank\" rel=\"noopener\">Frank Rich wrote\u003c/a>: “Let us be grateful that Janet Jackson didn’t bare both her breasts” and called the cultural climate “a wave of self-censorship on American television unrivaled since the McCarthy era.” And Robert Thompson, a professor at Syracuse, \u003ca href=\"http://www.si.com/nfl/2016/01/06/janet-jackson-super-bowl-halftime-show\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>: “Which do you think harmed children more: one second of a woman’s breast or 14 minutes of commercials showing how beer will transform your life into a magical, beautiful party? Or the multiple commercials on erectile dysfunction. I think the only children who got hurt were the children of the people who got fired.”\u003c/p>\n\u003cp>And this just scratches the surface. What about this double standard: showcasing breasts in Budweiser or Hooters commercials is deemed acceptable television because, in those contexts, the female anatomy exists solely for the pleasure and benefit of men. Step outside of that framework into any reality where the woman might be in charge of her sexuality or *gasp* enjoy herself and there will be a problem.\u003c/p>\n\u003cp>Over a decade later, Janet is just starting to recover. Her last album, \u003cem>Unbreakable\u003c/em>, debuted at #1 on the \u003cem>Billboard\u003c/em> charts and both the record and her world tour have been well received by critics. But she'll most likely have to work against the damage done by that 9/16th of a second for the rest of her career, a tiny momentary blip that contains projections of some of the ugliest facets of America. And for this, we owe Janet Jackson a huge apology.\u003c/p>\n\u003cp>\u003cem>This piece was inspired by an episode of \u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\">The Cooler\u003c/a>, KQED’s weekly pop culture podcast. Give it a listen!\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There have been \u003ca href=\"http://www.sfbaysuperbowl.com/7491-2\" target=\"_blank\" rel=\"noopener\">breathless announcements\u003c/a>. There have been \u003ca href=\"http://www.sfgate.com/news/article/Fall-Out-Boy-Skrillex-added-to-music-filled-6798032.php\" target=\"_blank\" rel=\"noopener\">comprehensive guides\u003c/a>. There have been \u003ca href=\"https://www.sfmta.com/sb50\" target=\"_blank\" rel=\"noopener\">how-to-get-there\u003c/a> instructions and \u003ca href=\"http://www.stubhub.com/super-bowl-party-tickets/grouping/41288/\" target=\"_blank\" rel=\"noopener\">how-to-find-tickets\u003c/a> tips. Everyone, it seems, is excited for all the great many Super Bowl concerts in San Francisco this week.\u003c/p>\n\u003cp>But there’s one basic fact that evidently nobody wants to say about this wealth of NFL-branded musical riches, so I might as well say it: it is almost all completely, utterly middle-of-the-road.\u003c/p>\n\u003cp>Dave Matthews Band. The Red Hot Chili Peppers. Alicia Keys. Diddy. Pharrell. Metallica. Fall Out Boy. I genuinely like some of these acts or certain eras thereof, but make no mistake: they are safe, pandering picks, the musical equivalent of a Starbucks latte, programmed to appeal to the widest possible audience.\u003c/p>\n\u003cfigure id=\"attachment_11299308\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11299308\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Skrillex.jpg\" alt=\"Skrillex.\" width=\"594\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Skrillex.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Skrillex-400x269.jpg 400w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Skrillex.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>But wait!\u003c/em> I can hear you say. \u003cem>There’s Skrillex! He’s abrasive and frantic and was popular with the kids five years ago!\u003c/em> And you’re right. But here’s the thing about Skrillex: he took dubstep, a cerebral musical genre popular in the UK, and then concentrated and maximized the subtle bass elements that made it unique, stripped all the nuance out of its rhythm, and added a five-figure light show. He’s so popular among frat boys and sports fans that dubstep fans call his music “brostep.” Some argue that he changed it so much he \u003ca href=\"http://dubstep.tumblr.com/post/13789663472/skrillex-killed-dubstep\" target=\"_blank\" rel=\"noopener\">killed dubstep\u003c/a> entirely.\u003c/p>\n\u003cp>This process, of commercially maximizing musical elements that once made a genre interesting, applies to nearly the whole schedule: Metallica (metal), Pharrell (R&B), Fall Out Boy (emo), Dave Matthews Band (jam-band), and the Band Perry (Country). (Currently soliciting ideas on whatever post-funk-jam-groove description suits the Red Hot Chili Peppers, though Nick Cave \u003ca href=\"http://www.contactmusic.com/red-hot-chili-peppers/news/chili-pepper-hurt-by-caves-opinion_24_05_2006\" target=\"_blank\" rel=\"noopener\">has a suggestion\u003c/a>.) Ask most diehard fans of those styles of music, and they’ll fill your ear with vitriol for these acts stealing (or, in Metallica’s case, self-cannibalizing) superficial elements of music that used to be good and pimping it to the Hot 101.7s of the world. Coldplay as the Super Bowl’s halftime act is simply the pinnacle of marketing accessibility to which all these other acts aspire.\u003c/p>\n\u003cfigure id=\"attachment_11299413\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11299413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/red-hot-chili-peppers.jpg\" alt=\"The Red Hot Chili Peppers.\" width=\"600\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/red-hot-chili-peppers.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/red-hot-chili-peppers-400x233.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Red Hot Chili Peppers.\u003c/figcaption>\u003c/figure>\n\u003cp>I get that the Super Bowl Committee and other promoters need to appeal to the typical football fan this week. And no, they haven’t gone \u003ca href=\"http://i.kinja-img.com/gawker-media/image/upload/s--F5dV75wT--/17p9sl7ecclg8jpg.jpg\" target=\"_blank\" rel=\"noopener\">full Nickelback\u003c/a>, but what they’ve done is possibly worse. By pulling acts who each represent the safest, boringest, most watered-down versions of their respective genres, on a qualitative scale the whole thing is somehow less than the sum of its parts — a phenomenon underscored by Iggy Azalea’s presence in town as one of a small handful of hip-hop artists.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This insult to San Francisco’s taste is compounded, of course, by the blizzard of controversy around the Super Bowl festivities in San Francisco, a city \u003ca href=\"http://www.sfweekly.com/thesnitch/2015/11/16/san-francisco-is-45-miles-away-from-santa-clara-where-a-football-game-will-be-played-next-year\" target=\"_blank\" rel=\"noopener\">45 miles away from where the game will be played\u003c/a>. Police have \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\" rel=\"noopener\">swept the homeless away beneath a freeway\u003c/a> to sanitize the Embarcadero for “Super Bowl City,” which is \u003ca href=\"http://www.48hills.org/2016/02/02/super-bowl-city-utterly-completely-lame/\" target=\"_blank\" rel=\"noopener\">largely comprised of\u003c/a> corporate tents and police officers and large-scale advertising. And even while Santa Clara is seeing its $3.6 million in costs reimbursed by the NFL, San Francisco’s \u003ca href=\"http://www.sfexaminer.com/dont-believe-the-super-bowl-50-hype-heres-why/\" target=\"_blank\" rel=\"noopener\">nontransparent deal\u003c/a> to host Super Bowl City is costing taxpayers $4.8 million.\u003c/p>\n\u003cp>But hey, we get a free Alicia Keys concert out of it, right?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Okay, you got me: Alicia Keys is great, and her concert is free, if you can bear the crowds. She plays at 8:15pm on Saturday, Feb. 6, at the City Stage presented by Levi’s® at the San Francisco Bay Area Super Bowl 50 Host Committee’s Super Bowl City presented by Verizon. (I did not make any of that up.) For more information, \u003ca href=\"http://www.sfbaysuperbowl.com/7491-2\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There have been \u003ca href=\"http://www.sfbaysuperbowl.com/7491-2\" target=\"_blank\" rel=\"noopener\">breathless announcements\u003c/a>. There have been \u003ca href=\"http://www.sfgate.com/news/article/Fall-Out-Boy-Skrillex-added-to-music-filled-6798032.php\" target=\"_blank\" rel=\"noopener\">comprehensive guides\u003c/a>. There have been \u003ca href=\"https://www.sfmta.com/sb50\" target=\"_blank\" rel=\"noopener\">how-to-get-there\u003c/a> instructions and \u003ca href=\"http://www.stubhub.com/super-bowl-party-tickets/grouping/41288/\" target=\"_blank\" rel=\"noopener\">how-to-find-tickets\u003c/a> tips. Everyone, it seems, is excited for all the great many Super Bowl concerts in San Francisco this week.\u003c/p>\n\u003cp>But there’s one basic fact that evidently nobody wants to say about this wealth of NFL-branded musical riches, so I might as well say it: it is almost all completely, utterly middle-of-the-road.\u003c/p>\n\u003cp>Dave Matthews Band. The Red Hot Chili Peppers. Alicia Keys. Diddy. Pharrell. Metallica. Fall Out Boy. I genuinely like some of these acts or certain eras thereof, but make no mistake: they are safe, pandering picks, the musical equivalent of a Starbucks latte, programmed to appeal to the widest possible audience.\u003c/p>\n\u003cfigure id=\"attachment_11299308\" class=\"wp-caption alignright\" style=\"max-width: 594px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11299308\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/Skrillex.jpg\" alt=\"Skrillex.\" width=\"594\" height=\"399\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Skrillex.jpg 594w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/Skrillex-400x269.jpg 400w\" sizes=\"(max-width: 594px) 100vw, 594px\">\u003cfigcaption class=\"wp-caption-text\">Skrillex.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>But wait!\u003c/em> I can hear you say. \u003cem>There’s Skrillex! He’s abrasive and frantic and was popular with the kids five years ago!\u003c/em> And you’re right. But here’s the thing about Skrillex: he took dubstep, a cerebral musical genre popular in the UK, and then concentrated and maximized the subtle bass elements that made it unique, stripped all the nuance out of its rhythm, and added a five-figure light show. He’s so popular among frat boys and sports fans that dubstep fans call his music “brostep.” Some argue that he changed it so much he \u003ca href=\"http://dubstep.tumblr.com/post/13789663472/skrillex-killed-dubstep\" target=\"_blank\" rel=\"noopener\">killed dubstep\u003c/a> entirely.\u003c/p>\n\u003cp>This process, of commercially maximizing musical elements that once made a genre interesting, applies to nearly the whole schedule: Metallica (metal), Pharrell (R&B), Fall Out Boy (emo), Dave Matthews Band (jam-band), and the Band Perry (Country). (Currently soliciting ideas on whatever post-funk-jam-groove description suits the Red Hot Chili Peppers, though Nick Cave \u003ca href=\"http://www.contactmusic.com/red-hot-chili-peppers/news/chili-pepper-hurt-by-caves-opinion_24_05_2006\" target=\"_blank\" rel=\"noopener\">has a suggestion\u003c/a>.) Ask most diehard fans of those styles of music, and they’ll fill your ear with vitriol for these acts stealing (or, in Metallica’s case, self-cannibalizing) superficial elements of music that used to be good and pimping it to the Hot 101.7s of the world. Coldplay as the Super Bowl’s halftime act is simply the pinnacle of marketing accessibility to which all these other acts aspire.\u003c/p>\n\u003cfigure id=\"attachment_11299413\" class=\"wp-caption alignright\" style=\"max-width: 600px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11299413\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/red-hot-chili-peppers.jpg\" alt=\"The Red Hot Chili Peppers.\" width=\"600\" height=\"350\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/red-hot-chili-peppers.jpg 600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/red-hot-chili-peppers-400x233.jpg 400w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003cfigcaption class=\"wp-caption-text\">The Red Hot Chili Peppers.\u003c/figcaption>\u003c/figure>\n\u003cp>I get that the Super Bowl Committee and other promoters need to appeal to the typical football fan this week. And no, they haven’t gone \u003ca href=\"http://i.kinja-img.com/gawker-media/image/upload/s--F5dV75wT--/17p9sl7ecclg8jpg.jpg\" target=\"_blank\" rel=\"noopener\">full Nickelback\u003c/a>, but what they’ve done is possibly worse. By pulling acts who each represent the safest, boringest, most watered-down versions of their respective genres, on a qualitative scale the whole thing is somehow less than the sum of its parts — a phenomenon underscored by Iggy Azalea’s presence in town as one of a small handful of hip-hop artists.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This insult to San Francisco’s taste is compounded, of course, by the blizzard of controversy around the Super Bowl festivities in San Francisco, a city \u003ca href=\"http://www.sfweekly.com/thesnitch/2015/11/16/san-francisco-is-45-miles-away-from-santa-clara-where-a-football-game-will-be-played-next-year\" target=\"_blank\" rel=\"noopener\">45 miles away from where the game will be played\u003c/a>. Police have \u003ca href=\"http://ww2.kqed.org/news/2016/02/02/tent-cities-compete-with-super-bowl-city-for-attention\" target=\"_blank\" rel=\"noopener\">swept the homeless away beneath a freeway\u003c/a> to sanitize the Embarcadero for “Super Bowl City,” which is \u003ca href=\"http://www.48hills.org/2016/02/02/super-bowl-city-utterly-completely-lame/\" target=\"_blank\" rel=\"noopener\">largely comprised of\u003c/a> corporate tents and police officers and large-scale advertising. And even while Santa Clara is seeing its $3.6 million in costs reimbursed by the NFL, San Francisco’s \u003ca href=\"http://www.sfexaminer.com/dont-believe-the-super-bowl-50-hype-heres-why/\" target=\"_blank\" rel=\"noopener\">nontransparent deal\u003c/a> to host Super Bowl City is costing taxpayers $4.8 million.\u003c/p>\n\u003cp>But hey, we get a free Alicia Keys concert out of it, right?\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Okay, you got me: Alicia Keys is great, and her concert is free, if you can bear the crowds. She plays at 8:15pm on Saturday, Feb. 6, at the City Stage presented by Levi’s® at the San Francisco Bay Area Super Bowl 50 Host Committee’s Super Bowl City presented by Verizon. (I did not make any of that up.) For more information, \u003ca href=\"http://www.sfbaysuperbowl.com/7491-2\" target=\"_blank\" rel=\"noopener\">see here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Morris Robinson has the kind of bass voice that reverberates so strongly, you feel it in your concert seat. Listening to it, you assume he’s been singing all of his life. And he has — but not opera.\u003c/p>\n\u003cp>Robinson grew up in Atlanta, the son of a Baptist minister and a mother who spent a lot of time making sure her children played musical instruments and did well in school. His earliest memory of singing was being “in the kiddie choir,” standing on a chair in church and singing the hymn “Can’t Nobody Do Me Like Jesus.” He got a lot of applause. “Then I realized I wanted to play the drums, which is a lot more exciting than singing. So I ended up being the church drummer.”\u003c/p>\n\u003cp>For a long time as a youth, Morris Robinson says, “singing was just something to do. Nobody thought of it as a viable profession.”\u003c/p>\n\u003cp>\u003cstrong>Aiming For One Goal …\u003c/strong>\u003c/p>\n\u003cp>What he really wanted to do was play football. And he did, but soon he grew too big to play in his division in the youth leagues, so reluctantly, he turned to music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He sang in the Atlanta Boys’ Choir and in the chorus at his performing arts high school, where he also played football.\u003c/p>\n\u003cp>“When you’re a big black guy down south in Georgia,” he grins, “you play ball. It’s like a rite of passage.”\u003c/p>\n\u003cp>Chorus was fun, but football was \u003cem>cool\u003c/em>. And cool counts a lot in high school.\u003c/p>\n\u003cp>His prowess on the field got him to the Citadel, the military college in Charleston, S.C., where he played ball and soloed in the schools’ venerated Christmas concert with an “O Holy Night” people still remember. An offensive lineman, Robinson was voted All-American three times — but it wasn’t enough to get him a much hoped-for spot with the NFL.\u003c/p>\n\u003cp>He was, ironically, too small. “At 6 feet 2 1/2 inches, 290 pounds, I’d be blocking someone 6 feet 6 inches, 300 pounds,” he says. “Would somebody pay me millions of dollars to protect their quarterback? Probably not.”\u003c/p>\n\u003cp>\u003cstrong>… Working On Another \u003c/strong>\u003c/p>\n\u003cp>After graduation, he got a job in corporate sales and moved around the country as he got better offers and promotions. Along the way, he married Denise Wright, an attractive flight attendant he met en route to a sales conference. Their son Miles is 10 years old. Sometimes Robinson sang for his former teammates when they got married. He missed music and began to wonder if he might be able to do something more than weddings.\u003c/p>\n\u003cp>While working in Boston, he applied to Boston University’s Opera Institute and was accepted with a full scholarship and stipend. It was a chance to become an opera professional, but that meant giving up a lucrative job: “company car, expense account, office at home, 401(k) — quit.”\u003c/p>\n\u003cp>Denise encouraged him. They both saw it as an investment in Robinson’s career. He promised to give it his all for two years to try to make it work. “If it doesn’t,” he promised, “I’ll go back to work.”\u003c/p>\n\u003cp>He didn’t have to. Robinson was cast regularly from the start. His first role was with the Boston Lyric Opera as the king in \u003cem>Aida\u003c/em>. One role led to another, work was steady — so steady, “I had to cut back on my part-time work at Best Buy to put some change in my pocket, I was singing so much.”\u003c/p>\n\u003cp>At the same time, he was learning a lot: “So much is coming at me: languages, style, stage combat, stage position, vocal production. … It was like drinking out of a fire hydrant!” But the doggedness and discipline he’d learned on the football field stood Robinson in good stead.\u003c/p>\n\u003cp>He’s sung with opera companies from St. Louis to Sydney, from Atlanta to Aix-en-Provence. In 2013, he starred as Joe in the Houston Grand Opera’s production of \u003cem>Show Boat\u003c/em>; his “Ol’ Man River” brought down the house.\u003c/p>\n\u003cp>\u003cstrong>‘It Is Changing’ — Somewhat\u003c/strong>\u003c/p>\n\u003cp>As an African-American opera singer, Robinson is still something of a rarity, but less rare than he once was. Racial barriers are not as high as they were when Marian Anderson and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1148999\" target=\"_blank\" rel=\"noopener\">William Warfield\u003c/a> sang onstage.\u003c/p>\n\u003cp>“I will say it is changing,” he says carefully. “Exposure has reached out and brought in more African-American singers represented on stage, in concert halls and opera houses.” But change is relative. “There are still very few of us,” he admits. And diversifying opera’s audience is still challenging.\u003c/p>\n\u003cp>Robinson says he’s lucky: He’s sung most of the roles he’s wanted in many of the places he’s wanted to sing them. But over the years, he has steadfastly refused to consider one role: the title role of Porgy in \u003cem>Porgy and Bess\u003c/em>.\u003c/p>\n\u003cp>Robinson thought he knew what people were thinking when they asked: “I’m a big, black opera singer; I should be singing \u003cem>Porgy and Bess.\u003c/em>” And he was having none of it: “I didn’t want to be typecast that early in my career.”\u003c/p>\n\u003cp>Now, firmly established after 17 years of singing mostly Italian and German works, Robinson is ready. This fall, he’ll be singing Porgy at Milan’s iconic opera house, La Scala.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And seats will rumble. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Football+To+Opera%3A+Singer+Morris+Robinson+Takes+Center+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Morris Robinson has the kind of bass voice that reverberates so strongly, you feel it in your concert seat. Listening to it, you assume he’s been singing all of his life. And he has — but not opera.\u003c/p>\n\u003cp>Robinson grew up in Atlanta, the son of a Baptist minister and a mother who spent a lot of time making sure her children played musical instruments and did well in school. His earliest memory of singing was being “in the kiddie choir,” standing on a chair in church and singing the hymn “Can’t Nobody Do Me Like Jesus.” He got a lot of applause. “Then I realized I wanted to play the drums, which is a lot more exciting than singing. So I ended up being the church drummer.”\u003c/p>\n\u003cp>For a long time as a youth, Morris Robinson says, “singing was just something to do. Nobody thought of it as a viable profession.”\u003c/p>\n\u003cp>\u003cstrong>Aiming For One Goal …\u003c/strong>\u003c/p>\n\u003cp>What he really wanted to do was play football. And he did, but soon he grew too big to play in his division in the youth leagues, so reluctantly, he turned to music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He sang in the Atlanta Boys’ Choir and in the chorus at his performing arts high school, where he also played football.\u003c/p>\n\u003cp>“When you’re a big black guy down south in Georgia,” he grins, “you play ball. It’s like a rite of passage.”\u003c/p>\n\u003cp>Chorus was fun, but football was \u003cem>cool\u003c/em>. And cool counts a lot in high school.\u003c/p>\n\u003cp>His prowess on the field got him to the Citadel, the military college in Charleston, S.C., where he played ball and soloed in the schools’ venerated Christmas concert with an “O Holy Night” people still remember. An offensive lineman, Robinson was voted All-American three times — but it wasn’t enough to get him a much hoped-for spot with the NFL.\u003c/p>\n\u003cp>He was, ironically, too small. “At 6 feet 2 1/2 inches, 290 pounds, I’d be blocking someone 6 feet 6 inches, 300 pounds,” he says. “Would somebody pay me millions of dollars to protect their quarterback? Probably not.”\u003c/p>\n\u003cp>\u003cstrong>… Working On Another \u003c/strong>\u003c/p>\n\u003cp>After graduation, he got a job in corporate sales and moved around the country as he got better offers and promotions. Along the way, he married Denise Wright, an attractive flight attendant he met en route to a sales conference. Their son Miles is 10 years old. Sometimes Robinson sang for his former teammates when they got married. He missed music and began to wonder if he might be able to do something more than weddings.\u003c/p>\n\u003cp>While working in Boston, he applied to Boston University’s Opera Institute and was accepted with a full scholarship and stipend. It was a chance to become an opera professional, but that meant giving up a lucrative job: “company car, expense account, office at home, 401(k) — quit.”\u003c/p>\n\u003cp>Denise encouraged him. They both saw it as an investment in Robinson’s career. He promised to give it his all for two years to try to make it work. “If it doesn’t,” he promised, “I’ll go back to work.”\u003c/p>\n\u003cp>He didn’t have to. Robinson was cast regularly from the start. His first role was with the Boston Lyric Opera as the king in \u003cem>Aida\u003c/em>. One role led to another, work was steady — so steady, “I had to cut back on my part-time work at Best Buy to put some change in my pocket, I was singing so much.”\u003c/p>\n\u003cp>At the same time, he was learning a lot: “So much is coming at me: languages, style, stage combat, stage position, vocal production. … It was like drinking out of a fire hydrant!” But the doggedness and discipline he’d learned on the football field stood Robinson in good stead.\u003c/p>\n\u003cp>He’s sung with opera companies from St. Louis to Sydney, from Atlanta to Aix-en-Provence. In 2013, he starred as Joe in the Houston Grand Opera’s production of \u003cem>Show Boat\u003c/em>; his “Ol’ Man River” brought down the house.\u003c/p>\n\u003cp>\u003cstrong>‘It Is Changing’ — Somewhat\u003c/strong>\u003c/p>\n\u003cp>As an African-American opera singer, Robinson is still something of a rarity, but less rare than he once was. Racial barriers are not as high as they were when Marian Anderson and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1148999\" target=\"_blank\" rel=\"noopener\">William Warfield\u003c/a> sang onstage.\u003c/p>\n\u003cp>“I will say it is changing,” he says carefully. “Exposure has reached out and brought in more African-American singers represented on stage, in concert halls and opera houses.” But change is relative. “There are still very few of us,” he admits. And diversifying opera’s audience is still challenging.\u003c/p>\n\u003cp>Robinson says he’s lucky: He’s sung most of the roles he’s wanted in many of the places he’s wanted to sing them. But over the years, he has steadfastly refused to consider one role: the title role of Porgy in \u003cem>Porgy and Bess\u003c/em>.\u003c/p>\n\u003cp>Robinson thought he knew what people were thinking when they asked: “I’m a big, black opera singer; I should be singing \u003cem>Porgy and Bess.\u003c/em>” And he was having none of it: “I didn’t want to be typecast that early in my career.”\u003c/p>\n\u003cp>Now, firmly established after 17 years of singing mostly Italian and German works, Robinson is ready. This fall, he’ll be singing Porgy at Milan’s iconic opera house, La Scala.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And seats will rumble. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Football+To+Opera%3A+Singer+Morris+Robinson+Takes+Center+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Ja Rule and Ashanti Want To Be Your Valentine, Also Relevant Again",
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"content": "\u003cp>Romance in the digital age is notoriously complicated: People say things to each other online \u003ca href=\"http://www.buzzfeed.com/mlew15/15-of-the-most-shocking-exchanges-from-the-bye-fe-h0se\" target=\"_blank\">they wouldn't in person\u003c/a>; then there's the ever-present possibility that the nice dude you met on an app will turn out to be a \u003ca href=\"http://www.buzzfeed.com/mlew15/15-of-the-most-shocking-exchanges-from-the-bye-fe-h0se\" target=\"_blank\">violent lunatic or worse\u003c/a> in real life.\u003c/p>\n\u003cp>All in all, it's almost enough to make you nostalgic for the late '90s to early aughts, amirite? A time when you asked out your crush by passing them a note in AP Bio. Or maybe you copy/pasted some emo lyrics expressing your feelings for them as your AIM away message?\u003c/p>\n\u003cp>If you were \u003cem>really\u003c/em> lucky, said object of desire might go with you to the Spring Fling -- where, between the years of 1999 and 2006, you would probably find yourself getting down to at least one Billboard-charting, Irv Gotti-produced R&B banger. And for a few years there, more likely than not, one of those songs featured Ja Rule or Ashanti or both.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0tcDXJfAFVw\u003c/p>\n\u003cp>Well, fire up that old instant messaging client, bust out your sparkly belly button ring, and head on down to \u003ca href=\"http://1015.com/events/02-14-2016/ashanti-ja-rule/\" target=\"_blank\">1015 Folsom this Valentine's Day weekend\u003c/a>, where the onetime star racehorses in hip-hop label \u003ca href=\"https://en.wikipedia.org/wiki/Murder_Inc_Records\" target=\"_blank\">Murder Inc\u003c/a>.'s stable have already sold out a show on Sunday, Feb. 14. Demand was so high for this leg of their so-called Natural Born Killers tour, in fact, that the venue announced a second show (on Monday, Feb. 15) just this morning. Tickets go on sale \u003ca href=\"http://www.eventbrite.com/e/ashanti-ja-rule-at-1015-folsom-2nd-live-show-added-by-popular-demand-tickets-21284946849?aff=site\" target=\"_blank\">this Friday, Feb. 5 at 10 am\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-thumbnail wp-image-20213\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/20160214_ashantijarule-400x512.jpg\" alt=\"20160214_ashantijarule\" width=\"400\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/20160214_ashantijarule-400x512.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/20160214_ashantijarule.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/20160214_ashantijarule-768x983.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>But \u003cem>why\u003c/em>, one might ask, if one were not between the ages of 13 and 21 in the year Y2K, \u003cem>why\u003c/em> \u003cem>on Earth\u003c/em> \u003cem>is anyone excited about this?\u003c/em>\u003c/p>\n\u003cp>Suffice it to say, there's no real contemporary equivalent to this rapper-and-R&B-crooner duo. It may help to emphasize that there was a time in this country when anything Ja Rule touched with his signature flow -- and by signature I mean it sounded like Cookie Monster gargling sandpaper in between bong rips for the duration of a court-mandated anger management session -- turned to stacks of cash. His reign also coincided with a golden age for the music video as a medium, as the \u003cem>Grease \u003c/em>homage below can help underscore.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VcP96KbFIIU\u003c/p>\n\u003cp>Ashanti, for her part, is well-known by those in the industry as a gifted songwriter, while her voice is sweet beyond sweet. But she was primarily packaged for listeners as the bad-guy rappers' kid sister, \"the princess of hip-hop and R&B,\" the soft, feminine half of the call-and-response hooks on songs like Fat Joe's \"What's Luv.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9x99ZmVefxc\u003c/p>\n\u003cp>She was also poised, at one time, to be a legit superstar: After playing second fiddle for several years, Ashanti's 2002 self-titled debut hit the Billboard charts at No. 1, in large part thanks to \"Foolish.\" From 2002 to 2003, she won eight Billboard Awards, two American Music Awards, two Soul Train Music Awards and a Grammy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gUPrnu3BEU8\u003c/p>\n\u003cp>And then?\u003c/p>\n\u003cp>Then she started dating Nelly, and Murder Inc. got investigated by the FBI for (allegedly) running on \u003ca href=\"http://www.billboard.com/articles/news/72794/report-feds-raid-murder-inc-in-irv-gotti-probe\" target=\"_blank\">actual murder and drug money\u003c/a>\u003ca href=\"http://www.billboard.com/articles/news/72794/report-feds-raid-murder-inc-in-irv-gotti-probe\" target=\"_blank\">;\u003c/a> her third, fourth, and fifth records didn't do so well. She dabbled in acting, but by 2014 she was on the \u003ca href=\"http://www.mercurynews.com/music/ci_25957710/alameda-county-fair-preview-ashanti-tesla-eddie-money\" target=\"_blank\">county fair circuit with Eddie Money\u003c/a>.\u003c/p>\n\u003cp>Okay, so that's a condensed and possibly biased version of the story, but it's true that her Wikipedia entry is full of sad sentences like this: \"A second single, the ballad '\u003ca title=\"Don't Let Them\" href=\"https://en.wikipedia.org/wiki/Don%27t_Let_Them\">Don't Let Them\u003c/a>,' garnered little chart success after \u003ca class=\"mw-redirect\" title=\"Def Jam\" href=\"https://en.wikipedia.org/wiki/Def_Jam\">Def Jam\u003c/a> refused to fund a music video due to Irv Gotti's legal troubles during his money laundering trial.\"\u003c/p>\n\u003cp>What I'm trying to say here is: Ashanti was awesome. Ashanti kinda got the shaft. But Ashanti is\u003cem> back, \u003c/em>y'all -- at least she's trying to be.\u003c/p>\n\u003cp>In November of 2015, the singer quietly released a new pop single called \"Let's Go,\" the first off a full-length that's supposedly forthcoming this year. You can see the video for it -- and the only slightly awkward \"drink more water\" campaign tie-in with Michelle Obama's Partnership for a Healthier America -- at\u003ca href=\"http://www.drinkupashanti.com/\" target=\"_blank\"> DrinkUpAshanti.com.\u003c/a> Said website encourages fan interaction by telling viewers to \"rehydrate\" the new tune, and also includes the disclaimer: \"Do not throw actual water on the video.\"\u003c/p>\n\u003cp>\u003cimg class=\" wp-image-20208 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/ja-rule-400x104.jpg\" alt=\"ja rule\" width=\"451\" height=\"117\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/ja-rule-400x104.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/ja-rule.jpg 638w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003c/p>\n\u003cp>Ja Rule, meanwhile, after beefing with 50 Cent and like \u003ca href=\"https://en.wikipedia.org/wiki/Ja_Rule#Feuds\" target=\"_blank\">4000 other people\u003c/a>, serving time for gun possession, and writing a memoir, premiered an MTV reality show in 2015 called \u003cem>Follow the Rules. \u003c/em>He\u003cem> \u003c/em>also keeps saying he has an album coming.\u003c/p>\n\u003cp>Time will tell what the future holds for this pair in terms of an actual return to cultural relevance. For now, it seems both Ashanti and Ja Rule still have enough marketing savvy in the tank to know when they need each other -- when, exactly, it would be foolish \u003cem>not \u003c/em>to team up for a \u003ca href=\"http://www.billboard.com/articles/news/6714609/ja-rule-mtv-series-follow-the-rules-natural-born-killers-tour\" target=\"_blank\">weird-sounding film collaboration and accompanying national reunion tour\u003c/a>.\u003c/p>\n\u003cp>In other words, you can't blame 'em: the time was simply right for the prom king and queen of 2001 to cash in on their former selves -- to unironically celebrate, at the very least, a few golden, well-produced years in the sun.\u003c/p>\n\u003cp>And from the speed with which \u003ca href=\"http://www.axs.com/events/306285/ja-rule-ashanti-sold-out-tickets\" target=\"_blank\">these shows are selling out\u003c/a>, it looks like a lot of us are happy to help them do just that.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MrCsubL_OSQ\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "The duo behind the some of the biggest R&B bangers of the early aughts is back -- if you'll have them. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Romance in the digital age is notoriously complicated: People say things to each other online \u003ca href=\"http://www.buzzfeed.com/mlew15/15-of-the-most-shocking-exchanges-from-the-bye-fe-h0se\" target=\"_blank\">they wouldn't in person\u003c/a>; then there's the ever-present possibility that the nice dude you met on an app will turn out to be a \u003ca href=\"http://www.buzzfeed.com/mlew15/15-of-the-most-shocking-exchanges-from-the-bye-fe-h0se\" target=\"_blank\">violent lunatic or worse\u003c/a> in real life.\u003c/p>\n\u003cp>All in all, it's almost enough to make you nostalgic for the late '90s to early aughts, amirite? A time when you asked out your crush by passing them a note in AP Bio. Or maybe you copy/pasted some emo lyrics expressing your feelings for them as your AIM away message?\u003c/p>\n\u003cp>If you were \u003cem>really\u003c/em> lucky, said object of desire might go with you to the Spring Fling -- where, between the years of 1999 and 2006, you would probably find yourself getting down to at least one Billboard-charting, Irv Gotti-produced R&B banger. And for a few years there, more likely than not, one of those songs featured Ja Rule or Ashanti or both.\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/0tcDXJfAFVw'\n title='//www.youtube.com/embed/0tcDXJfAFVw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, fire up that old instant messaging client, bust out your sparkly belly button ring, and head on down to \u003ca href=\"http://1015.com/events/02-14-2016/ashanti-ja-rule/\" target=\"_blank\">1015 Folsom this Valentine's Day weekend\u003c/a>, where the onetime star racehorses in hip-hop label \u003ca href=\"https://en.wikipedia.org/wiki/Murder_Inc_Records\" target=\"_blank\">Murder Inc\u003c/a>.'s stable have already sold out a show on Sunday, Feb. 14. Demand was so high for this leg of their so-called Natural Born Killers tour, in fact, that the venue announced a second show (on Monday, Feb. 15) just this morning. Tickets go on sale \u003ca href=\"http://www.eventbrite.com/e/ashanti-ja-rule-at-1015-folsom-2nd-live-show-added-by-popular-demand-tickets-21284946849?aff=site\" target=\"_blank\">this Friday, Feb. 5 at 10 am\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg class=\"alignright size-thumbnail wp-image-20213\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/20160214_ashantijarule-400x512.jpg\" alt=\"20160214_ashantijarule\" width=\"400\" height=\"512\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/20160214_ashantijarule-400x512.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/20160214_ashantijarule.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/20160214_ashantijarule-768x983.jpg 768w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>But \u003cem>why\u003c/em>, one might ask, if one were not between the ages of 13 and 21 in the year Y2K, \u003cem>why\u003c/em> \u003cem>on Earth\u003c/em> \u003cem>is anyone excited about this?\u003c/em>\u003c/p>\n\u003cp>Suffice it to say, there's no real contemporary equivalent to this rapper-and-R&B-crooner duo. It may help to emphasize that there was a time in this country when anything Ja Rule touched with his signature flow -- and by signature I mean it sounded like Cookie Monster gargling sandpaper in between bong rips for the duration of a court-mandated anger management session -- turned to stacks of cash. His reign also coincided with a golden age for the music video as a medium, as the \u003cem>Grease \u003c/em>homage below can help underscore.\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/VcP96KbFIIU'\n title='//www.youtube.com/embed/VcP96KbFIIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ashanti, for her part, is well-known by those in the industry as a gifted songwriter, while her voice is sweet beyond sweet. But she was primarily packaged for listeners as the bad-guy rappers' kid sister, \"the princess of hip-hop and R&B,\" the soft, feminine half of the call-and-response hooks on songs like Fat Joe's \"What's Luv.\"\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/9x99ZmVefxc'\n title='//www.youtube.com/embed/9x99ZmVefxc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>She was also poised, at one time, to be a legit superstar: After playing second fiddle for several years, Ashanti's 2002 self-titled debut hit the Billboard charts at No. 1, in large part thanks to \"Foolish.\" From 2002 to 2003, she won eight Billboard Awards, two American Music Awards, two Soul Train Music Awards and a Grammy.\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/gUPrnu3BEU8'\n title='//www.youtube.com/embed/gUPrnu3BEU8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And then?\u003c/p>\n\u003cp>Then she started dating Nelly, and Murder Inc. got investigated by the FBI for (allegedly) running on \u003ca href=\"http://www.billboard.com/articles/news/72794/report-feds-raid-murder-inc-in-irv-gotti-probe\" target=\"_blank\">actual murder and drug money\u003c/a>\u003ca href=\"http://www.billboard.com/articles/news/72794/report-feds-raid-murder-inc-in-irv-gotti-probe\" target=\"_blank\">;\u003c/a> her third, fourth, and fifth records didn't do so well. She dabbled in acting, but by 2014 she was on the \u003ca href=\"http://www.mercurynews.com/music/ci_25957710/alameda-county-fair-preview-ashanti-tesla-eddie-money\" target=\"_blank\">county fair circuit with Eddie Money\u003c/a>.\u003c/p>\n\u003cp>Okay, so that's a condensed and possibly biased version of the story, but it's true that her Wikipedia entry is full of sad sentences like this: \"A second single, the ballad '\u003ca title=\"Don't Let Them\" href=\"https://en.wikipedia.org/wiki/Don%27t_Let_Them\">Don't Let Them\u003c/a>,' garnered little chart success after \u003ca class=\"mw-redirect\" title=\"Def Jam\" href=\"https://en.wikipedia.org/wiki/Def_Jam\">Def Jam\u003c/a> refused to fund a music video due to Irv Gotti's legal troubles during his money laundering trial.\"\u003c/p>\n\u003cp>What I'm trying to say here is: Ashanti was awesome. Ashanti kinda got the shaft. But Ashanti is\u003cem> back, \u003c/em>y'all -- at least she's trying to be.\u003c/p>\n\u003cp>In November of 2015, the singer quietly released a new pop single called \"Let's Go,\" the first off a full-length that's supposedly forthcoming this year. You can see the video for it -- and the only slightly awkward \"drink more water\" campaign tie-in with Michelle Obama's Partnership for a Healthier America -- at\u003ca href=\"http://www.drinkupashanti.com/\" target=\"_blank\"> DrinkUpAshanti.com.\u003c/a> Said website encourages fan interaction by telling viewers to \"rehydrate\" the new tune, and also includes the disclaimer: \"Do not throw actual water on the video.\"\u003c/p>\n\u003cp>\u003cimg class=\" wp-image-20208 aligncenter\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/02/ja-rule-400x104.jpg\" alt=\"ja rule\" width=\"451\" height=\"117\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/02/ja-rule-400x104.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/02/ja-rule.jpg 638w\" sizes=\"(max-width: 451px) 100vw, 451px\">\u003c/p>\n\u003cp>Ja Rule, meanwhile, after beefing with 50 Cent and like \u003ca href=\"https://en.wikipedia.org/wiki/Ja_Rule#Feuds\" target=\"_blank\">4000 other people\u003c/a>, serving time for gun possession, and writing a memoir, premiered an MTV reality show in 2015 called \u003cem>Follow the Rules. \u003c/em>He\u003cem> \u003c/em>also keeps saying he has an album coming.\u003c/p>\n\u003cp>Time will tell what the future holds for this pair in terms of an actual return to cultural relevance. For now, it seems both Ashanti and Ja Rule still have enough marketing savvy in the tank to know when they need each other -- when, exactly, it would be foolish \u003cem>not \u003c/em>to team up for a \u003ca href=\"http://www.billboard.com/articles/news/6714609/ja-rule-mtv-series-follow-the-rules-natural-born-killers-tour\" target=\"_blank\">weird-sounding film collaboration and accompanying national reunion tour\u003c/a>.\u003c/p>\n\u003cp>In other words, you can't blame 'em: the time was simply right for the prom king and queen of 2001 to cash in on their former selves -- to unironically celebrate, at the very least, a few golden, well-produced years in the sun.\u003c/p>\n\u003cp>And from the speed with which \u003ca href=\"http://www.axs.com/events/306285/ja-rule-ashanti-sold-out-tickets\" target=\"_blank\">these shows are selling out\u003c/a>, it looks like a lot of us are happy to help them do just that.\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/MrCsubL_OSQ'\n title='//www.youtube.com/embed/MrCsubL_OSQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"planet-money": {
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"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.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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},
"snap-judgment": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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