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"content": "\u003cp>\u003ca href=\"https://www.npr.org/tags/494394643/donald-glover\">Donald Glover\u003c/a>‘s latest Childish Gambino release “This Is America,” which dropped in the late hours of Saturday, May 5 alongside a jarring, symbol-rich music video, has sparked hot takes, debate and abounding \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\">think pieces\u003c/a> since its release. Now, the art has the metrics to back up the rhetoric: “This Is America” debuted at the \u003ca href=\"https://www.billboard.com/charts/hot-100\">No.1 spot on the Billboard Hot 100\u003c/a>, bumping Drake to the No. 2 spot and marking the first No. 1 song in the 34-year-old’s music career.\u003c/p>\n\u003cp>https://youtu.be/VYOjWnS4cMY\u003c/p>\n\u003cp>Before Glover nudged Drizzy off the leaderboard, the Canadian rapper held the top spot for 15 weeks straight, first with “\u003ca href=\"https://www.npr.org/sections/allsongs/2018/02/16/586450750/drake-sprinkles-good-deeds-across-miami-in-video-for-god-s-plan\">God’s Plan\u003c/a>” ruling for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1063267\">11 weeks \u003c/a>and then with “\u003ca href=\"https://www.npr.org/event/music/600527206/drake-bounces-looking-to-uplift-single-women-as-they-drop-it-low\">Nice For What\u003c/a>” holding steady for \u003ca href=\"https://www.billboard.com/music/drake/chart-history/hot-100/song/1072670\">four weeks\u003c/a>. In addition to claiming the No. 1 spot on the Hot 100, the song also simultaneously hit another high, with the Hiro Murai-directed video \u003ca href=\"https://www.billboard.com/articles/news/8456014/childish-gambino-this-is-america-youtube-statistics\">becoming\u003c/a> YouTube’s biggest first-week debut of 2018 so far. The four-minute clip garnered 85.3 million views in its first week on the site and is currently at 119 million views and counting — well above its stream count on Spotify.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em>‘s \u003ca href=\"https://www.billboard.com/articles/news/8427967/billboard-changes-streaming-weighting-hot-100-billboard-200\">chart requirements\u003c/a> currently weigh subscription streams from on-demand sites like Apple Music, Amazon Music and Spotify and YouTube greater than streaming sites like Pandora, where listeners are unable to jump song-to-song as they wish. But starting this summer, plays on paid subscription-based services will be given more weight in chart calculations than plays on ad-supported services, like Spotify’s free tier and YouTube. As of Jan. 2017, YouTube Red, the video site’s own subscription service, reportedly accounted for \u003ca href=\"http://www.businessinsider.com/heres-where-youtube-red-stands-after-one-year-2017-1\">less than 5 percent of the site’s total revenue\u003c/a>. These chart calculation changes will likely make it harder for a song to skip the line and land at No. 1 based heavily on the video going forward.\u003c/p>\n\u003cp>Beyond chart technicalities, Glover’s dethroning of Drake is also notable considering the fact that the ascents of both of Drake’s recent anthems were aided by conversation-starting visuals. But while Drake played the roles of Miami’s guardian angel and an advocate for independent women — both worthy causes — Glover’s video is one that takes marksman-like aim at issues foremost in the minds of many these days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Glover delivered a trenchant message beautifully, and timed it exceptionally, releasing the material literally in the middle of co-hosting \u003ca href=\"https://www.npr.org/sections/therecord/2018/05/06/608874886/donald-glover-brings-his-black-renaissance-to-saturday-night-live\">\u003cem>Saturday Night Live\u003c/em>\u003c/a>, a precursor to both the second-season finale of his award-winning \u003ca href=\"https://www.npr.org/2016/11/01/500225189/donald-glover-challenges-stereotypes-about-rappers-in-atlanta\">show \u003cem>Atlanta\u003c/em> \u003c/a>and a co-starring role in a new Star Wars movie. Who knew that’s all it would take to knock the planet that is Aubrey Graham out of orbit?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27This+Is+America%27+Earns+Donald+Glover+His+First+No.+1+Hit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music streaming giant Spotify, with 75 million subscribers and 170 million monthly users, announced a new policy this morning regarding music that it believes to contain “hate content.” Alongside the announcement, Spotify also confirmed that one of the first artists to be affected by the policy would be R. Kelly, the R&B singer who has been accused of extensive sexual misconduct dating back nearly two decades, but whose actions have been the subject of renewed focus in the last year. In April, Kelly \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/30/607083241/times-up-joins-call-to-shut-down-r-kelly\">was condemned\u003c/a> by a group of women of color within the Time’s Up movement, who called for labels and streaming services — including Spotify — to cut ties with the singer.\u003c/p>\n\u003cp>“We are removing R. Kelly’s music from all Spotify owned and operated playlists and algorithmic recommendations such as Discover Weekly. His music will still be available on the service, but Spotify will not actively promote it,” a further statement from Spotify provided to NPR reads. “We don’t censor content because of an artist’s or creator’s behavior, but we want our editorial decisions — what we choose to program — to reflect our values. When an artist or creator does something that is especially harmful or hateful, it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify says it will take a three-tiered approach to policing hate on its platform. First, it is partnering with several advocacy groups — its announcement lists the Southern Poverty Law Center, The Anti-Defamation League, Color Of Change, Showing Up for Racial Justice, GLAAD, Muslim Advocates and the International Network Against Cyber Hate. (The groups will serve as “advisors,” according to a company spokesperson.) Second, it is introducing an algorithmic internal monitor called AudioWatch. And third, a hear-something-say-something approach, giving people the option of \u003ca href=\"https://support.spotify.com/us/contact-spotify-support/\">reporting content\u003c/a> as well.\u003c/p>\n\u003cp>“We believe in openness, diversity, tolerance and respect, and we want to promote those values through music and the creative arts,” \u003ca href=\"https://artists.spotify.com/faq/policies#hate-content-and-hateful-conduct\">its policy\u003c/a> begins. It goes on to define hate speech on the platform as any that promotes or incites violence towards people or groups because of “race, religion, gender identity, sex, ethnicity, nationality, sexual orientation, veteran status, or disability.” The company also states that when “an artist or creator does something that is especially harmful or hateful (for example, violence against children and sexual violence), it may affect the ways we work with or support that artist or creator.”\u003c/p>\n\u003cp>Spotify has also removed the rapper XXXTentacion — who is \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\">facing charges\u003c/a> of domestic abuse in Florida — from its popular Rap Caviar playlist, which, \u003ca href=\"https://www.nytimes.com/2018/05/10/arts/music/rkelly-spotify-accusations-xxxtentacion.html\">according to a report\u003c/a> by \u003cem>The New York Times\u003c/em>, included a song by the rapper as recently as Wednesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The punishment is a potentially impactful one on artists’ (and labels’, and managers’) bottom lines. The artist-anointing and sustaining powers of Spotify’s playlists and algorithmic recommendations are \u003ca href=\"https://www.wired.com/2017/05/secret-hit-making-power-spotify-playlist/\">well-known\u003c/a> — in a service with some 35 million songs, there’s little option for stumbling into things without them. High visibility on the platform can easily translate into success elsewhere.\u003c/p>\n\u003cp>“It is important that those who market the work of problematic entertainers stand, in the end, with their company’s collective values,” writes Kenyette Tisha Barnes, a co-founder of the #MuteRKelly campaign, in an email to NPR. “Although Spotify did state that the decision was not solely due to public pressure from #MuteRKelly, one can infer that the public outrage and support from #MeToo and #TimesUp, was in part, influential in the decision to select R. Kelly as the first artist to be removed under this new policy. We find this decision by Spotify a victory, and is just another step in our mission.”\u003c/p>\n\u003cp>With the announcement, Spotify has potentially increased the pressure on other companies in the music industry to better define their own approach to similar situations. Kelly’s label, RCA, which has not responded to multiple requests for comment by NPR on the allegations against Kelly and the response from Time’s Up and other industry groups. RCA’s parent company, Sony, has declined to comment on Kelly as well, referring reporters back to RCA. Live Nation — the concert giant reportedly \u003ca href=\"https://www.nytimes.com/2018/04/01/arts/music/live-nation-ticketmaster.html\">under investigation\u003c/a> by the Department of Justice — has also declined multiple requests for comment on Kelly. Last year, when Fulton County, Georgia’s board of commissioners \u003ca href=\"https://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\">requested a concert\u003c/a> by Kelly at the Wolf Creek Amphitheater — a venue owned by Fulton County and administered by Live Nation — be canceled, Live Nation’s chief communications officer Carrie Davis declined to comment except to say the concert would go on as scheduled.\u003c/p>\n\u003cp>While R. Kelly is the first artist directly addressed by Spotify, others have been affected by internal content policies at the company, too. Last summer, in response to the violence in Charlottesville, bands espousing white supremacy were \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/08/17/544240096/spotify-removes-racist-music-in-response-to-charlottesville\">removed entirely\u003c/a> from the service’s catalog.\u003c/p>\n\u003cp>The track record of tech companies policing the content on their platforms, whether through crowdsourcing or internal monitoring, is spotty. Recall \u003ca href=\"https://www.npr.org/sections/alltechconsidered/2016/09/10/493454256/with-napalm-girl-facebook-humans-not-algorithms-struggle-to-be-editor\">Facebook’s removal\u003c/a> of the Associated Press’ historic 1972 photo of a nine-year-old girl fleeing in terror during the Vietnam War. The controversial cartoonist Joan Cornella, whose work often depicts sunny scenes of violence in surrealistic social satire, has had his work \u003ca href=\"https://twitter.com/sirjoancornella/status/811220677990748160\">removed\u003c/a> by Facebook on its subsidiary — and standalone social media giant — Instagram. Policing not only the content but the \u003cem>conduct\u003c/em> of artists will likely present further complications to their enforcement.\u003c/p>\n\u003cp>“There will always be content that is acceptable in some circumstances, but is offensive in others, and we will always look at the entire context,” Spotify writes in \u003ca href=\"https://newsroom.spotify.com/2018-05-10/spotify-announces-new-hate-content-and-hateful-conduct-public-policy/\">a blog post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At press time, the Spotify-branded playlist “This Is R. Kelly” \u003ca href=\"https://open.spotify.com/user/spotify/playlist/37i9dQZF1DZ06evO1lHeF2?si=oqb-2cN2SDeJY377iJZQ7A\">remained viewable and streamable\u003c/a>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Starting+With+R.+Kelly%2C+Spotify+Pulls+Artists+From+Playlists+For+%27Hateful+Conduct%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Ticket Alert: Christina Aguilera at the Paramount Theater, Oakland",
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"content": "\u003cp>Christina Aguilera will forever be cemented in history for her epic vocal runs on “Lady Marmalade,” and for wearing some of the \u003ca href=\"https://www.cosmopolitan.com/style-beauty/fashion/news/a63216/i-tried-christina-aguileras-best-looks/\" target=\"_blank\" rel=\"noopener\">lowest pants of the early 2000s\u003c/a>. And though she hasn’t appeared on the charts since 2013’s piano ballad “Say Something,” she’s currently plotting a comeback: she recently released her Kanye West-produced single “Accelerate” featuring 2 Chainz and Ty Dolla $ign, gearing up for her new album, \u003cem>Liberation\u003c/em>, due out June 15.\u003c/p>\n\u003cp>On Wednesday, Aguilera announced her first major tour in over a decade. It comes to Oakland’s Paramount Theatre on Oct. 22, and as usual, buying tickets is a labyrinth of promotions, presale codes, and tie-ins. Here’s what you need to know.\u003c/p>\n\u003cp>Tickets go on sale to the general public on May 18, but there’s a presale for American Express cardholders on May 14. There’s also an artist presale and a Spotify presale on May 16 (for the artist one, we suggest joining her \u003ca href=\"https://www.christinaaguilera.com/\" target=\"_blank\" rel=\"noopener\">mailing list\u003c/a>; for Spotify, make sure to follow her on the streaming service). May 17 is the Live Nation presale (the codes are \u003ca href=\"https://zumic.com/events/christina-aguilera-paramount-theatre-oakland-oakland-oct-22-2018\" target=\"_blank\" rel=\"noopener\">rumored\u003c/a> to be COVERT for the mobile app and PLAYLIST for web), as well as Ticketmaster and Paramount Theatre (check back on the venue’s \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" target=\"_blank\" rel=\"noopener\">website\u003c/a> for codes for the latter).\u003c/p>\n\u003cp>https://youtu.be/DSRSgMp5X1w\u003c/p>\n\u003cp>As far as what to expect from the Liberation Tour: Aguilera seems to be going in a few different directions. On one hand, her recent \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-5546657/Christina-Aguilera-unrecognizable-no-makeup-on.html\" target=\"_blank\" rel=\"noopener\">makeup-free looks\u003c/a> suggest a more stripped-down, introspective approach. But her video for “Accelerate,” which sounds like it could have been written for Iggy Azalea, is anything but subtle, with Aguilera licking a glittery, viscous substance (cringe) as the camera zooms in on her tape-covered nipples.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The trap-pop track has all signs of trying too hard (why is Aguilera singing with a Migos flow?), but we’ll have to wait ’til the May 20 Billboard Music Awards, where she’ll debut her next single with Demi Lovato, to glean more clues about \u003cem>Liberation\u003c/em>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Christina Aguilera will forever be cemented in history for her epic vocal runs on “Lady Marmalade,” and for wearing some of the \u003ca href=\"https://www.cosmopolitan.com/style-beauty/fashion/news/a63216/i-tried-christina-aguileras-best-looks/\" target=\"_blank\" rel=\"noopener\">lowest pants of the early 2000s\u003c/a>. And though she hasn’t appeared on the charts since 2013’s piano ballad “Say Something,” she’s currently plotting a comeback: she recently released her Kanye West-produced single “Accelerate” featuring 2 Chainz and Ty Dolla $ign, gearing up for her new album, \u003cem>Liberation\u003c/em>, due out June 15.\u003c/p>\n\u003cp>On Wednesday, Aguilera announced her first major tour in over a decade. It comes to Oakland’s Paramount Theatre on Oct. 22, and as usual, buying tickets is a labyrinth of promotions, presale codes, and tie-ins. Here’s what you need to know.\u003c/p>\n\u003cp>Tickets go on sale to the general public on May 18, but there’s a presale for American Express cardholders on May 14. There’s also an artist presale and a Spotify presale on May 16 (for the artist one, we suggest joining her \u003ca href=\"https://www.christinaaguilera.com/\" target=\"_blank\" rel=\"noopener\">mailing list\u003c/a>; for Spotify, make sure to follow her on the streaming service). May 17 is the Live Nation presale (the codes are \u003ca href=\"https://zumic.com/events/christina-aguilera-paramount-theatre-oakland-oakland-oct-22-2018\" target=\"_blank\" rel=\"noopener\">rumored\u003c/a> to be COVERT for the mobile app and PLAYLIST for web), as well as Ticketmaster and Paramount Theatre (check back on the venue’s \u003ca href=\"http://www.paramounttheatre.com/schedule.html\" target=\"_blank\" rel=\"noopener\">website\u003c/a> for codes for the latter).\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/DSRSgMp5X1w'\n title='//www.youtube.com/embed/DSRSgMp5X1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As far as what to expect from the Liberation Tour: Aguilera seems to be going in a few different directions. On one hand, her recent \u003ca href=\"http://www.dailymail.co.uk/tvshowbiz/article-5546657/Christina-Aguilera-unrecognizable-no-makeup-on.html\" target=\"_blank\" rel=\"noopener\">makeup-free looks\u003c/a> suggest a more stripped-down, introspective approach. But her video for “Accelerate,” which sounds like it could have been written for Iggy Azalea, is anything but subtle, with Aguilera licking a glittery, viscous substance (cringe) as the camera zooms in on her tape-covered nipples.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The trap-pop track has all signs of trying too hard (why is Aguilera singing with a Migos flow?), but we’ll have to wait ’til the May 20 Billboard Music Awards, where she’ll debut her next single with Demi Lovato, to glean more clues about \u003cem>Liberation\u003c/em>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kehlani is Queering Mainstream Pop, and the Bay Area is Here for It",
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"content": "\u003cp>In Charlie Puth’s music video for “Done for Me,” his dance single featuring Kehlani, the camera cuts to Kehlani dancing on a love interest under dim disco lights. As she cozies up next to the young woman in a hot tub and, later, on a silk comforter, Kehlani’s body language conveys an easy, natural affection — and not one contrived for shock value, like Katy Perry’s “I Kissed a Girl” and other gay-for-a-day displays in mainstream pop.\u003c/p>\n\u003cp>https://youtu.be/TdyllLZeviY\u003c/p>\n\u003cp>Kehlani has long been candid \u003ca href=\"http://www.thefader.com/2015/08/04/kehlani-cover-story-interview\" target=\"_blank\" rel=\"noopener\">in interviews\u003c/a> about her fluid sexuality and history of dating various genders. But with her recent exposure to a broader audience — opening for Demi Lovato’s tour, a feature on Cardi B’s \u003cem>Invasion of Privacy\u003c/em> — some newer fans seemed to have questions about her sexuality.\u003c/p>\n\u003cp>On Apr. 22, Kehlani \u003ca href=\"https://www.billboard.com/articles/news/pride/8367038/kehlani-sexuality-queer-twitter\" target=\"_blank\" rel=\"noopener\">took to Twitter\u003c/a> to clarify: “cuz i keep geddin asked.. i’m queer. not bi, not straight. i’m attracted to women, men, REALLY attracted to queer men, non binary people, intersex people, trans people. lil poly pansexual papi hello good morning. does that answer your questions?” (The tweet has since been deleted.)\u003c/p>\n\u003cp>The 23-year-old singer’s flexible definition of her sexuality resonates with an increasing number of young people. According to a recent study, \u003ca href=\"https://www.out.com/news-opinion/2016/3/11/less-50-teens-identify-straight-says-new-study\" target=\"_blank\" rel=\"noopener\">less than half of U.S. teenagers\u003c/a> identify as straight. And in the Bay Area, it’s more common to meet people who call themselves “\u003ca href=\"http://www.slate.com/blogs/outward/2016/12/20/young_queer_women_don_t_like_lesbian_as_a_name_here_s_why.html\" target=\"_blank\" rel=\"noopener\">queer\u003c/a>” — as opposed to more traditional orientations like gay, lesbian or bisexual — to signify a greater fluidity and inclusion of trans and \u003ca href=\"https://www.kqed.org/futureofyou/335790/boy-girl-both-neither-a-new-generation-overthrows-gender\" target=\"_blank\" rel=\"noopener\">non-binary\u003c/a> people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I love that Kehlani came out as queer as opposed to coming out as bi or lesbian or straight,” says Kelly Lovemonster, the queer-identifying promoter behind the popular Bay Area LGBTQ party Swagger Like Us. “I think the queer identity is a very important one and it’s also one that, for me, is infused with politics.”\u003c/p>\n\u003cp>He continues, “To identify as queer is to say you actively are aware of folks who live on the margins; you try your best to think outside of a [gender] binary.”\u003c/p>\n\u003cp>Historically speaking, young, female pop artists have striven to appeal to the straight, male gaze. Kehlani’s declaration that she’s “least attracted to straight men” in a follow-up Apr. 22 tweet is a clear break from this tradition, one that gives other young, female artists permission to be themselves.\u003c/p>\n\u003cp>“I think it’s amazing, not only how open she is, but the fact that she is someone who looks relatable,” says Rayana Jay, one of the Bay Area’s most buzzed-about new R&B artists. “She looks like us. A woman of color, tattooed, from home. I mean, it just makes it so much more real when you can relate to the person it’s coming from.”\u003c/p>\n\u003cp>https://youtu.be/_wVB6pfWwnE\u003c/p>\n\u003cp>Jay says she’s still unsure how she identifies, but she says that Kehlani’s recent statements showed her that “we’re not alone in this self-discovery, and we discover ourselves through other people.”\u003c/p>\n\u003cp>Siri, an Oakland rapper and singer who recently opened for tUnE-yArDs at the Fox Theater, says Kehlani’s new openness with her sexuality in her lyrics has inspired her to write songs about love interests other than men. (Kehlani’s 2017 single “Honey” is an earnest love song about a woman: “I like my girls just like I like my honey; sweet / A little selfish.”)\u003c/p>\n\u003cp>“[Kehlani’s] work opens up a lane for people to write what they want and be a part of the narrative,” says Siri. “We’re telling stories for people who don’t feel like their stories are being told or could be told.”\u003c/p>\n\u003cp>As other LGBTQ artists — especially those who are visibly gender non-conforming, like Big Freedia — continue to be \u003ca href=\"https://noisey.vice.com/en_us/article/59j4xn/big-freedia-drake-beyonce-essay\" target=\"_blank\" rel=\"noopener\">sidelined from the music industry\u003c/a>, let’s hope Kehlani’s trans-inclusive queerness starts necessary, long-overdue dialogues about sexuality and gender in the music industry — and which musicians are allowed to succeed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In Charlie Puth’s music video for “Done for Me,” his dance single featuring Kehlani, the camera cuts to Kehlani dancing on a love interest under dim disco lights. As she cozies up next to the young woman in a hot tub and, later, on a silk comforter, Kehlani’s body language conveys an easy, natural affection — and not one contrived for shock value, like Katy Perry’s “I Kissed a Girl” and other gay-for-a-day displays in mainstream pop.\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/TdyllLZeviY'\n title='//www.youtube.com/embed/TdyllLZeviY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kehlani has long been candid \u003ca href=\"http://www.thefader.com/2015/08/04/kehlani-cover-story-interview\" target=\"_blank\" rel=\"noopener\">in interviews\u003c/a> about her fluid sexuality and history of dating various genders. But with her recent exposure to a broader audience — opening for Demi Lovato’s tour, a feature on Cardi B’s \u003cem>Invasion of Privacy\u003c/em> — some newer fans seemed to have questions about her sexuality.\u003c/p>\n\u003cp>On Apr. 22, Kehlani \u003ca href=\"https://www.billboard.com/articles/news/pride/8367038/kehlani-sexuality-queer-twitter\" target=\"_blank\" rel=\"noopener\">took to Twitter\u003c/a> to clarify: “cuz i keep geddin asked.. i’m queer. not bi, not straight. i’m attracted to women, men, REALLY attracted to queer men, non binary people, intersex people, trans people. lil poly pansexual papi hello good morning. does that answer your questions?” (The tweet has since been deleted.)\u003c/p>\n\u003cp>The 23-year-old singer’s flexible definition of her sexuality resonates with an increasing number of young people. According to a recent study, \u003ca href=\"https://www.out.com/news-opinion/2016/3/11/less-50-teens-identify-straight-says-new-study\" target=\"_blank\" rel=\"noopener\">less than half of U.S. teenagers\u003c/a> identify as straight. And in the Bay Area, it’s more common to meet people who call themselves “\u003ca href=\"http://www.slate.com/blogs/outward/2016/12/20/young_queer_women_don_t_like_lesbian_as_a_name_here_s_why.html\" target=\"_blank\" rel=\"noopener\">queer\u003c/a>” — as opposed to more traditional orientations like gay, lesbian or bisexual — to signify a greater fluidity and inclusion of trans and \u003ca href=\"https://www.kqed.org/futureofyou/335790/boy-girl-both-neither-a-new-generation-overthrows-gender\" target=\"_blank\" rel=\"noopener\">non-binary\u003c/a> people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I love that Kehlani came out as queer as opposed to coming out as bi or lesbian or straight,” says Kelly Lovemonster, the queer-identifying promoter behind the popular Bay Area LGBTQ party Swagger Like Us. “I think the queer identity is a very important one and it’s also one that, for me, is infused with politics.”\u003c/p>\n\u003cp>He continues, “To identify as queer is to say you actively are aware of folks who live on the margins; you try your best to think outside of a [gender] binary.”\u003c/p>\n\u003cp>Historically speaking, young, female pop artists have striven to appeal to the straight, male gaze. Kehlani’s declaration that she’s “least attracted to straight men” in a follow-up Apr. 22 tweet is a clear break from this tradition, one that gives other young, female artists permission to be themselves.\u003c/p>\n\u003cp>“I think it’s amazing, not only how open she is, but the fact that she is someone who looks relatable,” says Rayana Jay, one of the Bay Area’s most buzzed-about new R&B artists. “She looks like us. A woman of color, tattooed, from home. I mean, it just makes it so much more real when you can relate to the person it’s coming from.”\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/_wVB6pfWwnE'\n title='//www.youtube.com/embed/_wVB6pfWwnE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Jay says she’s still unsure how she identifies, but she says that Kehlani’s recent statements showed her that “we’re not alone in this self-discovery, and we discover ourselves through other people.”\u003c/p>\n\u003cp>Siri, an Oakland rapper and singer who recently opened for tUnE-yArDs at the Fox Theater, says Kehlani’s new openness with her sexuality in her lyrics has inspired her to write songs about love interests other than men. (Kehlani’s 2017 single “Honey” is an earnest love song about a woman: “I like my girls just like I like my honey; sweet / A little selfish.”)\u003c/p>\n\u003cp>“[Kehlani’s] work opens up a lane for people to write what they want and be a part of the narrative,” says Siri. “We’re telling stories for people who don’t feel like their stories are being told or could be told.”\u003c/p>\n\u003cp>As other LGBTQ artists — especially those who are visibly gender non-conforming, like Big Freedia — continue to be \u003ca href=\"https://noisey.vice.com/en_us/article/59j4xn/big-freedia-drake-beyonce-essay\" target=\"_blank\" rel=\"noopener\">sidelined from the music industry\u003c/a>, let’s hope Kehlani’s trans-inclusive queerness starts necessary, long-overdue dialogues about sexuality and gender in the music industry — and which musicians are allowed to succeed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12904247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg\" alt=\"\" width=\"400\" height=\"39\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-160x16.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-240x23.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Q.Logo_.Break_-400x39-375x37.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"headline": "On the Air: Rachael and Sahba's Do List Picks for Apr. 7, 2018",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachael Myrow here, pinch-hitting for Cy Musiker this week. Naturally, I picked a co-host from Palo Alto — visual artist and salon organizer \u003ca href=\"http://sahbashere.com\" target=\"_blank\" rel=\"noopener\">Sabha Shere\u003c/a> — and we talked about the upcoming concerts and exhibitions we’re most excited about.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6–8\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828634/science-parties-with-pop-culture-at-silicon-valley-comic-con-2018\" target=\"_blank\" rel=\"noopener\">Science Parties With Pop Culture at Silicon Valley Comic Con 2018\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828637/kronos-quartet-plays-live-to-a-found-footage-homage-to-hitchcock\" target=\"_blank\" rel=\"noopener\">Kronos Quartet Plays Live to Green Fog, a Found Footage Homage to Hitchcock\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 9–14: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828645/other-minds-festival-celebrates-cerebral-and-witty-sound-poetry\" target=\"_blank\" rel=\"noopener\">Other Minds Festival Celebrates Cerebral and Witty Sound Poetry\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Mar. 24– Aug. 12\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828651/cult-of-the-machine-explores-the-magnetic-pull-of-industrial-design\" target=\"_blank\" rel=\"noopener\">Cult of the Machine Explores the Magnetic Pull of Industrial Design\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Mar. 30– Apr. 29:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828662/in-a-time-of-economic-extremes-shakespeares-timon-recast-as-a-silicon-valley-ceo\" target=\"_blank\" rel=\"noopener\">In a Time of Economic Extremes, Shakespeare’s Timon Recast as a Silicon Valley CEO\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828695/haim-plays-the-greek-theatre-on-the-road-to-coachella\" target=\"_blank\" rel=\"noopener\">Haim Plays at the Greek Theatre in Berkeley on The Road to Coachella\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>Apr. 20–22\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828705/the-classic-chicano-novel-reimagined-as-an-opera\" target=\"_blank\" rel=\"noopener\">The Classic Chicano Novel ‘Bless Me, Última’ Reimagined as an Opera\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Apr. 27-28\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13828723/epic-tale-from-the-ancient-indian-ramayan-takes-flight-in-san-francisco\" target=\"_blank\" rel=\"noopener\">Epic Tale From the Ancient Indian Ramayan Takes Flight in San Francisco\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Say hello to \u003ca href=\"http://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con 3.0\u003c/a>.\u003c/p>\n\u003cp>This weekend, the streets of downtown San Jose will be packed with science geeks. You’re probably thinking, “This is new, how?” Well, some of them will be wearing costumes. But also, this comic con is very much different from the others worldwide in the sense it’s the baby of The Woz, Steve Wozniak of Apple fame.\u003c/p>\n\u003cp>“From the very beginning we chose to incorporate science and technology as much as we focus on pop culture. There is this union between the two, but we extend that much further,” Silicon Valley Comic Con chairman Trip Hunter said.\u003c/p>\n\u003cp>Along those lines, Silicon Valley’s Comic Con goes to extra lengths to pay tribute to real world heroes whose names are not as familiar to the public as the stars of film and television. For example, astronaut Dr. Mae Jemison, the first African American woman to go into space, will give a talk about human interstellar travel, introduced by \u003cem>Star Trek’s\u003c/em> Nichelle Nichols, who was the first African American woman to travel to space on TV.\u003c/p>\n\u003cfigure id=\"attachment_13828679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828679\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg\" alt=\"Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con.\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1920x1586.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-520x429.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are not that many public platforms for scientists delivering this size of a crowd,” Hunter noted, adding he feels a strong drive to inspire the event’s youngest attendees, from that 8-year-old experimenting with nuclear fission in his garage to that kid who just needs to know that science is cool.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Last year, at a panel called “Women in STEM,” astrophysicist \u003ca href=\"http://jannalevin.com\" target=\"_blank\" rel=\"noopener\">Janna Levin\u003c/a> spoke about black holes. Hunter thrills at the thought of the email he received afterward from a 15-year-old girl who wrote, “Until I went to that panel, I didn’t know what to do with my life.”\u003c/p>\n\u003cp>Hunter estimates the vast majority of the 60,000 people who annually attend are local. “90 percent California.” I’d add that 100 percent are from this galaxy, but who can tell when so many people are in costume?\u003c/p>\n\u003cp>So don’t get the idea science crowds out cos play and pop culture at SVCC. You can bet the blockbuster film \u003cem>Black Panther\u003c/em> is on everybody’s lips and there will be a capacity crowd to hear pop culture critic \u003ca href=\"http://www.svcomiccon.com/index.php/guest/evan-narcisse/\" target=\"_blank\" rel=\"noopener\">Evan Narcisse\u003c/a>, talk about writing for Marvel Comics, including the \u003cem>Rise of the Black Panther\u003c/em> series. (The fourth issue just came out this week.)\u003c/p>\n\u003cfigure id=\"attachment_13828682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-800x571.jpg\" alt=\"Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn't busy giving then to Black Panther fans.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-520x371.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn’t busy giving then to Black Panther fans. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Narcisse a Comic Con enthusiast? Do you have to ask? “The best part of the experience has been meeting people who are reading the work and enjoying it, but also I’m going to get the chance to moderate some panels with people whose work I’ve loved my entire life and enjoy what’s it’s like to be a nerd in 2018,” Narcisse told me.\u003c/p>\n\u003cp>He’ll probably also find a way to point out how the success of \u003cem>Black Panther\u003c/em> has dramatically proven, as he told me, “how if you give a wide latitude and agency to people of color — and black people, specifically — and trust and resources, you can reap similar benefits as what Marvel and Disney have.”\u003c/p>\n\u003cp>Silicon Valley Comic Con runs April 6-8 at the San Jose Convention Center. \u003ca href=\"http://www.svcomiccon.com\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Say hello to \u003ca href=\"http://www.svcomiccon.com/\" target=\"_blank\" rel=\"noopener\">Silicon Valley Comic Con 3.0\u003c/a>.\u003c/p>\n\u003cp>This weekend, the streets of downtown San Jose will be packed with science geeks. You’re probably thinking, “This is new, how?” Well, some of them will be wearing costumes. But also, this comic con is very much different from the others worldwide in the sense it’s the baby of The Woz, Steve Wozniak of Apple fame.\u003c/p>\n\u003cp>“From the very beginning we chose to incorporate science and technology as much as we focus on pop culture. There is this union between the two, but we extend that much further,” Silicon Valley Comic Con chairman Trip Hunter said.\u003c/p>\n\u003cp>Along those lines, Silicon Valley’s Comic Con goes to extra lengths to pay tribute to real world heroes whose names are not as familiar to the public as the stars of film and television. For example, astronaut Dr. Mae Jemison, the first African American woman to go into space, will give a talk about human interstellar travel, introduced by \u003cem>Star Trek’s\u003c/em> Nichelle Nichols, who was the first African American woman to travel to space on TV.\u003c/p>\n\u003cfigure id=\"attachment_13828679\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828679\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg\" alt=\"Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con.\" width=\"800\" height=\"661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-800x661.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-160x132.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-768x634.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1020x842.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1920x1586.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-1180x974.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-960x793.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-240x198.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-375x310.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1-520x429.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Woz_StanLee_OnStage1.jpg 2048w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Steve Wozniak and Stan Lee, two accomplished giants, one in technology, the other in science fiction, geek out at the Silicon Valley Comic Con. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“There are not that many public platforms for scientists delivering this size of a crowd,” Hunter noted, adding he feels a strong drive to inspire the event’s youngest attendees, from that 8-year-old experimenting with nuclear fission in his garage to that kid who just needs to know that science is cool.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Last year, at a panel called “Women in STEM,” astrophysicist \u003ca href=\"http://jannalevin.com\" target=\"_blank\" rel=\"noopener\">Janna Levin\u003c/a> spoke about black holes. Hunter thrills at the thought of the email he received afterward from a 15-year-old girl who wrote, “Until I went to that panel, I didn’t know what to do with my life.”\u003c/p>\n\u003cp>Hunter estimates the vast majority of the 60,000 people who annually attend are local. “90 percent California.” I’d add that 100 percent are from this galaxy, but who can tell when so many people are in costume?\u003c/p>\n\u003cp>So don’t get the idea science crowds out cos play and pop culture at SVCC. You can bet the blockbuster film \u003cem>Black Panther\u003c/em> is on everybody’s lips and there will be a capacity crowd to hear pop culture critic \u003ca href=\"http://www.svcomiccon.com/index.php/guest/evan-narcisse/\" target=\"_blank\" rel=\"noopener\">Evan Narcisse\u003c/a>, talk about writing for Marvel Comics, including the \u003cem>Rise of the Black Panther\u003c/em> series. (The fourth issue just came out this week.)\u003c/p>\n\u003cfigure id=\"attachment_13828682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828682\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-800x571.jpg\" alt=\"Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn't busy giving then to Black Panther fans.\" width=\"800\" height=\"571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-768x548.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-375x268.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/Evan20Narcisse20Black20Panther-520x371.jpg 520w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Evan Narcisse will probably be busy getting autographs at the Silicon Valley Comic Con, when he isn’t busy giving then to Black Panther fans. \u003ccite>(Photo: Courtesy of Silicon Valley Comic Con)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Is Narcisse a Comic Con enthusiast? Do you have to ask? “The best part of the experience has been meeting people who are reading the work and enjoying it, but also I’m going to get the chance to moderate some panels with people whose work I’ve loved my entire life and enjoy what’s it’s like to be a nerd in 2018,” Narcisse told me.\u003c/p>\n\u003cp>He’ll probably also find a way to point out how the success of \u003cem>Black Panther\u003c/em> has dramatically proven, as he told me, “how if you give a wide latitude and agency to people of color — and black people, specifically — and trust and resources, you can reap similar benefits as what Marvel and Disney have.”\u003c/p>\n\u003cp>Silicon Valley Comic Con runs April 6-8 at the San Jose Convention Center. \u003ca href=\"http://www.svcomiccon.com\" target=\"_blank\" rel=\"noopener\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just two years after K-pop was \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/13/462853390/responding-to-nuclear-test-s-korea-cranks-up-the-k-pop\" target=\"_blank\" rel=\"noopener\">deployed\u003c/a> as a soft weapon against his country, North Korean leader Kim Jong Un said he was “deeply moved” following a two-hour performance by South Korean artists, the North Korean state news agency \u003ca href=\"https://kcnawatch.co/newstream/1522666885-955577091/kim-jong-un-enjoys-performance-of-south-side-art-troupe/\" target=\"_blank\" rel=\"noopener\">KCNA reported Monday\u003c/a>.\u003c/p>\n\u003cp>South Korea’s 160-person delegation — which included the K-pop group Red Velvet and Cho Yong Pil, the last South Korean to have performed in the North, \u003ca href=\"https://www.npr.org/sections/parallels/2018/03/30/597872371/k-pop-stars-red-velvet-set-to-perform-in-pyongyang-this-weekend\">back in 2005\u003c/a> — were in the North Korean capital Pyongyang on Sunday to further stoke a warming of relations between the two countries, which have a summit planned for April 27.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WyiIGEHQP8o\u003c/p>\n\u003cp>Kim is the first North Korean leader to publicly attend a performance by South Korean artists in Pyongyang — Cho Yong Pil’s 2005 concert was broadcast on television in North Korea, but Kim Jong Un’s father Kim Jong Il reportedly \u003ca href=\"http://english.chosun.com/site/data/html_dir/2005/08/03/2005080361031.html\" target=\"_blank\" rel=\"noopener\">did not attend\u003c/a> — and was “particularly interested” in Red Velvet, a K-pop girl group, the publicly funded South Korean broadcaster \u003ca href=\"https://www.youtube.com/watch?v=CLoLxM0hd64\" target=\"_blank\" rel=\"noopener\">KBS reported\u003c/a>.\u003c/p>\n\u003cp>The performance was the latest public display in a diplomatic thaw between the two Koreas. In February, North Korea sent its own artistic olive branch to its southern neighbor, dispatching singers, dancers and an orchestra \u003ca href=\"https://www.nytimes.com/2018/02/08/world/asia/north-korea-orchestra-olympics.html\" target=\"_blank\" rel=\"noopener\">for a performance\u003c/a> celebrating the Winter Olympics in Pyeongchang.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>South Korea’s delegation arrived less than a week after Kim Jong Un was said to have left North Korea for the first time since assuming power in 2011, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/28/597507942/on-trip-to-china-north-koreas-leader-says-denuclearization-is-reachable\" target=\"_blank\" rel=\"noopener\">traveling to Beijing\u003c/a> for talks with President Xi Jinping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then there is the matter of the White House accepting an “invitation to talk, based on [North Korea] following through with concrete actions on the promises that they’ve made,” as White House Press Secretary Sarah Huckabee Sanders told reporters at \u003ca href=\"https://www.whitehouse.gov/briefings-statements/press-briefing-press-secretary-sarah-sanders-030918/\" target=\"_blank\" rel=\"noopener\">a briefing on March 9\u003c/a>. “This meeting [between President Trump and Kim Jong Un] won’t take place without concrete actions that match the promises that have been made by North Korea,” Sanders cautioned, citing the North’s promises around denuclearization. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kim+Jong+Un+Was+%27Deeply+Moved%27+After+K-Pop+Performance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just two years after K-pop was \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/13/462853390/responding-to-nuclear-test-s-korea-cranks-up-the-k-pop\" target=\"_blank\" rel=\"noopener\">deployed\u003c/a> as a soft weapon against his country, North Korean leader Kim Jong Un said he was “deeply moved” following a two-hour performance by South Korean artists, the North Korean state news agency \u003ca href=\"https://kcnawatch.co/newstream/1522666885-955577091/kim-jong-un-enjoys-performance-of-south-side-art-troupe/\" target=\"_blank\" rel=\"noopener\">KCNA reported Monday\u003c/a>.\u003c/p>\n\u003cp>South Korea’s 160-person delegation — which included the K-pop group Red Velvet and Cho Yong Pil, the last South Korean to have performed in the North, \u003ca href=\"https://www.npr.org/sections/parallels/2018/03/30/597872371/k-pop-stars-red-velvet-set-to-perform-in-pyongyang-this-weekend\">back in 2005\u003c/a> — were in the North Korean capital Pyongyang on Sunday to further stoke a warming of relations between the two countries, which have a summit planned for April 27.\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/WyiIGEHQP8o'\n title='//www.youtube.com/embed/WyiIGEHQP8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kim is the first North Korean leader to publicly attend a performance by South Korean artists in Pyongyang — Cho Yong Pil’s 2005 concert was broadcast on television in North Korea, but Kim Jong Un’s father Kim Jong Il reportedly \u003ca href=\"http://english.chosun.com/site/data/html_dir/2005/08/03/2005080361031.html\" target=\"_blank\" rel=\"noopener\">did not attend\u003c/a> — and was “particularly interested” in Red Velvet, a K-pop girl group, the publicly funded South Korean broadcaster \u003ca href=\"https://www.youtube.com/watch?v=CLoLxM0hd64\" target=\"_blank\" rel=\"noopener\">KBS reported\u003c/a>.\u003c/p>\n\u003cp>The performance was the latest public display in a diplomatic thaw between the two Koreas. In February, North Korea sent its own artistic olive branch to its southern neighbor, dispatching singers, dancers and an orchestra \u003ca href=\"https://www.nytimes.com/2018/02/08/world/asia/north-korea-orchestra-olympics.html\" target=\"_blank\" rel=\"noopener\">for a performance\u003c/a> celebrating the Winter Olympics in Pyeongchang.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>South Korea’s delegation arrived less than a week after Kim Jong Un was said to have left North Korea for the first time since assuming power in 2011, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/28/597507942/on-trip-to-china-north-koreas-leader-says-denuclearization-is-reachable\" target=\"_blank\" rel=\"noopener\">traveling to Beijing\u003c/a> for talks with President Xi Jinping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then there is the matter of the White House accepting an “invitation to talk, based on [North Korea] following through with concrete actions on the promises that they’ve made,” as White House Press Secretary Sarah Huckabee Sanders told reporters at \u003ca href=\"https://www.whitehouse.gov/briefings-statements/press-briefing-press-secretary-sarah-sanders-030918/\" target=\"_blank\" rel=\"noopener\">a briefing on March 9\u003c/a>. “This meeting [between President Trump and Kim Jong Un] won’t take place without concrete actions that match the promises that have been made by North Korea,” Sanders cautioned, citing the North’s promises around denuclearization. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Kim+Jong+Un+Was+%27Deeply+Moved%27+After+K-Pop+Performance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "When A Brand Does Well Even When It's Called 'Racist'",
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"content": "\u003cp>\u003cstrong>\u003cem>Warning\u003c/em>\u003c/strong>\u003cem>: This post contains language that some people may find offensive.\u003c/em>\u003c/p>\n\u003cp>“I think companies are purposely putting out noticably racist ads so they can get more views,” Chance the Rapper posted on \u003ca href=\"https://twitter.com/chancetherapper/status/978078809995046912\">Twitter\u003c/a> after seeing a recent ad for light beer.\u003c/p>\n\u003cp>https://twitter.com/chancetherapper/status/978078809995046912\u003c/p>\n\u003cp>In it, as reggae music plays, a light-skinned bartender slides a bottle across the bar, past three black people (one playing a guitar), to a light-skinned customer.\u003c/p>\n\u003cp>It ends with the tagline, “Sometimes, lighter is better.” The company Chance called out, Heineken, has since pulled the spot, globally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/g_u_-OD1_z0\u003c/p>\n\u003cp>Though it may have been lost amid the noise of media reactions to Chance’s recognition of what he saw as the ad’s racist subtext, which was then amplified by its subsequent disavowal by the company, Chance’s point was a good one.\u003c/p>\n\u003cp>In a statement provided to NPR, Heineken says it “missed the mark” but did not respond to a question about whether the ad was purposefully controversial.\u003c/p>\n\u003cp>In the end, it may not really matter. Could having a Grammy-winning artist pillory your brand for being racist actually be beneficial?\u003c/p>\n\u003cp>As the old adage goes, “All press is good press.”\u003c/p>\n\u003cp>In 2014, \u003ca href=\"http://www.adweek.com/digital/bad-news-negative-headlines-get-much-more-attention/\">\u003cem>Adweek\u003c/em> \u003c/a>looked at a study that suggested negative headlines — for instance, several media outlets reporting that a rap star accused a brand of being subtly racist — have a 63 percent higher click-through rate than positive ones.\u003c/p>\n\u003cp>A \u003ca href=\"http://www.pewinternet.org/2018/03/01/social-media-use-in-2018/\">recent study from the Pew Research Center \u003c/a>found that nearly a quarter of Americans are on Twitter and that more than two-thirds are on Facebook.\u003c/p>\n\u003cp>The combination presents a useful overlap for a brand, even if it is the subject of negative attention — if a “controversy” is stoked on Twitter, and news outlets are posting their articles about that controversy to Facebook, it’s reasonable to assume a large audience would be scooped into paying attention to it, relative to the one an ad could have hoped for in the first place. As a 2014 working paper from \u003ca href=\"https://www.hbs.edu/faculty/Publication%20Files/14-055_2ef21e7e-7529-4864-b0f0-c64e4169e17f.pdf\">Harvard Business School titled, “The Rising Cost of Consumer Attention.”\u003c/a> put it: “Before consumers can be affected by advertising messages, they need to first be paying attention.”\u003c/p>\n\u003cp>It later poses the question: “How can brands create ads so compelling that consumers actively seek them out?”\u003c/p>\n\u003cp>Chance’s tweet, and media coverage of it, presents one way. Remember: Fyre Festival, that doomed experiment in entrepreneurial and excess hubris, began as nothing more than an expensive social media marketing campaign.\u003c/p>\n\u003cp>Meanwhile, the fuzzy practice of translating the value of people seeing your advertisement versus reading about your company through an article, what is called “\u003ca href=\"http://apps.prsa.org/intelligence/businesscase/measurementresources/advertisingvalueequivalency/\">advertising value equivalency\u003c/a>,” is not particularly well-regarded by professionals and has largely fallen out of favor as a metric, according to the Public Relations Society of America. Moreover, advertising value equivalency relies on an outdated equation that depended on comparing the total square inches a brand would receive in a physical magazine and then extrapolating its value based on the advertising rates for that publication.\u003c/p>\n\u003cp>The sweet spot, regardless, would be media coverage \u003cem>of\u003c/em> a brand’s advertisement — just as Chance pointed out.\u003c/p>\n\u003cp>There are recent-ish examples of a similar situation. Last fall, a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556523422/dove-expresses-regret-for-ad-that-missed-the-mark.\">soap brand was forced to express\u003c/a>, like Heineken, its “regret” over a racially insensitive ad showing a black person washing her skin and revealing it to be white. A year ago, Pepsi’s grandiose ad featuring Kendall Jenner was so \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\">laughably out-of-touch\u003c/a> that its rollout was halted, all but forcing \u003cem>Saturday Night Live\u003c/em> to parody it. And on Wednesday, an egregious example from Groupon was \u003ca href=\"https://www.cosmopolitan.com/lifestyle/a19619963/groupon-racial-slur-boots-ad/\">added to the pile\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/Pn8pwoNWseM\u003c/p>\n\u003cp>In a media landscape with only one common denominator — fragmentation — getting people’s shattered attention spans to focus on one place for any amount of time is a win. Even if that win is \u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">achieved by failing\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”JSAzu4oJNTLLeWwE0smS7hyeN4MglWHJ”]\u003c/p>\n\u003cp>“In truth, it might not matter whether they ‘meant; to do this or not, when the outcome is the same,” writes Ian Bogost, an editor at \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/04/pepsi-ad-success/522021/\">The Atlantic \u003c/a>and a media studies professor, in an email to NPR Music. “The commercial probably had a much greater effect even though it was technically pulled than it might have had otherwise.”\u003c/p>\n\u003cp>Bogost had similar thoughts around Pepsi’s own experience with failing upwards last year.\u003c/p>\n\u003cp>“It’s a trap: Let the ad lie and risk its seemingly racist message to continue,” Bogost says, “or draw attention to it and spread the marketing message far further than it would have reached. There’s no good move.”\u003c/p>\n\u003cp>“I didnt wanna tweet about it so bad … but its like how can u not,” Chance \u003ca href=\"https://twitter.com/chancetherapper/status/978082289207988231\">wrote\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday morning, Heineken stock was up — that isn’t proof that it was positively impacted by the controversy, but it certainly shows it wasn’t hurt by it. Late capitalism is strange sometimes.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+A+Brand+Does+Well+Even+When+It%27s+Called+%27Racist%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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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/g_u_-OD1_z0'\n title='//www.youtube.com/embed/g_u_-OD1_z0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though it may have been lost amid the noise of media reactions to Chance’s recognition of what he saw as the ad’s racist subtext, which was then amplified by its subsequent disavowal by the company, Chance’s point was a good one.\u003c/p>\n\u003cp>In a statement provided to NPR, Heineken says it “missed the mark” but did not respond to a question about whether the ad was purposefully controversial.\u003c/p>\n\u003cp>In the end, it may not really matter. Could having a Grammy-winning artist pillory your brand for being racist actually be beneficial?\u003c/p>\n\u003cp>As the old adage goes, “All press is good press.”\u003c/p>\n\u003cp>In 2014, \u003ca href=\"http://www.adweek.com/digital/bad-news-negative-headlines-get-much-more-attention/\">\u003cem>Adweek\u003c/em> \u003c/a>looked at a study that suggested negative headlines — for instance, several media outlets reporting that a rap star accused a brand of being subtly racist — have a 63 percent higher click-through rate than positive ones.\u003c/p>\n\u003cp>A \u003ca href=\"http://www.pewinternet.org/2018/03/01/social-media-use-in-2018/\">recent study from the Pew Research Center \u003c/a>found that nearly a quarter of Americans are on Twitter and that more than two-thirds are on Facebook.\u003c/p>\n\u003cp>The combination presents a useful overlap for a brand, even if it is the subject of negative attention — if a “controversy” is stoked on Twitter, and news outlets are posting their articles about that controversy to Facebook, it’s reasonable to assume a large audience would be scooped into paying attention to it, relative to the one an ad could have hoped for in the first place. As a 2014 working paper from \u003ca href=\"https://www.hbs.edu/faculty/Publication%20Files/14-055_2ef21e7e-7529-4864-b0f0-c64e4169e17f.pdf\">Harvard Business School titled, “The Rising Cost of Consumer Attention.”\u003c/a> put it: “Before consumers can be affected by advertising messages, they need to first be paying attention.”\u003c/p>\n\u003cp>It later poses the question: “How can brands create ads so compelling that consumers actively seek them out?”\u003c/p>\n\u003cp>Chance’s tweet, and media coverage of it, presents one way. Remember: Fyre Festival, that doomed experiment in entrepreneurial and excess hubris, began as nothing more than an expensive social media marketing campaign.\u003c/p>\n\u003cp>Meanwhile, the fuzzy practice of translating the value of people seeing your advertisement versus reading about your company through an article, what is called “\u003ca href=\"http://apps.prsa.org/intelligence/businesscase/measurementresources/advertisingvalueequivalency/\">advertising value equivalency\u003c/a>,” is not particularly well-regarded by professionals and has largely fallen out of favor as a metric, according to the Public Relations Society of America. Moreover, advertising value equivalency relies on an outdated equation that depended on comparing the total square inches a brand would receive in a physical magazine and then extrapolating its value based on the advertising rates for that publication.\u003c/p>\n\u003cp>The sweet spot, regardless, would be media coverage \u003cem>of\u003c/em> a brand’s advertisement — just as Chance pointed out.\u003c/p>\n\u003cp>There are recent-ish examples of a similar situation. Last fall, a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556523422/dove-expresses-regret-for-ad-that-missed-the-mark.\">soap brand was forced to express\u003c/a>, like Heineken, its “regret” over a racially insensitive ad showing a black person washing her skin and revealing it to be white. A year ago, Pepsi’s grandiose ad featuring Kendall Jenner was so \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\">laughably out-of-touch\u003c/a> that its rollout was halted, all but forcing \u003cem>Saturday Night Live\u003c/em> to parody it. And on Wednesday, an egregious example from Groupon was \u003ca href=\"https://www.cosmopolitan.com/lifestyle/a19619963/groupon-racial-slur-boots-ad/\">added to the pile\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/Pn8pwoNWseM'\n title='//www.youtube.com/embed/Pn8pwoNWseM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a media landscape with only one common denominator — fragmentation — getting people’s shattered attention spans to focus on one place for any amount of time is a win. Even if that win is \u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">achieved by failing\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“In truth, it might not matter whether they ‘meant; to do this or not, when the outcome is the same,” writes Ian Bogost, an editor at \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/04/pepsi-ad-success/522021/\">The Atlantic \u003c/a>and a media studies professor, in an email to NPR Music. “The commercial probably had a much greater effect even though it was technically pulled than it might have had otherwise.”\u003c/p>\n\u003cp>Bogost had similar thoughts around Pepsi’s own experience with failing upwards last year.\u003c/p>\n\u003cp>“It’s a trap: Let the ad lie and risk its seemingly racist message to continue,” Bogost says, “or draw attention to it and spread the marketing message far further than it would have reached. There’s no good move.”\u003c/p>\n\u003cp>“I didnt wanna tweet about it so bad … but its like how can u not,” Chance \u003ca href=\"https://twitter.com/chancetherapper/status/978082289207988231\">wrote\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday morning, Heineken stock was up — that isn’t proof that it was positively impacted by the controversy, but it certainly shows it wasn’t hurt by it. Late capitalism is strange sometimes.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=When+A+Brand+Does+Well+Even+When+It%27s+Called+%27Racist%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>March 22-May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828213/walking-a-mile-in-iron-shoes-at-shotgun-players\" target=\"_blank\" rel=\"noopener\">Deconstructing folk tales in the play \u003cem>Iron Shoes\u003c/em> at the Shotgun Players\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 5-8: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">The Bay Area’s Meklit Hadero and Mali’s Fatoumata Diawara \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">take the lead in a mini-fest of music of the African diaspora at SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Shoutouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 8 & 12\u003c/strong>: \u003ca href=\"https://www.livenation.com/artists/200262/gloria-trevi-alejandra-guzman\" target=\"_blank\" rel=\"noopener\">Exuberant Mexican Pop from Gloria Trevi and Alejandra Guzmán at the SAP Center and Golden 1 Center \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.phenomenal-anomalies.org/upcoming/\" target=\"_blank\" rel=\"noopener\">The Phenomenal Anomalies do a free dance performance on the Lincoln Steps in San Francisco \u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Theater and music guy Eli Wirtschafter joins me this week as co-host on The Do List, as we celebrate female trios: the three folk singer-songwriters of I’m With Her, the new play from 3Girls Theater Company, the three women singing of the African diaspora at SFJAZZ, and the three girls in iron shoes in a new play at Shotgun. Plus we cover the SF International Film Festival. We hope you like the show, times three.\u003c/p>\n\u003cp>\u003cstrong>April 3 and 4:\u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828123/three-voices-become-one-for-the-singer-songwriters-of-im-with-her\" target=\"_blank\" rel=\"noopener\"> The trio I’m With Her work in perfect harmony in two Bay Area appearances\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 4-17:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828178/bay-area-filmmakers-well-represented-at-the-sf-international-film-festival\" target=\"_blank\" rel=\"noopener\">Plenty of Bay Area movies at the San Francisco International Film Festival \u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Feb. 21-April 29: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828198/vietgone-mines-laughs-and-insight-from-the-lives-of-vietnamese-refugees\" target=\"_blank\" rel=\"noopener\">Humor and heartache in the lives of Vietnamese refugees in the play \u003cem>Vietgone \u003c/em> at ACT’s Strand Theater\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 6-28:\u003c/strong> \u003ca href=\"https://www.kqed.org/arts/13828207/disruption-flips-the-script-on-sexual-harassment\" target=\"_blank\" rel=\"noopener\">The play \u003cem>Disruption\u003c/em> examines sexual harassment from a male employee’s point of view at 3Girls Theater Co.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 22-May 6: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828213/walking-a-mile-in-iron-shoes-at-shotgun-players\" target=\"_blank\" rel=\"noopener\">Deconstructing folk tales in the play \u003cem>Iron Shoes\u003c/em> at the Shotgun Players\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>April 5-8: \u003c/strong>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">The Bay Area’s Meklit Hadero and Mali’s Fatoumata Diawara \u003c/a>\u003ca href=\"https://www.kqed.org/arts/13828139/african-diaspora-showcase-features-music-from-mali-ethiopia-and-cuba\" target=\"_blank\" rel=\"noopener\">take the lead in a mini-fest of music of the African diaspora at SFJAZZ\u003c/a>\u003c/p>\n\u003cp>\u003cstrong>Shoutouts:\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>April 8 & 12\u003c/strong>: \u003ca href=\"https://www.livenation.com/artists/200262/gloria-trevi-alejandra-guzman\" target=\"_blank\" rel=\"noopener\">Exuberant Mexican Pop from Gloria Trevi and Alejandra Guzmán at the SAP Center and Golden 1 Center \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>March 31:\u003c/strong> \u003ca href=\"https://www.phenomenal-anomalies.org/upcoming/\" target=\"_blank\" rel=\"noopener\">The Phenomenal Anomalies do a free dance performance on the Lincoln Steps in San Francisco \u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>We treasure folk and fairy tales for the insights into our culture that they provide. Disney bowdlerizes and makes movies out of these tales, and we put our children to sleep with them, even though they’re often weird, terrifying, and sexist. So maybe it’s no surprise that the Shotgun Players is presenting the world premiere of \u003cem>Iron Shoes\u003c/em>, a musical deconstruction of three Eastern European folk tales about girls forced to wander the world and wear out a pair (or three pair) of iron shoes, in order to be reunited with a lover or family. The project got its start when Janet Kutulus of the Bay Area’s Kitka, the all woman Balkan music chorus, wrote a song cycle based on the stories. Kutulus then hooked up with director-choreographer Erika Chong Shuch and writer Michelle Carter to put the stories and music on stage. Shuch says the idea was to reevaluate these tales where the girls are powerless, the step-sisters are cruel and the parents are indifferent; and how the storyteller becomes complicit in the suffering.\u003c/p>\n\u003cfigure id=\"attachment_13828222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg\" alt=\"The cast confronts the narrator, Beth Wilmurt, in 'Iron Shoes' at the Shotgun Players in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast confronts the narrator, Beth Wilmurt, in ‘Iron Shoes’ at the Shotgun Players in Berkeley \u003ccite>(Ben Krantz/Shotgun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So we started thinking a lot about narration, and who has the right to tell these stories,” Shuch told me backstage at the theater a few days ago. “And for the girls in iron shoes, other people have been telling their stories. But what kind of shift would happen if the person telling their story, actually had to live thru what they lived through?”\u003c/p>\n\u003cp>There’s lots of humor in \u003cem>Iron Shoes\u003c/em>, despite the post-modern approach. And I found the play, especially the music and dance, deeply moving. And what’s best in \u003cem>Iron Shoes\u003c/em>, is the way it asks what it means to be a sympathetic, empathetic person, even when telling a tragic tale. \u003c/p>\n\u003cp>\u003cem>Iron Shoes\u003c/em> continues at The Shotgun Players at the Ashby Stage through May 6.\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=F72CB6B5-F471-4D48-BA66-D1C249384EAD&menu_id=A9AA731D-A9E2-4E77-ACBB-FF92411BD789&sToken=1%2C890f02ad%2C5abc185b%2C5E2DAF7C-963A-404C-BDA5-8A931B530D2B%2C1Iy0mbR72EO9uySw4KmSI5AKUVM%3D\" target=\"_blank\" rel=\"noopener\"> Details here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_iaxZEfaL50&list=RDEMLm35Se_-DS4rb606Go27tg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We treasure folk and fairy tales for the insights into our culture that they provide. Disney bowdlerizes and makes movies out of these tales, and we put our children to sleep with them, even though they’re often weird, terrifying, and sexist. So maybe it’s no surprise that the Shotgun Players is presenting the world premiere of \u003cem>Iron Shoes\u003c/em>, a musical deconstruction of three Eastern European folk tales about girls forced to wander the world and wear out a pair (or three pair) of iron shoes, in order to be reunited with a lover or family. The project got its start when Janet Kutulus of the Bay Area’s Kitka, the all woman Balkan music chorus, wrote a song cycle based on the stories. Kutulus then hooked up with director-choreographer Erika Chong Shuch and writer Michelle Carter to put the stories and music on stage. Shuch says the idea was to reevaluate these tales where the girls are powerless, the step-sisters are cruel and the parents are indifferent; and how the storyteller becomes complicit in the suffering.\u003c/p>\n\u003cfigure id=\"attachment_13828222\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13828222\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg\" alt=\"The cast confronts the narrator, Beth Wilmurt, in 'Iron Shoes' at the Shotgun Players in Berkeley\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/The-cast-confronts-the-narrator-in-Iron-Shoes-at-the-Shotgun-Players-in-Berkeley.jpg 1200w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The cast confronts the narrator, Beth Wilmurt, in ‘Iron Shoes’ at the Shotgun Players in Berkeley \u003ccite>(Ben Krantz/Shotgun)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“So we started thinking a lot about narration, and who has the right to tell these stories,” Shuch told me backstage at the theater a few days ago. “And for the girls in iron shoes, other people have been telling their stories. But what kind of shift would happen if the person telling their story, actually had to live thru what they lived through?”\u003c/p>\n\u003cp>There’s lots of humor in \u003cem>Iron Shoes\u003c/em>, despite the post-modern approach. And I found the play, especially the music and dance, deeply moving. And what’s best in \u003cem>Iron Shoes\u003c/em>, is the way it asks what it means to be a sympathetic, empathetic person, even when telling a tragic tale. \u003c/p>\n\u003cp>\u003cem>Iron Shoes\u003c/em> continues at The Shotgun Players at the Ashby Stage through May 6.\u003ca href=\"https://shotgunplayers.org/Online/default.asp?doWork::WScontent::loadArticle=Load&BOparam::WScontent::loadArticle::article_id=F72CB6B5-F471-4D48-BA66-D1C249384EAD&menu_id=A9AA731D-A9E2-4E77-ACBB-FF92411BD789&sToken=1%2C890f02ad%2C5abc185b%2C5E2DAF7C-963A-404C-BDA5-8A931B530D2B%2C1Iy0mbR72EO9uySw4KmSI5AKUVM%3D\" 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/_iaxZEfaL50'\n title='//www.youtube.com/embed/_iaxZEfaL50'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Prince Died With 'Exceedingly High' Level Of Fentanyl, Report States",
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"content": "\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
"id": "how-i-built-this",
"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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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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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",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"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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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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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/",
"meta": {
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"source": "npr"
},
"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": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"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"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"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/",
"meta": {
"site": "news",
"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",
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