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"title": "Along the U.S.-Mexico Border, an Unlikely Music is Born",
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"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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"description": "The last time the Bay Area hosted the Super Bowl, President Ronald Reagan was sworn in, privately, 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.\nCompared with halftime ...read more",
"title": "The Stanford Super Bowl: Wooden Bleachers, a Jetpack and Show Biz, 1985-Style | KQED",
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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. 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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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"content": "\u003cp>Are you \u003ca href=\"https://www.youtube.com/watch?v=QmQFz3WugQE\" target=\"_blank\" rel=\"noopener\">ready for some football\u003c/a>?!\u003c/p>\n\u003cp>Yes, after months of the Bay Area waiting, planning, complaining (and eventually registering complaints in the form of \u003ca href=\"http://ww2.kqed.org/pop/2016/02/01/san-francisco-spirit-alive-and-kicking-in-super-bowl-anagrams/\" target=\"_blank\" rel=\"noopener\">lighthearted vandalism\u003c/a>), Super Bowl 50 is finally upon us. And while admission to the game and many of its adjacent events is anything but cheap (\u003ca href=\"http://www.stubhub.com/super-bowl-party-tickets-directv-super-saturday-night---vip-only-san-francisco-pier-70-san-francisco-2-6-2016/event/9493513/\" target=\"_blank\" rel=\"noopener\">Red Hot Chili Peppers for $1300 and up\u003c/a>, anyone?), it’s also true that, should you feel like braving the crowds to check out the weird pop-up football Disneyland of sorts that is \u003ca href=\"http://www.sfbaysuperbowl.com/super-bowl-city#vZouD5Gl8oiGKzMY.97\" target=\"_blank\" rel=\"noopener\">Super Bowl City\u003c/a>, you’ll be rewarded with free entertainment options galore.\u003c/p>\n\u003cp>Most notably, there will be \u003cstrong>lots and lots of puppies.\u003c/strong> Yes, from this Thursday, Feb. 4 through Sunday, Feb. 7, every non-football fan’s favorite thing about the Super Bowl is happening live. Ahead of Animal Planet’s actual televised \u003ca href=\"http://www.animalplanet.com/tv-shows/puppy-bowl/\" target=\"_blank\" rel=\"noopener\">\u003cem>Puppy Bowl\u003c/em>\u003c/a>, a sort of puppy pop-up called the \u003ca href=\"http://sfist.com/2016/01/29/live_puppy_bowl_arrives_in_sf_next.php\" target=\"_blank\" rel=\"noopener\">Puppy Bowl Cafe\u003c/a> will take place every day from 11am to 8pm at \u003ca href=\"http://gotts.com/location-sf-ferry-building/\" target=\"_blank\" rel=\"noopener\">Gott’s Roadside\u003c/a> in the Ferry Building. (As a friend who works nearby put it: “Okay I’m not mad at the Super Bowl anymore.”) Bonus! All puppies are up for adoption — and at half-off the normal rate, thanks to the East Bay SPCA and San Francisco Animal Care and Control.\u003ca href=\"http://www.sfstation.com/animal-planets-puppy-bowl-in-san-francisco-e2291419\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>If, on the other hand, you’re not interested in going anywhere near a place with the words “Super Bowl” emblazoned on it? We’ve got you covered, too. Here’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11296346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC-400x267.jpg\" alt=\"scarlett-johansson-ghost-world-GC\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC.jpg 618w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Feb. 3: \u003cem>Ghost World\u003c/em> with Illeana Douglas and Terry Zwigoff at the Alamo Drafthouse, SF. \u003c/strong>Based on the offbeat, deeply human, and award-winning graphic novel of the same name by Oakland’s Daniel Clowes, this 2001 film adaptation by Terry Zwigoff didn’t go far at the box office — but its fan base has only grown as years have passed. It’s not hard to see why: young Thora Birch and Scarlett Johanssen perfectly capture the ambivalence and disgruntlement of being 18, while Steve Buscemi plays a very endearing version of Steve Buscemi. Q&A with the director and the underrated actress Douglas will follow. $13.25; \u003ca href=\"https://drafthouse.com/sf/show/ghost-world-with-illeana-douglas-and-terry-zwigoff\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5nO7IA1DeeI\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 6: Dilla Day Hip-Hop Celebration at Mighty, SF. \u003c/strong>Few individuals have shaped the sound of hip-hop over the last two decades like rapper-producer J Dilla — which is really saying something considering he died at just 32 years old from a rare blood disease in 2006. Everyone from Busta Rhymes to Erykah Badu to Kendrick Lamar to jazz pianist Robert Glasper — all of whom have penned or performed tributes to Dilla — would tell you the same. Pay tribute in your own way at this annual party, which takes place in major cities around the U.S. on or around his birthday (Feb. 7). This night includes a slew of West Coast DJs, featuring J Rocc, one of Dilla’s closest collaborators. Free before 11am with RSVP, $15 after; \u003ca href=\"http://www.eventbrite.com/e/dilla-day-2016-sf-mighty-26-tickets-20491069340\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=rywUS-ohqeE\u003c/p>\n\u003cp>\u003cstrong>Saturday, Feb. 6: Alicia Keys at Super Bowl City, SF. \u003c/strong>Okay, sorry, one more for the “it miiiight be worth it to head downtown into that mess” files — a free show from Alicia Keys, the singer-songwriter-pianist powerhouse who first captured the world’s attention with her 2001 album \u003cem>Songs in A Minor,\u003c/em> is pretty hard to pass up. Keys’ long-awaited sixth studio album is forthcoming in 2016, so if we’re lucky, we might get to hear some new material alongside the vocal chord gymnastics of hits like “Fallin’,” “Girl On Fire,” “No One,”….and on and on and on. You get the idea. Free; \u003ca href=\"http://www.sfbaysuperbowl.com/calendar/events/alicia-keys-at-the-city-stage-presented-by-levis#bAiuEEVAGSX1gjyv.97\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HPM0NCe9dIU\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Monday, Feb. 8: \u003cem>East Side Sushi\u003c/em> at the Grand Lake Theater, Oakland. \u003c/strong>This award-winning 2014 film, chronicling the rise of an unlikely sushi chef, has Oakland stamped all over: It takes place there, it was shot there, its writer-director, Anthony Lucero, is East Oakland born-and-raised. So it only makes sense to catch it on the big screen for one last time at Oakland’s historic Grand Lake Theater, with a Q&A featuring Lucero to follow. $11; \u003ca href=\"http://renaissancerialto.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Are you \u003ca href=\"https://www.youtube.com/watch?v=QmQFz3WugQE\" target=\"_blank\" rel=\"noopener\">ready for some football\u003c/a>?!\u003c/p>\n\u003cp>Yes, after months of the Bay Area waiting, planning, complaining (and eventually registering complaints in the form of \u003ca href=\"http://ww2.kqed.org/pop/2016/02/01/san-francisco-spirit-alive-and-kicking-in-super-bowl-anagrams/\" target=\"_blank\" rel=\"noopener\">lighthearted vandalism\u003c/a>), Super Bowl 50 is finally upon us. And while admission to the game and many of its adjacent events is anything but cheap (\u003ca href=\"http://www.stubhub.com/super-bowl-party-tickets-directv-super-saturday-night---vip-only-san-francisco-pier-70-san-francisco-2-6-2016/event/9493513/\" target=\"_blank\" rel=\"noopener\">Red Hot Chili Peppers for $1300 and up\u003c/a>, anyone?), it’s also true that, should you feel like braving the crowds to check out the weird pop-up football Disneyland of sorts that is \u003ca href=\"http://www.sfbaysuperbowl.com/super-bowl-city#vZouD5Gl8oiGKzMY.97\" target=\"_blank\" rel=\"noopener\">Super Bowl City\u003c/a>, you’ll be rewarded with free entertainment options galore.\u003c/p>\n\u003cp>Most notably, there will be \u003cstrong>lots and lots of puppies.\u003c/strong> Yes, from this Thursday, Feb. 4 through Sunday, Feb. 7, every non-football fan’s favorite thing about the Super Bowl is happening live. Ahead of Animal Planet’s actual televised \u003ca href=\"http://www.animalplanet.com/tv-shows/puppy-bowl/\" target=\"_blank\" rel=\"noopener\">\u003cem>Puppy Bowl\u003c/em>\u003c/a>, a sort of puppy pop-up called the \u003ca href=\"http://sfist.com/2016/01/29/live_puppy_bowl_arrives_in_sf_next.php\" target=\"_blank\" rel=\"noopener\">Puppy Bowl Cafe\u003c/a> will take place every day from 11am to 8pm at \u003ca href=\"http://gotts.com/location-sf-ferry-building/\" target=\"_blank\" rel=\"noopener\">Gott’s Roadside\u003c/a> in the Ferry Building. (As a friend who works nearby put it: “Okay I’m not mad at the Super Bowl anymore.”) Bonus! All puppies are up for adoption — and at half-off the normal rate, thanks to the East Bay SPCA and San Francisco Animal Care and Control.\u003ca href=\"http://www.sfstation.com/animal-planets-puppy-bowl-in-san-francisco-e2291419\" target=\"_blank\" rel=\"noopener\"> Details here. \u003c/a>\u003c/p>\n\u003cp>If, on the other hand, you’re not interested in going anywhere near a place with the words “Super Bowl” emblazoned on it? We’ve got you covered, too. Here’s this week’s \u003cstrong>Cheap Date. \u003c/strong>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-11296346\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC-400x267.jpg\" alt=\"scarlett-johansson-ghost-world-GC\" width=\"400\" height=\"267\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC-400x267.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/02/scarlett-johansson-ghost-world-GC.jpg 618w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Wednesday, Feb. 3: \u003cem>Ghost World\u003c/em> with Illeana Douglas and Terry Zwigoff at the Alamo Drafthouse, SF. \u003c/strong>Based on the offbeat, deeply human, and award-winning graphic novel of the same name by Oakland’s Daniel Clowes, this 2001 film adaptation by Terry Zwigoff didn’t go far at the box office — but its fan base has only grown as years have passed. It’s not hard to see why: young Thora Birch and Scarlett Johanssen perfectly capture the ambivalence and disgruntlement of being 18, while Steve Buscemi plays a very endearing version of Steve Buscemi. Q&A with the director and the underrated actress Douglas will follow. $13.25; \u003ca href=\"https://drafthouse.com/sf/show/ghost-world-with-illeana-douglas-and-terry-zwigoff\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/5nO7IA1DeeI'\n title='//www.youtube.com/embed/5nO7IA1DeeI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Feb. 6: Dilla Day Hip-Hop Celebration at Mighty, SF. \u003c/strong>Few individuals have shaped the sound of hip-hop over the last two decades like rapper-producer J Dilla — which is really saying something considering he died at just 32 years old from a rare blood disease in 2006. Everyone from Busta Rhymes to Erykah Badu to Kendrick Lamar to jazz pianist Robert Glasper — all of whom have penned or performed tributes to Dilla — would tell you the same. Pay tribute in your own way at this annual party, which takes place in major cities around the U.S. on or around his birthday (Feb. 7). This night includes a slew of West Coast DJs, featuring J Rocc, one of Dilla’s closest collaborators. Free before 11am with RSVP, $15 after; \u003ca href=\"http://www.eventbrite.com/e/dilla-day-2016-sf-mighty-26-tickets-20491069340\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/rywUS-ohqeE'\n title='//www.youtube.com/embed/rywUS-ohqeE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Saturday, Feb. 6: Alicia Keys at Super Bowl City, SF. \u003c/strong>Okay, sorry, one more for the “it miiiight be worth it to head downtown into that mess” files — a free show from Alicia Keys, the singer-songwriter-pianist powerhouse who first captured the world’s attention with her 2001 album \u003cem>Songs in A Minor,\u003c/em> is pretty hard to pass up. Keys’ long-awaited sixth studio album is forthcoming in 2016, so if we’re lucky, we might get to hear some new material alongside the vocal chord gymnastics of hits like “Fallin’,” “Girl On Fire,” “No One,”….and on and on and on. You get the idea. Free; \u003ca href=\"http://www.sfbaysuperbowl.com/calendar/events/alicia-keys-at-the-city-stage-presented-by-levis#bAiuEEVAGSX1gjyv.97\" target=\"_blank\" rel=\"noopener\">details here. \u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/HPM0NCe9dIU'\n title='//www.youtube.com/embed/HPM0NCe9dIU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Monday, Feb. 8: \u003cem>East Side Sushi\u003c/em> at the Grand Lake Theater, Oakland. \u003c/strong>This award-winning 2014 film, chronicling the rise of an unlikely sushi chef, has Oakland stamped all over: It takes place there, it was shot there, its writer-director, Anthony Lucero, is East Oakland born-and-raised. So it only makes sense to catch it on the big screen for one last time at Oakland’s historic Grand Lake Theater, with a Q&A featuring Lucero to follow. $11; \u003ca href=\"http://renaissancerialto.com/\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Snoop Dogg's Musical Gear Reportedly Stolen in San Francisco [UPDATED]",
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"content": "\u003cp>\u003cstrong>UPDATED:\u003c/strong> \u003cem>Feb. 4, 12:10am\u003c/em>\u003c/p>\n\u003cp>Rapper Snoop Dogg’s stage gear was reportedly stolen from an SUV parked in San Francisco Monday night, one day before he began a series of concerts and DJ sets around the Bay Area. \u003c/p>\n\u003cp>Parked on a San Francisco street with laptops, luggage and other gear inside, \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-burglary-concert-equipment/\" target=\"_blank\" rel=\"noopener\">law enforcement sources told TMZ\u003c/a> that the SUV was robbed clean after someone broke one of the vehicle’s windows. \u003c/p>\n\u003cp>The reports of Snoop Dogg’s equipment being stolen came out just before his live dates in the Bay Area coinciding with Super Bowl 50. They include shows at San Francisco’s Regency Ballroom Tuesday night, followed by the \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> on Wednesday and \u003ca href=\"http://www.catalystclub.com/event/1054277-snoop-dogg-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Santa Cruz’s Catalyst Club\u003c/a> on Friday. Other scheduled appearances include a party Friday at the W Hotel; Saturday’s \u003ca href=\"http://www.nbcbayarea.com/news/local/Snoop-Doggs-Youth-Football-League-Presents-Snooper-Bowl-at-San-Jose-City-College-367280361.html\" target=\"_blank\" rel=\"noopener\">“Snooper Bowl” at San Jose City College\u003c/a>; and a DJ performance at \u003ca href=\"http://www.eventbrite.com/e/dj-snoopadelic-aka-snoop-dog-super-bowl-50-sunday-tickets-21067885613\" target=\"_blank\" rel=\"noopener\">San Francisco dance club Ruby Skye\u003c/a> on Feb. 7. No shows appear to be canceled, according to the venue’s websites.\u003c/p>\n\u003cp>A rapper with a 35-year career that began with an appearance on the Dr. Dre-penned theme song for \u003ca href=\"https://www.youtube.com/watch?v=uo3rZjJB1hY\" target=\"_blank\" rel=\"noopener\">the 1992 film \u003ci>Deep Cover\u003c/i>\u003c/a>, Snoop Dogg has had several hit songs over the years, including 1994’s “Gin and Juice” and 2004’s “Drop It Like It’s Hot.” He has also appeared in several movies and television shows, and has appeared on songs by pop artists such as Katy Perry and Gorillaz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Band van break-ins occur often in San Francisco, with the past year and a half alone seeing reports of theft in the city from \u003ca href=\"http://www.sfweekly.com/shookdown/2014/12/01/emergency-funk-help-afrolicious-recover-their-stolen-gear\" target=\"_blank\" rel=\"noopener\">Afrolicious\u003c/a>, the \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">Warlocks\u003c/a>, \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">L.A. Drugz\u003c/a>, \u003ca href=\"http://www.brooklynvegan.com/archives/2015/11/jeff_rosenstock_5.html\" target=\"_blank\" rel=\"noopener\">Jeff Rosetnstock\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/12/17/news/bitter-ends-van-broken-into-in-san-francisco-ca-personal-items-stolen/\" target=\"_blank\" rel=\"noopener\">Bitter End\u003c/a>, \u003ca href=\"http://www.altpress.com/news/entry/seaway_pure_noise_records_robbed_in_san_francisco\" target=\"_blank\" rel=\"noopener\">Seaway\u003c/a>, \u003ca href=\"http://liveforlivemusic.com/news/someone-broke-into-fruitions-van-and-stole-mimi-najas-mandolin/\" target=\"_blank\" rel=\"noopener\">Fruition\u003c/a>, \u003ca href=\"https://www.facebook.com/PUJOLDOTCOM/posts/965896740103766\" target=\"_blank\" rel=\"noopener\">Pujol\u003c/a>, \u003ca href=\"http://www.metropolis-records.com/news/?id=148\" target=\"_blank\" rel=\"noopener\">God Module\u003c/a>, \u003ca href=\"http://www.thevinyldistrict.com/neworleans/2015/06/tvd-recommends-pack-van-benefit-concert-hildegard-howlin-wolf-612/\" target=\"_blank\" rel=\"noopener\">Hildegarde\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/04/09/news/scare-dont-fears-van-broken-into-during-san-francisco-ca-show/\" target=\"_blank\" rel=\"noopener\">Scare Don’t Fear\u003c/a>, and \u003ca href=\"http://live105.cbslocal.com/2015/05/27/waters-van-and-trailer-were-burglarized-last-night-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Waters\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>UPDATE:\u003c/i> Snoop Dogg has taken to \u003ca href=\"https://www.instagram.com/p/BBTeV2Dv9HI/\" target=\"_blank\" rel=\"noopener\">Instagram to deny TMZ’s report\u003c/a>. \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-concert-gear-burglary/\" target=\"_blank\" rel=\"noopener\">TMZ has updated their story\u003c/a> to defend their reporting against Snoop’s claims.\u003c/p>\n\n",
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"description": "UPDATED: Feb. 4, 12:10am Rapper Snoop Dogg's stage gear was reportedly stolen from an SUV parked in San Francisco Monday night, one day before he began a series of concerts and DJ sets around the Bay Area. Parked on a San Francisco street with laptops, luggage and other gear inside, law enforcement sources told TMZ that the SUV was robbed clean after someone broke one of the vehicle's windows. The reports of Snoop Dogg's equipment being stolen came out just before his live dates in the Bay Area coinciding with Super Bowl 50. They include shows at San Francisco's Regency",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>UPDATED:\u003c/strong> \u003cem>Feb. 4, 12:10am\u003c/em>\u003c/p>\n\u003cp>Rapper Snoop Dogg’s stage gear was reportedly stolen from an SUV parked in San Francisco Monday night, one day before he began a series of concerts and DJ sets around the Bay Area. \u003c/p>\n\u003cp>Parked on a San Francisco street with laptops, luggage and other gear inside, \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-burglary-concert-equipment/\" target=\"_blank\" rel=\"noopener\">law enforcement sources told TMZ\u003c/a> that the SUV was robbed clean after someone broke one of the vehicle’s windows. \u003c/p>\n\u003cp>The reports of Snoop Dogg’s equipment being stolen came out just before his live dates in the Bay Area coinciding with Super Bowl 50. They include shows at San Francisco’s Regency Ballroom Tuesday night, followed by the \u003ca href=\"http://www.mystictheatre.com/\" target=\"_blank\" rel=\"noopener\">Mystic Theatre in Petaluma\u003c/a> on Wednesday and \u003ca href=\"http://www.catalystclub.com/event/1054277-snoop-dogg-santa-cruz/\" target=\"_blank\" rel=\"noopener\">Santa Cruz’s Catalyst Club\u003c/a> on Friday. Other scheduled appearances include a party Friday at the W Hotel; Saturday’s \u003ca href=\"http://www.nbcbayarea.com/news/local/Snoop-Doggs-Youth-Football-League-Presents-Snooper-Bowl-at-San-Jose-City-College-367280361.html\" target=\"_blank\" rel=\"noopener\">“Snooper Bowl” at San Jose City College\u003c/a>; and a DJ performance at \u003ca href=\"http://www.eventbrite.com/e/dj-snoopadelic-aka-snoop-dog-super-bowl-50-sunday-tickets-21067885613\" target=\"_blank\" rel=\"noopener\">San Francisco dance club Ruby Skye\u003c/a> on Feb. 7. No shows appear to be canceled, according to the venue’s websites.\u003c/p>\n\u003cp>A rapper with a 35-year career that began with an appearance on the Dr. Dre-penned theme song for \u003ca href=\"https://www.youtube.com/watch?v=uo3rZjJB1hY\" target=\"_blank\" rel=\"noopener\">the 1992 film \u003ci>Deep Cover\u003c/i>\u003c/a>, Snoop Dogg has had several hit songs over the years, including 1994’s “Gin and Juice” and 2004’s “Drop It Like It’s Hot.” He has also appeared in several movies and television shows, and has appeared on songs by pop artists such as Katy Perry and Gorillaz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Band van break-ins occur often in San Francisco, with the past year and a half alone seeing reports of theft in the city from \u003ca href=\"http://www.sfweekly.com/shookdown/2014/12/01/emergency-funk-help-afrolicious-recover-their-stolen-gear\" target=\"_blank\" rel=\"noopener\">Afrolicious\u003c/a>, the \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">Warlocks\u003c/a>, \u003ca href=\"http://www.sfweekly.com/sanfrancisco/musicians-crime-tours-sfpd-the-warlocks-la-drugz/Content?oid=3698715\" target=\"_blank\" rel=\"noopener\">L.A. Drugz\u003c/a>, \u003ca href=\"http://www.brooklynvegan.com/archives/2015/11/jeff_rosenstock_5.html\" target=\"_blank\" rel=\"noopener\">Jeff Rosetnstock\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/12/17/news/bitter-ends-van-broken-into-in-san-francisco-ca-personal-items-stolen/\" target=\"_blank\" rel=\"noopener\">Bitter End\u003c/a>, \u003ca href=\"http://www.altpress.com/news/entry/seaway_pure_noise_records_robbed_in_san_francisco\" target=\"_blank\" rel=\"noopener\">Seaway\u003c/a>, \u003ca href=\"http://liveforlivemusic.com/news/someone-broke-into-fruitions-van-and-stole-mimi-najas-mandolin/\" target=\"_blank\" rel=\"noopener\">Fruition\u003c/a>, \u003ca href=\"https://www.facebook.com/PUJOLDOTCOM/posts/965896740103766\" target=\"_blank\" rel=\"noopener\">Pujol\u003c/a>, \u003ca href=\"http://www.metropolis-records.com/news/?id=148\" target=\"_blank\" rel=\"noopener\">God Module\u003c/a>, \u003ca href=\"http://www.thevinyldistrict.com/neworleans/2015/06/tvd-recommends-pack-van-benefit-concert-hildegard-howlin-wolf-612/\" target=\"_blank\" rel=\"noopener\">Hildegarde\u003c/a>, \u003ca href=\"http://www.theprp.com/2015/04/09/news/scare-dont-fears-van-broken-into-during-san-francisco-ca-show/\" target=\"_blank\" rel=\"noopener\">Scare Don’t Fear\u003c/a>, and \u003ca href=\"http://live105.cbslocal.com/2015/05/27/waters-van-and-trailer-were-burglarized-last-night-in-san-francisco/\" target=\"_blank\" rel=\"noopener\">Waters\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>UPDATE:\u003c/i> Snoop Dogg has taken to \u003ca href=\"https://www.instagram.com/p/BBTeV2Dv9HI/\" target=\"_blank\" rel=\"noopener\">Instagram to deny TMZ’s report\u003c/a>. \u003ca href=\"http://www.tmz.com/2016/02/02/snoop-dogg-concert-gear-burglary/\" target=\"_blank\" rel=\"noopener\">TMZ has updated their story\u003c/a> to defend their reporting against Snoop’s claims.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Once upon a time, an artist actually had to \u003cem>sell\u003c/em> albums to earn gold or platinum awards from the Recording Industry Association of America (RIAA). But today, the RIAA \u003ca href=\"http://www.riaa.com/riaa-debuts-album-award-streams/\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> that they’re catching up with how fans actually listen to music: On-demand streaming, either on video or audio platforms, counts toward that status.\u003c/p>\n\u003cp>In order to get to that reckoning, the RIAA has created a new formula: 1,500 streams is now the official equivalent of ten single track sales or one album sale. (Gold status is awarded after the equivalent of 500,000 sales; platinum, on 1,000,000 sales.) Theoretically, if an artist’s single were streamed 1.5 billion times on YouTube, the whole album could be certified platinum.\u003c/p>\n\u003cp>Seventeen albums have immediately benefited from these new benchmarks, including \u003ca href=\"http://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener\">Kendrick Lamar\u003c/a>’s \u003cem>To Pimp A Butterfly\u003c/em>, which is now platinum, and \u003ca href=\"http://www.npr.org/artists/164187667/alt-j\" target=\"_blank\" rel=\"noopener\">Alt-J\u003c/a>’s \u003cem>An Awesome Wave\u003c/em>, which earned a gold award.\u003c/p>\n\u003cp>But perhaps the most immediately buzzed-about award has gone to \u003ca href=\"http://www.npr.org/tags/125943991/rihanna/archive\" target=\"_blank\" rel=\"noopener\">Rihanna\u003c/a>’s new album \u003cem>Anti\u003c/em>, which \u003ca href=\"https://twitter.com/RIAA/status/693117513434021888\" target=\"_blank\" rel=\"noopener\">went platinum\u003c/a> on Friday, less than two days after it first leaked and then was officially released only on Tidal, the streaming platform co-owned by Rihanna.\u003c/p>\n\u003cp>It didn’t hit the mark solely because of streams, though. A Tidal representative told \u003cem>Spin\u003c/em> magazine that \u003cem>Anti\u003c/em> was downloaded more than 1.4 million times in its \u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/?utm_source=spintwitter&utm_medium=social&utm_campaign=spintwitter\" target=\"_blank\" rel=\"noopener\">first 15 hours\u003c/a> of availability. A “limited” number of those downloads of the album were given away for free to fans through a \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2016/01/anti-capitalism/435411/\" target=\"_blank\" rel=\"noopener\">promotional arrangement\u003c/a> with Samsung. The \u003cem>New York Post\u003c/em> reported last October that the Barbados-born singer signed a deal for \u003ca href=\"http://nypost.com/2015/10/29/rihanna-inks-25m-sponsorship-deal-with-samsung/\" target=\"_blank\" rel=\"noopener\">$25 million\u003c/a> with the South Korean electronics megaplayer to sponsor both the \u003cem>Anti \u003c/em>album and tour.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>However, the ratings company Nielsen Music and \u003cem>Billboard \u003c/em>are not counting those promotional downloads of \u003cem>Anti\u003c/em> in their own, separate chart calculations, as they explained in a statement they provided to \u003cem>\u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a>\u003c/em>. \u003cem>Billboard\u003c/em> says they will only count the “400k+” paid downloads via Tidal — meaning that perhaps up to a million copies of \u003cem>Anti\u003c/em> were downloaded via that free promotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ways in which the RIAA has historically tallied its numbers, however, have not always been strictly sales-based; the group previously counted units shipped to retailers, but \u003ca href=\"http://articles.latimes.com/1995-01-15/entertainment/ca-20083_1_lion-king\" target=\"_blank\" rel=\"noopener\">not necessarily sold\u003c/a>, within their calculations. This differs from how Nielsen determines their numbers, which used to be based entirely on sales but now combines sales of physical product with downloads and on-demand streams. \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=Forget+Selling+Albums+%E2%80%94+Artists+Can+Now+Go+Platinum+Via+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>However, the ratings company Nielsen Music and \u003cem>Billboard \u003c/em>are not counting those promotional downloads of \u003cem>Anti\u003c/em> in their own, separate chart calculations, as they explained in a statement they provided to \u003cem>\u003ca href=\"http://www.spin.com/2016/01/rihannas-anti-is-certified-platinum-by-the-riaa-but-not-by-billboard-and-nielsen/\" target=\"_blank\" rel=\"noopener\">Spin\u003c/a>\u003c/em>. \u003cem>Billboard\u003c/em> says they will only count the “400k+” paid downloads via Tidal — meaning that perhaps up to a million copies of \u003cem>Anti\u003c/em> were downloaded via that free promotion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The ways in which the RIAA has historically tallied its numbers, however, have not always been strictly sales-based; the group previously counted units shipped to retailers, but \u003ca href=\"http://articles.latimes.com/1995-01-15/entertainment/ca-20083_1_lion-king\" target=\"_blank\" rel=\"noopener\">not necessarily sold\u003c/a>, within their calculations. This differs from how Nielsen determines their numbers, which used to be based entirely on sales but now combines sales of physical product with downloads and on-demand streams. \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=Forget+Selling+Albums+%E2%80%94+Artists+Can+Now+Go+Platinum+Via+Streaming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.sfjazz.org/events/2015-16/0219/champion\" target=\"_blank\">Terence Blanchard's Champion: An Opera in Jazz \u003c/a>is a groundbreaking fully-staged opera about the real-life story of Emile Griffith, a world champion boxer who killed rival Benny Paret in their 1962 title match after Paret mocked him as a closeted homosexual. Following the fight, Griffith spent the rest of his life questioning himself and a society that would accept his accidental killing of a fellow athlete, but not his sexuality. Featuring baritone Arthur Woodley, bass-baritone Kenneth Kellogg, 30-piece orchestra, chorus, dancers, elaborate staging, costumes, video projections, a jazz trio and more! Co-presented by SFJAZZ & Opera Parallèle this is a West Coast premiere.\u003c/p>\n\u003cp>\u003cstrong>We've got a pair of tickets (worth $75 each) to give away! \u003c/strong>For your chance to win, just send an email to \u003ca style=\"color: #114999\" href=\"mailto:giveaway@kqed.org\">giveaway@kqed.org\u003c/a> with the subject \"Champion\" that contains your full name.\u003c/p>\n\u003cp style=\"color: #000000\">From all entries we'll randomly select a winner to receive two tickets (worth $75 per ticket.) \u003cstrong>Deadline to enter is Tuesday, Feb 16 at 9am.\u003c/strong> Winners will be notified by e-mail on Tuesday, and tickets will be held at Will Call. You must be a California resident and 18 years or older to participate. Employees of KQED are not eligible to enter.\u003c/p>\n\u003cp>\u003ca href=\"https://www.sfjazz.org/events/2015-16/0219/champion\" target=\"_blank\">\u003cstrong>\u003cu>Terence Blanchard's Champion: An Opera in Jazz\u003c/u>\u003c/strong>\u003c/a>\u003cbr>\n\u003cstrong style=\"line-height: 1.5\">\u003cstrong>7:30 pm, Sunday, February 21\u003cbr>\n\u003c/strong>\u003c/strong>\u003cstrong>SFJAZZ Center, 201 Franklin Street, San Francisco, CA 94102\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>Signe Toly Anderson, a vocalist and original member of the Jefferson Airplane who left the band after its first record and was replaced by Grace Slick, has died.\u003c/p>\n\u003cp>Anderson died Thursday at her home in Beaverton, Oregon, according to her daughter, Onateska Ladybug Sherwood. Anderson was 74 and had been suffering from chronic obstructive pulmonary disease. Anderson, who survived cancer in her 30s, died on the same day that another Airplane member, Paul Kantner, died.\u003c/p>\n\u003cp>Born Signe Toly in Seattle and raised in Portland, Oregon, after her parents divorced, she was a folk and jazz singer who had performed in groups since high school. She moved to San Francisco in her 20s and began appearing at a popular folk club, the Drinking Gourd. Vocalist Marty Balin heard her sing and asked her to join what became the Jefferson Airplane, which soon became a top local act and in 1966 released “The Jefferson Airplane Takes Off.” Strongly influenced by the folk-rock sound of the time, “Takes Off” was a word-of-mouth hit that combined original songs and covers, including a showcase for Anderson and her soulful contralto, “Chauffeur Blues.”\u003c/p>\n\u003cp>But by the time the album came out, Anderson had given birth to her first child and she departed after a show at the Fillmore in October 1966, a concert bootlegged for years and released officially in 2010. Given a standing ovation after Balin announced from the stage that she was leaving, Anderson told the audience, “I want you all to wear smiles and daisies and box balloons. I love you all. Thank you and goodbye.”\u003c/p>\n\u003cp>The switch from Anderson to Slick, formerly of the San Francisco group the Great Society, proved momentous for the Airplane and for rock history. Slick brought with her two future standards, “Somebody to Love” and “White Rabbit,” and a fierce vocal style and confrontational attitude. The next album, “Surrealistic Pillow,” was a landmark of psychedelic rock that made the Airplane superstars and representatives of the “San Francisco Sound.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“You have to look at the priorities in your life, the reality in your life,” Anderson told radio station KGON in Portland in 2011, remembering the ordeals of bringing her baby on tour. “I had to wait in the San Francisco airport in July of 1966 for 36 hours before we got on the airplane and flew to Chicago. All the diapers were gone.”\u003c/p>\n\u003cp>“I don’t regret having left,” she added.\u003c/p>\n\u003cp>Anderson was a footnote in the Airplane’s history, but was regarded with respect and affection by fans, and stayed in touch with Kantner, Balin and other band members with whom she performed on occasion over the following decades. In one way at least she proved irreplaceable: The Airplane dropped “Chauffeur Blues” from its live shows.\u003c/p>\n\u003cp>On Facebook, bassist Jack Casady remembered her as “a real sweetheart with a terrific contralto voice.” Airplane guitarist Jorma Kaukonen wrote on his blog that Anderson was “our den mother in the early days of the Airplane” a voice of reason for “our dysfunctional little family.” Balin, writing on Facebook, imagined that she and Kantner “woke up in heaven and said ‘Hey what are you doing here? Let’s start a band.'”\u003c/p>\n\u003cp>Anderson was married twice, to Merry Prankster Jerry Anderson and to Michael Alois Ettlin, who died in 2011. She is survived by two children and three grandchildren.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Signe Toly Anderson, a vocalist and original member of the Jefferson Airplane who left the band after its first record and was replaced by Grace Slick, has died.\u003c/p>\n\u003cp>Anderson died Thursday at her home in Beaverton, Oregon, according to her daughter, Onateska Ladybug Sherwood. Anderson was 74 and had been suffering from chronic obstructive pulmonary disease. Anderson, who survived cancer in her 30s, died on the same day that another Airplane member, Paul Kantner, died.\u003c/p>\n\u003cp>Born Signe Toly in Seattle and raised in Portland, Oregon, after her parents divorced, she was a folk and jazz singer who had performed in groups since high school. She moved to San Francisco in her 20s and began appearing at a popular folk club, the Drinking Gourd. Vocalist Marty Balin heard her sing and asked her to join what became the Jefferson Airplane, which soon became a top local act and in 1966 released “The Jefferson Airplane Takes Off.” Strongly influenced by the folk-rock sound of the time, “Takes Off” was a word-of-mouth hit that combined original songs and covers, including a showcase for Anderson and her soulful contralto, “Chauffeur Blues.”\u003c/p>\n\u003cp>But by the time the album came out, Anderson had given birth to her first child and she departed after a show at the Fillmore in October 1966, a concert bootlegged for years and released officially in 2010. Given a standing ovation after Balin announced from the stage that she was leaving, Anderson told the audience, “I want you all to wear smiles and daisies and box balloons. I love you all. Thank you and goodbye.”\u003c/p>\n\u003cp>The switch from Anderson to Slick, formerly of the San Francisco group the Great Society, proved momentous for the Airplane and for rock history. Slick brought with her two future standards, “Somebody to Love” and “White Rabbit,” and a fierce vocal style and confrontational attitude. The next album, “Surrealistic Pillow,” was a landmark of psychedelic rock that made the Airplane superstars and representatives of the “San Francisco Sound.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You have to look at the priorities in your life, the reality in your life,” Anderson told radio station KGON in Portland in 2011, remembering the ordeals of bringing her baby on tour. “I had to wait in the San Francisco airport in July of 1966 for 36 hours before we got on the airplane and flew to Chicago. All the diapers were gone.”\u003c/p>\n\u003cp>“I don’t regret having left,” she added.\u003c/p>\n\u003cp>Anderson was a footnote in the Airplane’s history, but was regarded with respect and affection by fans, and stayed in touch with Kantner, Balin and other band members with whom she performed on occasion over the following decades. In one way at least she proved irreplaceable: The Airplane dropped “Chauffeur Blues” from its live shows.\u003c/p>\n\u003cp>On Facebook, bassist Jack Casady remembered her as “a real sweetheart with a terrific contralto voice.” Airplane guitarist Jorma Kaukonen wrote on his blog that Anderson was “our den mother in the early days of the Airplane” a voice of reason for “our dysfunctional little family.” Balin, writing on Facebook, imagined that she and Kantner “woke up in heaven and said ‘Hey what are you doing here? Let’s start a band.'”\u003c/p>\n\u003cp>Anderson was married twice, to Merry Prankster Jerry Anderson and to Michael Alois Ettlin, who died in 2011. She is survived by two children and three grandchildren.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Super Bowl takes place a week before the Grammys, but the big game is rivaling the awards shows with a plethora of live concerts and on-site musicians, from the Red Hot Chili Peppers and Metallica to Pharrell and Skrillex.\u003c/p>\n\u003cp>Alicia Keys, OneRepublic and the Band Perry will perform at concerts on Saturday, Friday and Thursday, respectively. Dave Matthews Band will take the stage Thursday and as part of the Sports Illustrated Experience, Iggy Azalea will perform on Friday, the same night Nick Jonas will perform at the annual “ESPN The Party.”\u003c/p>\n\u003cp>Lil Wayne and A$AP Rocky will headline the Maxim Party on Saturday, while Avicii, Elle King and Travis Scott will perform at a Rolling Stone magazine party the same night.\u003c/p>\n\u003cp>Though Super Bowl 50 will be held at Levi’s Stadium in Santa Clara, California, most of the concerts and parties will take place in San Francisco.\u003c/p>\n\u003cp>Fall Out Boy announced Monday that they will perform Friday during Verizon’s go90 Live free concert series at The Regency Ballroom. The rock band, which has performed around the Super Bowl in the past, said performing ahead of the big game gives musicians the opportunity to gain new fans.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People are there and they’re hyped for the Super Bowl, so it’s a chance to win people over, which is awesome,” frontman Pete Wentz said in an interview last week.\u003c/p>\n\u003cp>Skrillex and country singer Hunter Hayes are also part of the lineup for the go90 Live, which is offering free tickets on a first-come, first-served basis at \u003ca href=\"http://www.go90.com/sanfrancisco\" target=\"_blank\" rel=\"noopener\">http://www.go90.com/sanfrancisco\u003c/a>. Hunter and Skrillex will perform on Thursday and Saturday, respectively.\u003c/p>\n\u003cp>Metallica will perform at the AT&T Park the night before the big game, where the Carolina Panthers will take on the Denver Broncos and halftime show performers include Beyoncé and Coldplay.\u003c/p>\n\u003cp>Wentz, who said he joined a fantasy football league this year but lost, said he’s rooting for both teams — sort of.\u003c/p>\n\u003cp>“If I was a 10-year-old right now, I feel like there’s no way you’re not a Cam Newton fan. He optimizes cool and he looks like he’s having fun every moment he’s playing,” he said. “But at the same time, we watched the Broncos-Patriots game with my buddies from Denver …and it was cool ’cause it was emotional for them, so maybe I’m for the Broncos a little bit for my friends.”\u003c/p>\n\u003cp>DirecTV and Pepsi are teaming up to put on shows at Pier 70, including Dave Matthews Band, Pharrell and Red Hot Chili Peppers on Thursday, Friday and Saturday nights. The Chili Peppers, who performed with Bruno Mars during the halftime show in 2014, are expected to bring out special guests during their set.\u003c/p>\n\u003cp>Snoop Dogg will host the Player’s Gala on Sunday, where he will DJ, perform and host a Super Bowl viewing party. Zac Brown Band will perform at the Bleacher Ball on Friday, and Diplo and rapper-singer-producer Future will perform at a New Era concert on Saturday night.\u003c/p>\n\u003cp>San Francisco-based Third Eye Blind will perform at the 25th annual Party with a Purpose, while actor-singer Jamie Foxx will host a SiriusXM live broadcast on Friday.\u003c/p>\n\u003cp>Wentz said he hopes to see some of his musician peers throughout the week.\u003c/p>\n\u003cp>“I always try to sneak in something. …I will watch Metallica any chance that I get,” Wentz said.\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>Online:\u003c/p>\n\u003cp>http://www.sfbaysuperbowl.com/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“People are there and they’re hyped for the Super Bowl, so it’s a chance to win people over, which is awesome,” frontman Pete Wentz said in an interview last week.\u003c/p>\n\u003cp>Skrillex and country singer Hunter Hayes are also part of the lineup for the go90 Live, which is offering free tickets on a first-come, first-served basis at \u003ca href=\"http://www.go90.com/sanfrancisco\" target=\"_blank\" rel=\"noopener\">http://www.go90.com/sanfrancisco\u003c/a>. Hunter and Skrillex will perform on Thursday and Saturday, respectively.\u003c/p>\n\u003cp>Metallica will perform at the AT&T Park the night before the big game, where the Carolina Panthers will take on the Denver Broncos and halftime show performers include Beyoncé and Coldplay.\u003c/p>\n\u003cp>Wentz, who said he joined a fantasy football league this year but lost, said he’s rooting for both teams — sort of.\u003c/p>\n\u003cp>“If I was a 10-year-old right now, I feel like there’s no way you’re not a Cam Newton fan. He optimizes cool and he looks like he’s having fun every moment he’s playing,” he said. “But at the same time, we watched the Broncos-Patriots game with my buddies from Denver …and it was cool ’cause it was emotional for them, so maybe I’m for the Broncos a little bit for my friends.”\u003c/p>\n\u003cp>DirecTV and Pepsi are teaming up to put on shows at Pier 70, including Dave Matthews Band, Pharrell and Red Hot Chili Peppers on Thursday, Friday and Saturday nights. The Chili Peppers, who performed with Bruno Mars during the halftime show in 2014, are expected to bring out special guests during their set.\u003c/p>\n\u003cp>Snoop Dogg will host the Player’s Gala on Sunday, where he will DJ, perform and host a Super Bowl viewing party. Zac Brown Band will perform at the Bleacher Ball on Friday, and Diplo and rapper-singer-producer Future will perform at a New Era concert on Saturday night.\u003c/p>\n\u003cp>San Francisco-based Third Eye Blind will perform at the 25th annual Party with a Purpose, while actor-singer Jamie Foxx will host a SiriusXM live broadcast on Friday.\u003c/p>\n\u003cp>Wentz said he hopes to see some of his musician peers throughout the week.\u003c/p>\n\u003cp>“I always try to sneak in something. …I will watch Metallica any chance that I get,” Wentz said.\u003c/p>\n\u003cp>____\u003c/p>\n\u003cp>Online:\u003c/p>\n\u003cp>http://www.sfbaysuperbowl.com/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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