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"slug": "cy-and-sarahs-picks-a-tale-of-four-immigrants-photos-of-injustice-and-a-musical-company-store",
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"content": "\u003cp>My co-host this week is Sarah Sexton, an Oakland music promoter, founder of the record label \u003ca href=\"http://oaktownindiemayhem.com/\" target=\"_blank\" rel=\"noopener\">Oakland Indie Mayhem\u003c/a>, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">one of KQED’s ‘Women to Watch’\u003c/a> in 2016. The best part of doing the show with Sarah? We got to take an audio field trip to the Oakland Museum for \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener\">the Dorothea Lange show \u003cem>Politics of Seeing\u003c/em>\u003c/a>. Read on for more.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=R0flGuje298\u003c/p>\n\u003cp>\u003cstrong>July 8:\u003c/strong> Madeline Kenney (video above) is an Oakland baker, cartoon enthusiast, musician, and one of the headliners for Company Pop, a showcase and pop-up store for \u003ca href=\"http://companyrecordlabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Company Records \u003c/a>and its artists. Company Pop was founded by Berkeley’s Chaz Bundick, of the band \u003ca href=\"http://toroymoi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>, and features Bundick’s side projects such as Les Sins and collaborations with \u003ca href=\"http://www.mattson2.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mattson 2\u003c/a> and others — the roster is a diverse mix of indie rock, pop and jazz. The city of Berkeley recently celebrated Bundick by \u003ca href=\"http://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">giving him a day in his honor\u003c/a>, so we’re happy they’re sharing him with Oakland for this show featuring music, art giveaways and video projections at the \u003ca href=\"https://www.facebook.com/pg/starlinesocialclub/events/?ref=page_internal\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> on Saturday. \u003ca href=\"https://www.eventbrite.com/e/company-pop-showcase-featuring-toro-y-moi-dj-set-astronauts-etc-dj-set-vinyl-williams-madeline-tickets-35243433057\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Zg-sqo3awkg\u003c/p>\n\u003cp>\u003cstrong>July 13:\u003c/strong> The Quebe Sisters, out of Texas, are three young women who play fiddle and harmonize in a stylistic blend of Bob Wills and the Lennon Sisters. Like Wills, they mix country, jazz, and a little bit of bluegrass into an upbeat sound. My wife is a huge fan, so we’ll be at one of these shows. Details for their appearance at the Sierra Nevada Big Room in Chico on Tuesday July 11 \u003ca href=\"http://www.sierranevada.com/brewery/california/big-room\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>. Then they play Freight and Salvage in Berkeley on Thursday, July 13 (\u003ca href=\"http://thefreight.org/quebe-sisters\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>), or catch them Friday, July 14, on the plaza in Cloverdale for a free show. \u003ca href=\"http://www.cloverdaleartsalliance.org/fnlmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13594147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594147\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg\" alt=\"Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in the 'Four Immigrants, an American Musical Manga\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in ‘Four Immigrants, an American Musical Manga.’ \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 12–Aug. 6:\u003c/strong> Theatreworks founder and Artistic Director Robert Kelley never met a musical he didn’t like, so it’s no surprise to find him greenlighting a full production of \u003cem>The Four Immigrants, an American Musical Manga\u003c/em>, a play developed at the company’s New Works Festival last year.\u003c/p>\n\u003cfigure id=\"attachment_13594149\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594149\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg\" alt=\"An original illustration from the graphic novel 'The Four Immigrants' by Henry Kiyama, translated by Frederik L. Schodt\" width=\"800\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1920x1611.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1180x990.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-960x805.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-375x315.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-520x436.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An original illustration from the graphic novel ‘The Four Immigrants’ by Henry Kiyama, translated by Frederik L. Schodt. \u003ccite>(Photo: Courtesy of Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playwright \u003ca href=\"http://www.minkahng.com/4imm/\" target=\"_blank\" rel=\"noopener noreferrer\">Min Kahng \u003c/a>of Alameda based the musical \u003ca href=\"https://en.wikipedia.org/wiki/The_Four_Immigrants_Manga\" target=\"_blank\" rel=\"noopener noreferrer\">on a graphic novel written by Henry Kiyama\u003c/a> in 1931, based on his own experiences in San Francisco in the early 20th century, a period that covered the 1906 earthquake, the 1918 flu epidemic, and the Panama-Pacific International Exposition. The show promises to be both a celebration of the way immigrants have always believed in the American dream, but also a cautionary tale of how unwelcoming the United States has been for many Asian-Americans and other immigrants. \u003ca href=\"https://www.theatreworks.org/201718-season/201718-season/the-four-immigrants/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg\" alt='\"Crossroads, General Store, North Carolina,\" by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California' width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1920x1242.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-520x336.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Crossroads, General Store, North Carolina,” by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California. \u003ccite>(Photo: Dorothea Lange Courtesy of the Oakland Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>\u003cem>Dorothea Lange: Politics of\u003c/em>\u003cbr>\n\u003cem> Seeing \u003c/em>is an exhibit showing that Lange, a journalist famous for her Depression era photos, was always working to fight injustice in her documentary work — whether covering poverty in the south (see above), migrants leaving the Midwest for California, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener noreferrer\">Japanese-Americans facing internment\u003c/a>, or Public Defenders working for indigent clients. The pictures are always beautifully shot and framed, but for Lange, they only mattered if they provoked the viewer and brought reform. The show also shows how Lange influenced other photojournalists to expose poverty and injustice, among them Ken Light, who’s taught for years at the Journalism school at Cal Berkeley. Details for the exhibition at the Oakland Museum of California are \u003ca href=\"http://museumca.org/exhibit/dorothea-lange-politics-seeing\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0BRegAkk1A4\u003c/p>\n\u003cp>\u003cstrong>July 13\u003c/strong>: Tall Black Guy is a beat maker and music producer out of Chicago. His music is often in a laid-back groove, and remixes artists both well-known and obscure, including Sade and the South African singer Moonchild. Sarah says she likes how he tells a story through his beats and samples. And his tracks often tackle deep issues such as racism, inequality and privilege. Details for his show Thursday at the Continental Bar and Lounge in San Jose \u003ca href=\"https://www.facebook.com/events/1695706470738563/?__xt__=33.%7B%22logging_data%22%3A%7B%22profile_id%22%3A1695706470738563%2C%22event_type%22%3A%22clicked_view_profile%22%2C%22impression_info%22%3A%22eyJmIjp7InN0eWxlIjoiMzUiLCJwYWdlX2lkIjoiMTUzMjEyMjA0ODE5NDU2IiwicmVxdWVzdF9pZCI6Ik5qazVNek0zT1RjekxUQXVOemd3TkRJME1EQWdNVFE1T1RJNU9ETTBOeTB4TVRZME16VXlOVFExIn19%22%2C%22surface%22%3A%22www_pages_home%22%2C%22interacted_story_type%22%3A%22509240112603598%22%2C%22session_id%22%3A%22e35b7ded23b17bd1447db3fe3c0467c0%22%7D%7D\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593444\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg\" alt=\"KQED's Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to Sarah Sexton for co-hosting this week’s show!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>My co-host this week is Sarah Sexton, an Oakland music promoter, founder of the record label \u003ca href=\"http://oaktownindiemayhem.com/\" target=\"_blank\" rel=\"noopener\">Oakland Indie Mayhem\u003c/a>, and \u003ca href=\"https://ww2.kqed.org/arts/2016/07/21/women-to-watch-sarah-sexton/\" target=\"_blank\" rel=\"noopener\">one of KQED’s ‘Women to Watch’\u003c/a> in 2016. The best part of doing the show with Sarah? We got to take an audio field trip to the Oakland Museum for \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener\">the Dorothea Lange show \u003cem>Politics of Seeing\u003c/em>\u003c/a>. Read on for more.\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/R0flGuje298'\n title='//www.youtube.com/embed/R0flGuje298'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 8:\u003c/strong> Madeline Kenney (video above) is an Oakland baker, cartoon enthusiast, musician, and one of the headliners for Company Pop, a showcase and pop-up store for \u003ca href=\"http://companyrecordlabel.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Company Records \u003c/a>and its artists. Company Pop was founded by Berkeley’s Chaz Bundick, of the band \u003ca href=\"http://toroymoi.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Toro Y Moi\u003c/a>, and features Bundick’s side projects such as Les Sins and collaborations with \u003ca href=\"http://www.mattson2.com/\" target=\"_blank\" rel=\"noopener noreferrer\">The Mattson 2\u003c/a> and others — the roster is a diverse mix of indie rock, pop and jazz. The city of Berkeley recently celebrated Bundick by \u003ca href=\"http://pitchfork.com/news/toro-y-moi-honored-in-berkeley-with-chaz-bundick-day/\" target=\"_blank\" rel=\"noopener\">giving him a day in his honor\u003c/a>, so we’re happy they’re sharing him with Oakland for this show featuring music, art giveaways and video projections at the \u003ca href=\"https://www.facebook.com/pg/starlinesocialclub/events/?ref=page_internal\" target=\"_blank\" rel=\"noopener noreferrer\">Starline Social Club\u003c/a> on Saturday. \u003ca href=\"https://www.eventbrite.com/e/company-pop-showcase-featuring-toro-y-moi-dj-set-astronauts-etc-dj-set-vinyl-williams-madeline-tickets-35243433057\" target=\"_blank\" rel=\"noopener noreferrer\">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/Zg-sqo3awkg'\n title='//www.youtube.com/embed/Zg-sqo3awkg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 13:\u003c/strong> The Quebe Sisters, out of Texas, are three young women who play fiddle and harmonize in a stylistic blend of Bob Wills and the Lennon Sisters. Like Wills, they mix country, jazz, and a little bit of bluegrass into an upbeat sound. My wife is a huge fan, so we’ll be at one of these shows. Details for their appearance at the Sierra Nevada Big Room in Chico on Tuesday July 11 \u003ca href=\"http://www.sierranevada.com/brewery/california/big-room\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>. Then they play Freight and Salvage in Berkeley on Thursday, July 13 (\u003ca href=\"http://thefreight.org/quebe-sisters\" target=\"_blank\" rel=\"noopener noreferrer\">details here\u003c/a>), or catch them Friday, July 14, on the plaza in Cloverdale for a free show. \u003ca href=\"http://www.cloverdaleartsalliance.org/fnlmusic/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13594147\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594147\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg\" alt=\"Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in the 'Four Immigrants, an American Musical Manga\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1920x1081.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-e1499299167585-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Charlie (Hansel Tan), Fred (Sean Fenton), Frank (Phil Wong), and Henry (James Seol) arrive in San Francisco in ‘Four Immigrants, an American Musical Manga.’ \u003ccite>(Photo: Kevin Berne/Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 12–Aug. 6:\u003c/strong> Theatreworks founder and Artistic Director Robert Kelley never met a musical he didn’t like, so it’s no surprise to find him greenlighting a full production of \u003cem>The Four Immigrants, an American Musical Manga\u003c/em>, a play developed at the company’s New Works Festival last year.\u003c/p>\n\u003cfigure id=\"attachment_13594149\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13594149\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg\" alt=\"An original illustration from the graphic novel 'The Four Immigrants' by Henry Kiyama, translated by Frederik L. Schodt\" width=\"800\" height=\"671\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-800x671.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-160x134.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-768x644.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1020x856.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1920x1611.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-1180x990.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-960x805.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-240x201.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-375x315.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/The-Four-Immigrants-Illustration-520x436.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">An original illustration from the graphic novel ‘The Four Immigrants’ by Henry Kiyama, translated by Frederik L. Schodt. \u003ccite>(Photo: Courtesy of Theatreworks)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Playwright \u003ca href=\"http://www.minkahng.com/4imm/\" target=\"_blank\" rel=\"noopener noreferrer\">Min Kahng \u003c/a>of Alameda based the musical \u003ca href=\"https://en.wikipedia.org/wiki/The_Four_Immigrants_Manga\" target=\"_blank\" rel=\"noopener noreferrer\">on a graphic novel written by Henry Kiyama\u003c/a> in 1931, based on his own experiences in San Francisco in the early 20th century, a period that covered the 1906 earthquake, the 1918 flu epidemic, and the Panama-Pacific International Exposition. The show promises to be both a celebration of the way immigrants have always believed in the American dream, but also a cautionary tale of how unwelcoming the United States has been for many Asian-Americans and other immigrants. \u003ca href=\"https://www.theatreworks.org/201718-season/201718-season/the-four-immigrants/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593838\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593838\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg\" alt='\"Crossroads, General Store, North Carolina,\" by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California' width=\"800\" height=\"517\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-800x517.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-768x497.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1020x660.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1920x1242.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-1180x763.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-960x621.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-240x155.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-375x243.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Crossroads-General-Store-North-Carolina-1938-e1499295357772-520x336.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Crossroads, General Store, North Carolina,” by Dorothea Lange, part of the show ‘Politics of Seeing‘ at the Oakland Museum of California. \u003ccite>(Photo: Dorothea Lange Courtesy of the Oakland Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Continuing through Aug. 13: \u003c/strong>\u003cem>Dorothea Lange: Politics of\u003c/em>\u003cbr>\n\u003cem> Seeing \u003c/em>is an exhibit showing that Lange, a journalist famous for her Depression era photos, was always working to fight injustice in her documentary work — whether covering poverty in the south (see above), migrants leaving the Midwest for California, \u003ca href=\"https://ww2.kqed.org/arts/2017/05/10/once-suppressed-dorothea-lange-photographs-capture-wartime-paranoia/\" target=\"_blank\" rel=\"noopener noreferrer\">Japanese-Americans facing internment\u003c/a>, or Public Defenders working for indigent clients. The pictures are always beautifully shot and framed, but for Lange, they only mattered if they provoked the viewer and brought reform. The show also shows how Lange influenced other photojournalists to expose poverty and injustice, among them Ken Light, who’s taught for years at the Journalism school at Cal Berkeley. Details for the exhibition at the Oakland Museum of California are \u003ca href=\"http://museumca.org/exhibit/dorothea-lange-politics-seeing\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/0BRegAkk1A4'\n title='//www.youtube.com/embed/0BRegAkk1A4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 13\u003c/strong>: Tall Black Guy is a beat maker and music producer out of Chicago. His music is often in a laid-back groove, and remixes artists both well-known and obscure, including Sade and the South African singer Moonchild. Sarah says she likes how he tells a story through his beats and samples. And his tracks often tackle deep issues such as racism, inequality and privilege. Details for his show Thursday at the Continental Bar and Lounge in San Jose \u003ca href=\"https://www.facebook.com/events/1695706470738563/?__xt__=33.%7B%22logging_data%22%3A%7B%22profile_id%22%3A1695706470738563%2C%22event_type%22%3A%22clicked_view_profile%22%2C%22impression_info%22%3A%22eyJmIjp7InN0eWxlIjoiMzUiLCJwYWdlX2lkIjoiMTUzMjEyMjA0ODE5NDU2IiwicmVxdWVzdF9pZCI6Ik5qazVNek0zT1RjekxUQXVOemd3TkRJME1EQWdNVFE1T1RJNU9ETTBOeTB4TVRZME16VXlOVFExIn19%22%2C%22surface%22%3A%22www_pages_home%22%2C%22interacted_story_type%22%3A%22509240112603598%22%2C%22session_id%22%3A%22e35b7ded23b17bd1447db3fe3c0467c0%22%7D%7D\" target=\"_blank\" rel=\"noopener noreferrer\">are here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13593444\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13593444\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg\" alt=\"KQED's Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Image-uploaded-from-iOS-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">KQED’s Cy Musiker and music producer Sarah Sexton at the Dorothea Lange show at the Oakland Museum of California. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Thanks to Sarah Sexton for co-hosting this week’s show!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" 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>The photo is haunting. Among a number of figures gathered on a dock, the fuzzy image seems to be that of a woman, her back to the camera, gazing at what may be her crippled aircraft loaded on a barge, and perhaps wondering what her future might hold.\u003c/p>\n\u003cp>Is this Amelia Earhart, the world-famous aviator, witnessed after her mysterious disappearance while attempting the first round-the-world flight 80 years ago this month?\u003c/p>\n\u003cp>That is the theory put forth in \u003cem>Amelia Earhart: The Lost Evidence\u003c/em>, a two-hour documentary airing Sunday on the History channel. It uncovers records, including this newly revealed photograph that shows what may be a healthy Earhart along with her navigator Fred Noonan, after they were last heard from.\u003c/p>\n\u003cp>The film also argues that after the pair crash-landed in the Japanese-held Marshall Islands, they were picked up by the Japanese military and that Earhart, perhaps presumed to be a U.S. spy, was held prisoner.\u003c/p>\n\u003cp>And there’s more: the United States government knew of her whereabouts and did nothing to rescue her, according to the film.\u003c/p>\n\u003cfigure id=\"attachment_13594146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg\" alt=\"Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \" width=\"800\" height=\"622\" class=\"size-medium wp-image-13594146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1180x918.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-960x747.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \u003ccite>(Courtesy of the National Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The disappearance of Earhart and Noonan on July 2, 1937, in the Western Pacific Ocean has gained legendary status among the age’s unsolved mysteries.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>By then she had already logged numerous aviation feats, including that of being the first woman to fly solo across the Atlantic Ocean in 1932. She reigned as an international hero.\u003c/p>\n\u003cp>And yet the U.S. government closed the book on its investigation just two weeks after her disappearance. Its vaguely worded findings were inconclusive.\u003c/p>\n\u003cp>Was there a cover-up? The film proposes there was.\u003c/p>\n\u003cp>The documentary is hosted by former FBI Executive Assistant Director Shawn Henry, whose fascination with the case is equaled by former U.S. Treasury Agent Les Kinney, who discovered the photo hidden and mislabeled in the U.S. National Archives.\u003c/p>\n\u003cp>In the documentary, that photo is subjected to facial-recognition and other forensic testing. It is judged authentic, and likely that of Earhart and Noonan.\u003c/p>\n\u003cp>The film also displays plane parts found in an uninhabited island of the Marshall Islands by Earhart investigator Dick Spink that are consistent with the aircraft that Earhart was flying on her round-the-world attempt. And it hears from the last living eyewitness who claims to have seen Earhart and Noonan after their crash.\u003c/p>\n\u003cp>The documentary tells of “a world-famous aviator who got caught up in an international dispute, was abandoned by her own government, and made the ultimate sacrifice,” Henry sums up. “She may very well be the first casualty of World War II.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>_____\u003cbr>\nOnline: http://www.history.com/specials/amelia-earhart-the-lost-evidence\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The photo is haunting. Among a number of figures gathered on a dock, the fuzzy image seems to be that of a woman, her back to the camera, gazing at what may be her crippled aircraft loaded on a barge, and perhaps wondering what her future might hold.\u003c/p>\n\u003cp>Is this Amelia Earhart, the world-famous aviator, witnessed after her mysterious disappearance while attempting the first round-the-world flight 80 years ago this month?\u003c/p>\n\u003cp>That is the theory put forth in \u003cem>Amelia Earhart: The Lost Evidence\u003c/em>, a two-hour documentary airing Sunday on the History channel. It uncovers records, including this newly revealed photograph that shows what may be a healthy Earhart along with her navigator Fred Noonan, after they were last heard from.\u003c/p>\n\u003cp>The film also argues that after the pair crash-landed in the Japanese-held Marshall Islands, they were picked up by the Japanese military and that Earhart, perhaps presumed to be a U.S. spy, was held prisoner.\u003c/p>\n\u003cp>And there’s more: the United States government knew of her whereabouts and did nothing to rescue her, according to the film.\u003c/p>\n\u003cfigure id=\"attachment_13594146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg\" alt=\"Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \" width=\"800\" height=\"622\" class=\"size-medium wp-image-13594146\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-800x622.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-768x597.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1020x793.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-1180x918.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-960x747.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-240x187.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-375x292.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/EarhartDockPhoto-520x404.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Researchers feel this photograph might show Amelia Earhart, her navigator Fred Noonan and their plane after their disappearance in 1937. \u003ccite>(Courtesy of the National Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The disappearance of Earhart and Noonan on July 2, 1937, in the Western Pacific Ocean has gained legendary status among the age’s unsolved mysteries.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By then she had already logged numerous aviation feats, including that of being the first woman to fly solo across the Atlantic Ocean in 1932. She reigned as an international hero.\u003c/p>\n\u003cp>And yet the U.S. government closed the book on its investigation just two weeks after her disappearance. Its vaguely worded findings were inconclusive.\u003c/p>\n\u003cp>Was there a cover-up? The film proposes there was.\u003c/p>\n\u003cp>The documentary is hosted by former FBI Executive Assistant Director Shawn Henry, whose fascination with the case is equaled by former U.S. Treasury Agent Les Kinney, who discovered the photo hidden and mislabeled in the U.S. National Archives.\u003c/p>\n\u003cp>In the documentary, that photo is subjected to facial-recognition and other forensic testing. It is judged authentic, and likely that of Earhart and Noonan.\u003c/p>\n\u003cp>The film also displays plane parts found in an uninhabited island of the Marshall Islands by Earhart investigator Dick Spink that are consistent with the aircraft that Earhart was flying on her round-the-world attempt. And it hears from the last living eyewitness who claims to have seen Earhart and Noonan after their crash.\u003c/p>\n\u003cp>The documentary tells of “a world-famous aviator who got caught up in an international dispute, was abandoned by her own government, and made the ultimate sacrifice,” Henry sums up. “She may very well be the first casualty of World War II.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>_____\u003cbr>\nOnline: http://www.history.com/specials/amelia-earhart-the-lost-evidence\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Get Ready to Bathe in Glitter Because Kesha is Staging a Comeback!",
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"content": "\u003cp>Yesterday (Independence Day!), in what was a masterfully well-timed presentation of dramatic imagery, Kesha threw six photos up on \u003ca href=\"https://www.instagram.com/iiswhoiis/\">Instagram\u003c/a> to make one larger image. The fancy word for that is a hexaptych. We should use the fancy word, because Kesha deserves fancy things.\u003c/p>\n\u003cp>Here's the hexaptych in all its fancy glory:\u003c/p>\n\u003cfigure id=\"attachment_90146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-90146 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-800x530.png\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-800x530.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-160x106.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-768x509.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-240x159.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-375x248.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-520x344.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM.png 957w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram\u003c/figcaption>\u003c/figure>\n\u003cp>A couple of days ago, \u003ca href=\"http://www.justjared.com/2017/07/03/kesha-might-be-releasing-new-music-this-week/\">Just Jared\u003c/a> declared that Kesha \"might\" be releasing new music this week. Twitter has been awash with rumors too.\u003c/p>\n\u003cp>https://twitter.com/omgkesharose/status/880821900133445632?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.directlyrics.com%2Fkesha-to-release-new-song-praying-on-july-7th-news.html\u003c/p>\n\u003cp>We don't know how Kesha is doing this, given all of the complicated \u003ca href=\"https://en.wikipedia.org/wiki/Kesha_v._Dr._Luke\">legal wranglings\u003c/a> with Dr. Luke that shut down her career in the first place, but, frankly, we don't care. Kesha is back, you guys! (Probably!)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So nice of her to give us an official heads up in advance; if \"Praying\" really is dropping on July 7, that gives fans everywhere two days to invest in new glitter bath bombs, pastel hair dye, flower crowns, bell bottoms, and whatever else they need to embrace their inner Kesha. The world is rooting for you, Kesha Rose!\u003c/p>\n\u003cp>UPDATE! Kesha has confirmed that \"Praying\" does, in fact, arrive tomorrow. Also, she \"f**king loves you.\" (Thanks, Kesha!) See?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.instagram.com/p/BWLd51_hzbz/?taken-by=iiswhoiis\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yesterday (Independence Day!), in what was a masterfully well-timed presentation of dramatic imagery, Kesha threw six photos up on \u003ca href=\"https://www.instagram.com/iiswhoiis/\">Instagram\u003c/a> to make one larger image. The fancy word for that is a hexaptych. We should use the fancy word, because Kesha deserves fancy things.\u003c/p>\n\u003cp>Here's the hexaptych in all its fancy glory:\u003c/p>\n\u003cfigure id=\"attachment_90146\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"wp-image-90146 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-800x530.png\" alt=\"\" width=\"800\" height=\"530\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-800x530.png 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-160x106.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-768x509.png 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-240x159.png 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-375x248.png 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM-520x344.png 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/07/Screen-Shot-2017-07-05-at-11.37.10-AM.png 957w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram\u003c/figcaption>\u003c/figure>\n\u003cp>A couple of days ago, \u003ca href=\"http://www.justjared.com/2017/07/03/kesha-might-be-releasing-new-music-this-week/\">Just Jared\u003c/a> declared that Kesha \"might\" be releasing new music this week. Twitter has been awash with rumors too.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So nice of her to give us an official heads up in advance; if \"Praying\" really is dropping on July 7, that gives fans everywhere two days to invest in new glitter bath bombs, pastel hair dye, flower crowns, bell bottoms, and whatever else they need to embrace their inner Kesha. The world is rooting for you, Kesha Rose!\u003c/p>\n\u003cp>UPDATE! Kesha has confirmed that \"Praying\" does, in fact, arrive tomorrow. Also, she \"f**king loves you.\" (Thanks, Kesha!) See?\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003c/div>",
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"title": "Holding a Bipartisan Barbecue This Fourth of July? Here's Your Playlist",
"headTitle": "Holding a Bipartisan Barbecue This Fourth of July? Here’s Your Playlist | KQED",
"content": "\u003cp>Pretty much the only thing that all Americans can agree on right now is that we can’t agree on anything. Finding any common ground in the midst of the deep divisions between right and left is increasingly difficult since the Trump era began—and it’s making the gatherings of our national holidays even more awkward and politically charged. Which brings us to a serious party issue: What in the name of the stars and stripes do you play at your Fourth of July barbecue this year, if you have a crowd of both protest-favoring Democrats and allegiance-pledging Republicans?\u003c/p>\n\u003cp>Here are some songs that both groups will think are directed at them, to help get you through the day.\u003c/p>\n\u003cp>\u003cstrong>Lana Del Rey, “National Anthem”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sxDdEPED0h8\u003c/p>\n\u003cp>The song opens with the words “Money is the anthem of success,” thereby immediately getting your Republican guests on board. Later on, when they hear “Money is the reason we exist / Everybody knows it, it’s a fact,” they’ll feel buoyed by your fiscal-favoring musical choices. The Democrats in your vicinity will be more focused on the sarcastic “kiss-kiss” at the end of that line, and know that the All-American girl singing this song is, in fact, expressing a deeply cynical hatred of rampant capitalism. What’s more Fourth of July than a song called “National Anthem” anyway?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Miley Cyrus, “Party in the USA”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=M11SvDtPBhA\u003c/p>\n\u003cp>No one has ever heard the opening lines of “Party in the USA” and felt bummed about it. This magical track makes everyone inexplicably happy to be alive and living in America, regardless of whatever political turmoil we’re in the middle of. With this 2009 favorite, the Republicans have a perfect song to wave their flags to, while even the most cynical of Democrats can feel less guilty about their own patriotic love of this thing by remembering what a big ol’, \u003ca href=\"http://www.happyhippies.org/\" target=\"_blank\" rel=\"noopener noreferrer\">LGBTQ-loving lefty\u003c/a> Miley is. Everybody wins!\u003c/p>\n\u003cp>\u003cstrong>Lenny Kravitz, “American Woman”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=UzWHE32IxUc\u003c/p>\n\u003cp>Thanks to Lenny Kravitz’s 2008 rendition of “American Woman,” there is a now-commonly-held view that this song is about a woman so sexy and crazy, and crazy-sexy, that not even Lenny Kravitz can take her on. The video hammered the point home, full as it was of stars ‘n’ stripes, fast cars, and tons of cleavage. As such, for people on the right, this song might as well have been called “America the Beautiful.” People on the left, however, have more of a tendency to recall that the original version of “American Woman” was written by The Guess Who as \u003ca href=\"http://www.songfacts.com/detail.php?id=446\" target=\"_blank\" rel=\"noopener noreferrer\">“an anti-war protest song”\u003c/a> in the midst of the Vietnam War. If a fight breaks out when this track comes on, rest assured that it won’t be about party politics, it’ll be about sexism. (But that’s a topic for another article.)\u003c/p>\n\u003cp>\u003cstrong>Sharon Jones & the Dap-Kings, “This Land is Your Land”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XQ78uDio_ao\u003c/p>\n\u003cp>Woody Guthrie’s lyrics remind the most patriotic Americans of the vast expanse of this majestic country, from “California to the New York island,” name-checking both exquisite countryside (like the “golden valley”) and man-made marvels (like “that ribbon of highway”) along the way. For conservatives, it’s a reminder of how blessed they are to be American. For left-wingers, in Guthrie’s hands, “This Land is Your Land” sounds positively Marxist, and Sharon Jones’ super-soulful 2012 version carries with it a reminder of racial divides.\u003c/p>\n\u003cp>\u003cstrong>Bruce Springsteen, “Born in the USA”\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EPhWR4d3FJQ\u003c/p>\n\u003cp>Fact: Bruce Springsteen is more American than everyone else in the country. (Don’t question it—he just is.) He’s also a Democrat-favoring, \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2017/04/17/the-obamas-are-vacationing-with-bruce-springsteen-oprah-winfrey-and-tom-hanks/?utm_term=.671bfb7f58ef\" target=\"_blank\" rel=\"noopener noreferrer\">Obama vacation guest\u003c/a> who’s all about the working man. Strangely though, there are still tons of Republicans wandering around, laboring under the assumption that “Born in the USA” is a declaration of patriotism, rather than an expression of working class frustration.\u003c/p>\n\u003cp>In 1984, when Ronald Reagan wanted to use the song as a campaign anthem, The Boss shut the idea down. Undeterred (and still not understanding what the song was about), Reagan publicly declared, in what was surely one of the most ironic things that has ever happened: “America’s future rests in a thousand dreams inside our hearts. It rests in the message of hope in the songs of a man so many young Americans admire: New Jersey’s own Bruce Springsteen.”\u003c/p>\n\u003cp>Springsteen later had to also take action to stop both Bob Dole and Pat Buchanan from using “Born in the USA” in their campaigns. Republicans don’t seem to listen to the verses on this one, so it’s totally safe for your bipartisan barbecue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Have a great Fourth, everyone!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pretty much the only thing that all Americans can agree on right now is that we can’t agree on anything. Finding any common ground in the midst of the deep divisions between right and left is increasingly difficult since the Trump era began—and it’s making the gatherings of our national holidays even more awkward and politically charged. Which brings us to a serious party issue: What in the name of the stars and stripes do you play at your Fourth of July barbecue this year, if you have a crowd of both protest-favoring Democrats and allegiance-pledging Republicans?\u003c/p>\n\u003cp>Here are some songs that both groups will think are directed at them, to help get you through the day.\u003c/p>\n\u003cp>\u003cstrong>Lana Del Rey, “National Anthem”\u003c/strong>\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/sxDdEPED0h8'\n title='//www.youtube.com/embed/sxDdEPED0h8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The song opens with the words “Money is the anthem of success,” thereby immediately getting your Republican guests on board. Later on, when they hear “Money is the reason we exist / Everybody knows it, it’s a fact,” they’ll feel buoyed by your fiscal-favoring musical choices. The Democrats in your vicinity will be more focused on the sarcastic “kiss-kiss” at the end of that line, and know that the All-American girl singing this song is, in fact, expressing a deeply cynical hatred of rampant capitalism. What’s more Fourth of July than a song called “National Anthem” anyway?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Miley Cyrus, “Party in the USA”\u003c/strong>\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/M11SvDtPBhA'\n title='//www.youtube.com/embed/M11SvDtPBhA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>No one has ever heard the opening lines of “Party in the USA” and felt bummed about it. This magical track makes everyone inexplicably happy to be alive and living in America, regardless of whatever political turmoil we’re in the middle of. With this 2009 favorite, the Republicans have a perfect song to wave their flags to, while even the most cynical of Democrats can feel less guilty about their own patriotic love of this thing by remembering what a big ol’, \u003ca href=\"http://www.happyhippies.org/\" target=\"_blank\" rel=\"noopener noreferrer\">LGBTQ-loving lefty\u003c/a> Miley is. Everybody wins!\u003c/p>\n\u003cp>\u003cstrong>Lenny Kravitz, “American Woman”\u003c/strong>\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/UzWHE32IxUc'\n title='//www.youtube.com/embed/UzWHE32IxUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Thanks to Lenny Kravitz’s 2008 rendition of “American Woman,” there is a now-commonly-held view that this song is about a woman so sexy and crazy, and crazy-sexy, that not even Lenny Kravitz can take her on. The video hammered the point home, full as it was of stars ‘n’ stripes, fast cars, and tons of cleavage. As such, for people on the right, this song might as well have been called “America the Beautiful.” People on the left, however, have more of a tendency to recall that the original version of “American Woman” was written by The Guess Who as \u003ca href=\"http://www.songfacts.com/detail.php?id=446\" target=\"_blank\" rel=\"noopener noreferrer\">“an anti-war protest song”\u003c/a> in the midst of the Vietnam War. If a fight breaks out when this track comes on, rest assured that it won’t be about party politics, it’ll be about sexism. (But that’s a topic for another article.)\u003c/p>\n\u003cp>\u003cstrong>Sharon Jones & the Dap-Kings, “This Land is Your Land”\u003c/strong>\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/XQ78uDio_ao'\n title='//www.youtube.com/embed/XQ78uDio_ao'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Woody Guthrie’s lyrics remind the most patriotic Americans of the vast expanse of this majestic country, from “California to the New York island,” name-checking both exquisite countryside (like the “golden valley”) and man-made marvels (like “that ribbon of highway”) along the way. For conservatives, it’s a reminder of how blessed they are to be American. For left-wingers, in Guthrie’s hands, “This Land is Your Land” sounds positively Marxist, and Sharon Jones’ super-soulful 2012 version carries with it a reminder of racial divides.\u003c/p>\n\u003cp>\u003cstrong>Bruce Springsteen, “Born in the USA”\u003c/strong>\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/EPhWR4d3FJQ'\n title='//www.youtube.com/embed/EPhWR4d3FJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Fact: Bruce Springsteen is more American than everyone else in the country. (Don’t question it—he just is.) He’s also a Democrat-favoring, \u003ca href=\"https://www.washingtonpost.com/news/reliable-source/wp/2017/04/17/the-obamas-are-vacationing-with-bruce-springsteen-oprah-winfrey-and-tom-hanks/?utm_term=.671bfb7f58ef\" target=\"_blank\" rel=\"noopener noreferrer\">Obama vacation guest\u003c/a> who’s all about the working man. Strangely though, there are still tons of Republicans wandering around, laboring under the assumption that “Born in the USA” is a declaration of patriotism, rather than an expression of working class frustration.\u003c/p>\n\u003cp>In 1984, when Ronald Reagan wanted to use the song as a campaign anthem, The Boss shut the idea down. Undeterred (and still not understanding what the song was about), Reagan publicly declared, in what was surely one of the most ironic things that has ever happened: “America’s future rests in a thousand dreams inside our hearts. It rests in the message of hope in the songs of a man so many young Americans admire: New Jersey’s own Bruce Springsteen.”\u003c/p>\n\u003cp>Springsteen later had to also take action to stop both Bob Dole and Pat Buchanan from using “Born in the USA” in their campaigns. Republicans don’t seem to listen to the verses on this one, so it’s totally safe for your bipartisan barbecue.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Have a great Fourth, everyone!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It's doubtful that even \u003ca href=\"https://en.wikipedia.org/wiki/Lin-Manuel_Miranda\">Lin-Manuel Miranda\u003c/a> had any inkling about what a runaway hit his musical \u003ca href=\"http://www.hamiltonbroadway.com/\">\u003cem>Hamilton\u003c/em>\u003c/a> would turn out to be. Let's face it: in another set of hands, the combination of hip-hop and history could have been an unintentionally comedic disaster.\u003c/p>\n\u003cp>Over two years after its Broadway debut, \u003cem>Hamilton\u003c/em> has truly taken on a life of its own, with the non-theater world embracing Lin-Manuel Miranda in a way few playwrights ever experience. (Can you think of any others that have \u003ca href=\"https://www.nbc.com/saturday-night-live/video/linmanuel-miranda-monologue/3112623?snl=1\">hosted \u003cem>Saturday Night Live\u003c/em>\u003c/a>?) Miranda's combination of savvy, smarts, and boundless creativity means \u003cem>Hamilton\u003c/em> is the gift that keeps on giving, as evidenced by last year's \u003ca href=\"https://en.wikipedia.org/wiki/The_Hamilton_Mixtape\">\u003cem>The Hamilton Mixtape\u003c/em>\u003c/a> album -- a collection of covers and reinterpretations performed by the likes of The Roots and John Legend.\u003c/p>\n\u003cp>Just two days after the Supreme Court permitted portions of Trump's travel ban to go into effect, a video to accompany \u003cem>Mixtape\u003c/em> standout \"Immigrants (We Get the Job Done)\" has been released. Performed by \u003ca href=\"https://www.facebook.com/knaan/\">K'naan\u003c/a> featuring \u003ca href=\"http://residente.com/en/\">Residente\u003c/a>, \u003ca href=\"https://www.facebook.com/rizmc/\">Riz MC\u003c/a>, and \u003ca href=\"http://www.snowthaproduct.com/\">Snow Tha Product,\u003c/a> the song's title and refrain is taken from a line in one of \u003cem>Hamilton\u003c/em>'s most famous songs, \u003ca href=\"https://www.youtube.com/watch?v=NpsuEcKW8ZE\">\"Yorktown (The World Turned Upside Down).” \u003c/a>\u003c/p>\n\u003cp>Timely, powerful, and perfect for protests, here it is:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=6_35a7sn6ds&t=303s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> is being performed at San Francisco's \u003ca href=\"https://www.shnsf.com/Online/default.asp\">Orpheum Theatre\u003c/a> until August 5, 2017.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It's doubtful that even \u003ca href=\"https://en.wikipedia.org/wiki/Lin-Manuel_Miranda\">Lin-Manuel Miranda\u003c/a> had any inkling about what a runaway hit his musical \u003ca href=\"http://www.hamiltonbroadway.com/\">\u003cem>Hamilton\u003c/em>\u003c/a> would turn out to be. Let's face it: in another set of hands, the combination of hip-hop and history could have been an unintentionally comedic disaster.\u003c/p>\n\u003cp>Over two years after its Broadway debut, \u003cem>Hamilton\u003c/em> has truly taken on a life of its own, with the non-theater world embracing Lin-Manuel Miranda in a way few playwrights ever experience. (Can you think of any others that have \u003ca href=\"https://www.nbc.com/saturday-night-live/video/linmanuel-miranda-monologue/3112623?snl=1\">hosted \u003cem>Saturday Night Live\u003c/em>\u003c/a>?) Miranda's combination of savvy, smarts, and boundless creativity means \u003cem>Hamilton\u003c/em> is the gift that keeps on giving, as evidenced by last year's \u003ca href=\"https://en.wikipedia.org/wiki/The_Hamilton_Mixtape\">\u003cem>The Hamilton Mixtape\u003c/em>\u003c/a> album -- a collection of covers and reinterpretations performed by the likes of The Roots and John Legend.\u003c/p>\n\u003cp>Just two days after the Supreme Court permitted portions of Trump's travel ban to go into effect, a video to accompany \u003cem>Mixtape\u003c/em> standout \"Immigrants (We Get the Job Done)\" has been released. Performed by \u003ca href=\"https://www.facebook.com/knaan/\">K'naan\u003c/a> featuring \u003ca href=\"http://residente.com/en/\">Residente\u003c/a>, \u003ca href=\"https://www.facebook.com/rizmc/\">Riz MC\u003c/a>, and \u003ca href=\"http://www.snowthaproduct.com/\">Snow Tha Product,\u003c/a> the song's title and refrain is taken from a line in one of \u003cem>Hamilton\u003c/em>'s most famous songs, \u003ca href=\"https://www.youtube.com/watch?v=NpsuEcKW8ZE\">\"Yorktown (The World Turned Upside Down).” \u003c/a>\u003c/p>\n\u003cp>Timely, powerful, and perfect for protests, here it is:\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/6_35a7sn6ds'\n title='//www.youtube.com/embed/6_35a7sn6ds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The last time I danced in public, it was 2014 and my birthday. Swept up by free vodka and the company of great friends, I found myself dancing on a Brooklyn hotel rooftop to (and, truly, I couldn't have picked a more aptly titled song) \u003ca href=\"https://www.youtube.com/watch?v=CcNo07Xp8aQ\" target=\"_blank\" rel=\"noopener noreferrer\">\"Dancing On My Own\"\u003c/a> by Robyn. I was happy and drunk, so the music took over and I danced in a way that feels natural to me, which looks to everyone else like I might be having a seizure of some kind.\u003c/p>\n\u003cp>The next day, one of my friends, genuinely perplexed, said, \"In all the years I've known you, I've never seen you dance before.\"\u003cbr>\n\"That's because I don't dance like a normal human,\" I replied.\u003cbr>\n\"Yeah,\" continued the friend. \"You looked like a unicorn on crack.\"\u003c/p>\n\u003cp>Now, in all fairness, my friend was making an observation that I don't consider factually incorrect and have heard on many occasions. Perhaps I do resemble a coked-up glorified horse every time I hit the dance floor. The problem is, I have been shamed out of indulging in what was once a joyful activity, by the normal majority of people who understand how to move appropriately to music in public settings.\u003c/p>\n\u003cp>This brings us to Lorde.\u003c/p>\n\u003cp>I have probably listened to her first album, \u003cem>Pure Heroine\u003c/em>, about 10,000 times at this point, but until recently, I had never seen her really move around a stage. Then, back in March, I caught her performing \"Green Light\" on \u003cem>Saturday Night Live,\u003c/em> and a flash of recognition washed over me around the 1:25 mark. Lorde did some air punching, then flicked her head from side-to-side while doing something resembling jazz hands. Later, there were raised knees and foot stomping.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There it was. Finally! Someone was doing my moves! Sweet relief!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KHB_ZpbTi30\u003c/p>\n\u003cp>Much was made of Lorde's dancing after the \u003cem>SNL\u003c/em> performance, and much of the commentary—a solid mix of outright insults and backhanded compliments—reinforced everything I had ever been told about my own (in)ability to dance (the way people want me to). Most of the hate came via Twitter—something that enabled \u003cem>\u003ca href=\"http://www.dailymotion.com/video/x5ep74f\" target=\"_blank\" rel=\"noopener noreferrer\">Inside Edition\u003c/a>\u003c/em> to shine a light on tweets that compared Lorde's dancing, not entirely unfairly, to that of Elaine on \u003cem>Seinfeld\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_67558']\u003cem>\u003ca href=\"http://www.vulture.com/2017/03/lorde-fires-back-dance-moves-snl-criticism.html\" target=\"_blank\" rel=\"noopener noreferrer\">Vulture\u003c/a>\u003c/em> made GIFs breaking down her various moves, giving them names like \"The Auckland Flail,\" \"The Christchurch Wiggle,\" and \"The High Fives All Around.\" \u003ca href=\"http://www.mtv.com/news/2992507/lorde-green-light-saturday-night-live/\" target=\"_blank\" rel=\"noopener noreferrer\">MTV\u003c/a> worked really hard to stay polite: \"This is far from the safe, predictable choreography typically reserved for pop performances.\" Amidst a lot of articles using the words \"weird\" and \"unique,\" \u003ca href=\"http://www.npr.org/sections/allsongs/2017/03/13/519615467/watch-lorde-perform-green-light-and-liability-on-saturday-night-live\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a> offered me some comfort: \"...her dancing, bad and with abandon, is the sort we could use more of on America's premier stages.\"\u003c/p>\n\u003cp>The chatter was loud enough that Lorde felt the need to make a statement on her \u003ca href=\"https://www.facebook.com/lordemusic/?ref=nf&hc_ref=NEWSFEED\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> page: \"one day i will do a normal dance choreographed by a nice person and i will look more like your other favourite performers but we have not yet reached that day ¯\\_(ツ)_/¯\"\u003c/p>\n\u003cp>Back when her music was slower, Lorde could get away with moving very little. With hindsight, the \"Tennis Court\" video, for example, was probably directed with the specific agenda of keeping her perfectly still. But that stillness didn't sit well with people either—it was considered unnerving.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=D8Ymd-OCucs\u003c/p>\n\u003cp>So when she finally allowed her arms to move and shoulders to jerk during a \u003ca href=\"https://www.youtube.com/watch?v=kQ_yfsw_opM\" target=\"_blank\" rel=\"noopener noreferrer\">2014 Grammy performance\u003c/a>, it was interpreted by much of the public as frightening. \u003ca href=\"https://www.buzzfeed.com/tanyachen/lordes-grammy-performance-proved-her-dancing-continues-to-fr?utm_term=.jcYXLbbdX#.xh2zKoojz\" target=\"_blank\" rel=\"noopener noreferrer\">Buzzfeed\u003c/a> collected some tweets about her performance and put them all together in one article to reflect the point. Words in those tweets included: \"paranormal,\" \"exorcism,\" and \"scariest.\"\u003c/p>\n\u003cp>We, as a culture, are accustomed to either choreographed dance moves, barely-there dance moves or no dance moves at all (Adele is the reigning queen of that last category). Older male musicians seem to get away with unconventional dancing with a bit less scrutiny (see: Thom Yorke, Michael Stipe, and Iggy Pop), but Lorde might be the first very young female star to refuse to conform to normal expectations about how a lady should move.\u003c/p>\n\u003cp>The phrase \"Dance like no one is watching\" is thrown around in inspirational memes a lot, but almost never observed, because in the age of \u003cem>\u003ca href=\"http://www.fox.com/so-you-think-you-can-dance\" target=\"_blank\" rel=\"noopener noreferrer\">So You Think You Can Dance\u003c/a>,\u003c/em> \u003cem>\u003ca href=\"http://www.nbc.com/world-of-dance?nbc=1\" target=\"_blank\" rel=\"noopener noreferrer\">World of Dance\u003c/a>,\u003c/em> and \u003ca href=\"http://abc.go.com/shows/dancing-with-the-stars\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dancing With the Stars\u003c/em>\u003c/a>, you can only dance like no one is watching if you don't mind being ridiculed afterwards. Anyone who's ever been dance-shamed will tell you it really takes the joy out of the whole thing.\u003c/p>\n\u003cp>[aside postid='pop_95514']Not only does Lorde get dance-shamed on a regular basis, she's doing it on an international stage. Her persistence and commitment to unconventional physical expression is solid evidence that she genuinely couldn't care less what anyone thinks of her. Frankly, it's an inspiration to the dance-shamed everywhere—including myself.\u003c/p>\n\u003cp>From my perspective, Lorde's moves are the moves that occur when someone feels music strongly, but can't actually figure out which body part to move first, so they're forced to just get visceral about it. There is something wonderful about that freedom, even if we don't get to see it very often. Every time she dances on stage, Lorde is breaking both pop star convention \u003cem>and\u003c/em> social rules. More than that, seeing her carry on regardless gives hope to the people like me who have never figured out how to contain our feelings about music within conventional dance moves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Undoubtedly, people will go on making fun of Lorde for the way she moves, but she does have the #1 album in America right now, and she is in no way letting it hold her performances back. Perhaps if we allow her to continue doing her thing in peace, other young music stars would feel more comfortable about letting their freak flag fly. And just imagine how much more fun that would be for both performers and audiences.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The last time I danced in public, it was 2014 and my birthday. Swept up by free vodka and the company of great friends, I found myself dancing on a Brooklyn hotel rooftop to (and, truly, I couldn't have picked a more aptly titled song) \u003ca href=\"https://www.youtube.com/watch?v=CcNo07Xp8aQ\" target=\"_blank\" rel=\"noopener noreferrer\">\"Dancing On My Own\"\u003c/a> by Robyn. I was happy and drunk, so the music took over and I danced in a way that feels natural to me, which looks to everyone else like I might be having a seizure of some kind.\u003c/p>\n\u003cp>The next day, one of my friends, genuinely perplexed, said, \"In all the years I've known you, I've never seen you dance before.\"\u003cbr>\n\"That's because I don't dance like a normal human,\" I replied.\u003cbr>\n\"Yeah,\" continued the friend. \"You looked like a unicorn on crack.\"\u003c/p>\n\u003cp>Now, in all fairness, my friend was making an observation that I don't consider factually incorrect and have heard on many occasions. Perhaps I do resemble a coked-up glorified horse every time I hit the dance floor. The problem is, I have been shamed out of indulging in what was once a joyful activity, by the normal majority of people who understand how to move appropriately to music in public settings.\u003c/p>\n\u003cp>This brings us to Lorde.\u003c/p>\n\u003cp>I have probably listened to her first album, \u003cem>Pure Heroine\u003c/em>, about 10,000 times at this point, but until recently, I had never seen her really move around a stage. Then, back in March, I caught her performing \"Green Light\" on \u003cem>Saturday Night Live,\u003c/em> and a flash of recognition washed over me around the 1:25 mark. Lorde did some air punching, then flicked her head from side-to-side while doing something resembling jazz hands. Later, there were raised knees and foot stomping.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There it was. Finally! Someone was doing my moves! Sweet relief!\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/KHB_ZpbTi30'\n title='//www.youtube.com/embed/KHB_ZpbTi30'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Much was made of Lorde's dancing after the \u003cem>SNL\u003c/em> performance, and much of the commentary—a solid mix of outright insults and backhanded compliments—reinforced everything I had ever been told about my own (in)ability to dance (the way people want me to). Most of the hate came via Twitter—something that enabled \u003cem>\u003ca href=\"http://www.dailymotion.com/video/x5ep74f\" target=\"_blank\" rel=\"noopener noreferrer\">Inside Edition\u003c/a>\u003c/em> to shine a light on tweets that compared Lorde's dancing, not entirely unfairly, to that of Elaine on \u003cem>Seinfeld\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>\u003ca href=\"http://www.vulture.com/2017/03/lorde-fires-back-dance-moves-snl-criticism.html\" target=\"_blank\" rel=\"noopener noreferrer\">Vulture\u003c/a>\u003c/em> made GIFs breaking down her various moves, giving them names like \"The Auckland Flail,\" \"The Christchurch Wiggle,\" and \"The High Fives All Around.\" \u003ca href=\"http://www.mtv.com/news/2992507/lorde-green-light-saturday-night-live/\" target=\"_blank\" rel=\"noopener noreferrer\">MTV\u003c/a> worked really hard to stay polite: \"This is far from the safe, predictable choreography typically reserved for pop performances.\" Amidst a lot of articles using the words \"weird\" and \"unique,\" \u003ca href=\"http://www.npr.org/sections/allsongs/2017/03/13/519615467/watch-lorde-perform-green-light-and-liability-on-saturday-night-live\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a> offered me some comfort: \"...her dancing, bad and with abandon, is the sort we could use more of on America's premier stages.\"\u003c/p>\n\u003cp>The chatter was loud enough that Lorde felt the need to make a statement on her \u003ca href=\"https://www.facebook.com/lordemusic/?ref=nf&hc_ref=NEWSFEED\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> page: \"one day i will do a normal dance choreographed by a nice person and i will look more like your other favourite performers but we have not yet reached that day ¯\\_(ツ)_/¯\"\u003c/p>\n\u003cp>Back when her music was slower, Lorde could get away with moving very little. With hindsight, the \"Tennis Court\" video, for example, was probably directed with the specific agenda of keeping her perfectly still. But that stillness didn't sit well with people either—it was considered unnerving.\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/D8Ymd-OCucs'\n title='//www.youtube.com/embed/D8Ymd-OCucs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So when she finally allowed her arms to move and shoulders to jerk during a \u003ca href=\"https://www.youtube.com/watch?v=kQ_yfsw_opM\" target=\"_blank\" rel=\"noopener noreferrer\">2014 Grammy performance\u003c/a>, it was interpreted by much of the public as frightening. \u003ca href=\"https://www.buzzfeed.com/tanyachen/lordes-grammy-performance-proved-her-dancing-continues-to-fr?utm_term=.jcYXLbbdX#.xh2zKoojz\" target=\"_blank\" rel=\"noopener noreferrer\">Buzzfeed\u003c/a> collected some tweets about her performance and put them all together in one article to reflect the point. Words in those tweets included: \"paranormal,\" \"exorcism,\" and \"scariest.\"\u003c/p>\n\u003cp>We, as a culture, are accustomed to either choreographed dance moves, barely-there dance moves or no dance moves at all (Adele is the reigning queen of that last category). Older male musicians seem to get away with unconventional dancing with a bit less scrutiny (see: Thom Yorke, Michael Stipe, and Iggy Pop), but Lorde might be the first very young female star to refuse to conform to normal expectations about how a lady should move.\u003c/p>\n\u003cp>The phrase \"Dance like no one is watching\" is thrown around in inspirational memes a lot, but almost never observed, because in the age of \u003cem>\u003ca href=\"http://www.fox.com/so-you-think-you-can-dance\" target=\"_blank\" rel=\"noopener noreferrer\">So You Think You Can Dance\u003c/a>,\u003c/em> \u003cem>\u003ca href=\"http://www.nbc.com/world-of-dance?nbc=1\" target=\"_blank\" rel=\"noopener noreferrer\">World of Dance\u003c/a>,\u003c/em> and \u003ca href=\"http://abc.go.com/shows/dancing-with-the-stars\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Dancing With the Stars\u003c/em>\u003c/a>, you can only dance like no one is watching if you don't mind being ridiculed afterwards. Anyone who's ever been dance-shamed will tell you it really takes the joy out of the whole thing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Not only does Lorde get dance-shamed on a regular basis, she's doing it on an international stage. Her persistence and commitment to unconventional physical expression is solid evidence that she genuinely couldn't care less what anyone thinks of her. Frankly, it's an inspiration to the dance-shamed everywhere—including myself.\u003c/p>\n\u003cp>From my perspective, Lorde's moves are the moves that occur when someone feels music strongly, but can't actually figure out which body part to move first, so they're forced to just get visceral about it. There is something wonderful about that freedom, even if we don't get to see it very often. Every time she dances on stage, Lorde is breaking both pop star convention \u003cem>and\u003c/em> social rules. More than that, seeing her carry on regardless gives hope to the people like me who have never figured out how to contain our feelings about music within conventional dance moves.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Undoubtedly, people will go on making fun of Lorde for the way she moves, but she does have the #1 album in America right now, and she is in no way letting it hold her performances back. Perhaps if we allow her to continue doing her thing in peace, other young music stars would feel more comfortable about letting their freak flag fly. And just imagine how much more fun that would be for both performers and audiences.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You know how it goes: you're on stage with the Vienna Chamber Orchestra playing Mendelssohn's Symphony No. 4, First Movement, when all of a sudden the audience starts applauding. \"They love me!\" you think. \"All those years of classical training, finally paying off!\"\u003c/p>\n\u003cp>But nope: just a doggo.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YHoQlbPB2Ac\u003c/p>\n\u003cp>The best part? The dog isn't shooed off stage! Instead, the real-life \u003ca href=\"https://upload.wikimedia.org/wikipedia/en/d/de/Beethoven%271992.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Beethoven\u003c/a> sits freely and basks in the attention, under the baton of Ola Rudner at the IKSEV festival in Ephesus, Turkey.\u003c/p>\n\u003cp>Dear Symphony orchestras of the world: More dogs on stage!\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know how it goes: you're on stage with the Vienna Chamber Orchestra playing Mendelssohn's Symphony No. 4, First Movement, when all of a sudden the audience starts applauding. \"They love me!\" you think. \"All those years of classical training, finally paying off!\"\u003c/p>\n\u003cp>But nope: just a doggo.\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/YHoQlbPB2Ac'\n title='//www.youtube.com/embed/YHoQlbPB2Ac'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The best part? The dog isn't shooed off stage! Instead, the real-life \u003ca href=\"https://upload.wikimedia.org/wikipedia/en/d/de/Beethoven%271992.jpg\" target=\"_blank\" rel=\"noopener noreferrer\">Beethoven\u003c/a> sits freely and basks in the attention, under the baton of Ola Rudner at the IKSEV festival in Ephesus, Turkey.\u003c/p>\n\u003cp>Dear Symphony orchestras of the world: More dogs on stage!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I’m glad to welcome my co-host this week, Ariana Proehl — KQED’s youth media manager who’s also an artist, media maker and music nerd in her own right. We couldn’t quite squeeze in two extras we both were excited about: the first is the \u003ca href=\"http://www.3dwebfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">3D Webfest\u003c/a> on Friday, June 30, at the Palace of Fine Arts, a chance to see what’s happening on the cutting edge of 3D video making. Details \u003ca href=\"http://codame.com/events/3d-web-fest-2017\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a> And I wanted to highlight the San Francisco Opera’s live simulcast of Mozart’s \u003cem>Don Giovanni\u003c/em>, streamed live from the War Memorial Opera House into AT&T Park. It’s \u003cstrong>free\u003c/strong>, but get your tickets online to avoid a wait as up to 30,000 people stream into the ballpark to get their garlic fries and Mozart. Details \u003ca href=\"https://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/simulcast-signup/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Now on with the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tjSnrDikc4M\u003c/p>\n\u003cp>\u003cstrong>July 1 & 2\u003c/strong>: Burger Boogaloo (organized by Total Trash Productions and Burger Records) is back with a bigger lineup than ever, celebrating punk greats from the distant and recent past like Iggy Pop, NoBunny, the Buzzcocks and X, as well as contemporary garage acts like La Luz and San Francisco’s Shannon and the Clams. John Waters is also back as host, because, he says, he’s just a huge fan of punk. Waters has also called Oakland the Baltimore of the Bay Area, which is high praise indeed for him. It’s a bit pricey, but then you never know for sure when or if you’ll get to see Iggy Pop again. Details for the two-day fest at Oakland’s Mosswood Park are \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZdcmC2UsamA\u003c/p>\n\u003cp>\u003cstrong>July 14\u003c/strong>: We’re giving \u003ca href=\"https://www.facebook.com/laluzusa/\" target=\"_blank\" rel=\"noopener noreferrer\">La Luz\u003c/a> a separate mention here, because we really like this psychedelic surf-punk band. They were born in rainy Seattle, but they’ve since moved to Los Angeles, a sunnier place, and as such their music veers from gloom to bubbly pop. They’re at The Ritz in San Jose on July 14, and details are \u003ca href=\"http://theritzsanjose.com/shows/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13546359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13546359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-800x266.jpg\" alt=\"The I am an Immigrant pop-up store is open in San Francisco June 30th with t-shirts to buy and free activities\" width=\"800\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-240x80.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-375x125.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-520x173.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The I Am An Immigrant pop-up store opens in San Francisco one day only, June 30, with T-shirts to buy and free activities. \u003ccite>(Photo: Courtesy of I am an Immigrant campaign)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 30\u003c/strong>: June is Immigrant Heritage Month, and a pop-up store has opened just in time in San Francisco called \u003ca href=\"https://www.iamanimmigrant.com/events/immigrant-san-francisco-pop\" target=\"_blank\" rel=\"noopener noreferrer\">I Am An Immigrant\u003c/a>. It’s part of a campaign celebrating the contributions immigrants have made to the U.S., and on some level, it’s an act of resistance to President Trump’s anti-immigrant policies. They sell “I am an Immigrant” and “I Stand With Immigrants” T-shirts, but there are free activities as well: photos of you in a T-shirt to post on social media, mural making for kids, and music in the evening. Details for the pop-up at the Laundry Gallery and Cafe on 26th Street in San Francisco — only there through June 30 — are\u003ca href=\"https://www.facebook.com/events/293894134387306/?acontext=%7B%22ref%22%3A%223%22%2C%22ref_newsfeed_story_type%22%3A%22regular%22%2C%22feed_story_type%22%3A%2217%22%2C%22action_history%22%3A%22null%22%7D\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13546784\" class=\"wp-caption aligncenter\" style=\"max-width: 299px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13546784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742.jpg\" alt=\"Fireworks over the Craneway Pavilion in Richmond, where the Oakland Symphony is playing a free show on July 3rd,\" width=\"299\" height=\"169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742.jpg 299w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742-240x136.jpg 240w\" sizes=\"(max-width: 299px) 100vw, 299px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks over the Craneway Pavilion in Richmond, where the Oakland Symphony plays a free show on July 3. \u003ccite>(Photo: Courtesy of Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4:\u003c/strong> Celebrating America’s immigrant heritage seems very patriotic to me, which brings us to a trio of symphonic Fourth of July events. You can beat the rush on July 3 with conductor Michael Morgan, when he leads the Oakland Symphony in its ninth annual free concert (note: parking is $20) at the Craneway Pavilion in Richmond. The San Francisco Symphony is at the Shoreline Amphitheatre with singer Storm Large, who has a voice as bright and powerful as the fireworks on display. And the Santa Rosa Symphony plays the Green Music Center at Sonoma State in Rohnert Park. Ariana calls the setting “divine” when the sliding doors at the back are opened, and people sit on the grass and enjoy craft beer (kids under 12 get in free, and are free to roam). The Santa Rosa Symphony is joined by Kathy Mattea, a country singer with a lot of presence and a big, pure voice out of West Virginia.\u003c/p>\n\u003cfigure id=\"attachment_13547110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13547110 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-800x450.jpg\" alt=\"Axis Dance in a rehearsal for 'Occupy' at Yerba Buena Gardens\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AXIS Dance in a rehearsal for ‘Occupy’ at Yerba Buena Gardens. \u003ccite>(Photo: Courtesy of Axis Dance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 1 & 2\u003c/strong>: AXIS Dance is the Oakland company, founded by Judith Smith, that features dancers with and without disabilities who show how nimbly and beautifully people can move in wheelchairs or with crutches. They’re performing a new piece this weekend choreographed by Stephen Koplowitz, who’s made his name in site-specific dance. \u003cem>Occupy\u003c/em> is about how people occupy their own bodies, a constant issue for a dancer with a disability, but also about the history of Yerba Buena Gardens, a major redevelopment project pushed through City Hall over objections by the poor residents of the neighborhood. With live music by electronic music pioneer Pamela Z, these performances are sure to be compelling. It’s free, but RSVPs are encouraged. \u003ca href=\"http://www.axisdance.org/occupy\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jryzEU7WAlg\u003c/p>\n\u003cp>\u003cstrong>July 1\u003c/strong>: \u003ca href=\"http://www.phantogram.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phantogram\u003c/a> is Sarah Barthel and Josh Carter, childhood friends who grew up to become the smartest and sexiest duo in synth-pop. Ariana’s been a fan for a while. She saw them at Coachella, and she says she got her sister hooked on their big wall of sound as well. Barthes has this delicate, high voice, but she’s a powerhouse performer on stage, looping a keyboard and working the crowd into an ecstatic mess. They play the Greek Theater in Berkeley on Saturday, and you’ll find\u003ca href=\"http://thegreekberkeley.com/events/miike-snow-phantogram/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13547112\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13547112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl.jpg\" alt=\"The Do List's Cy Musiker and Ariana Proehl\" width=\"719\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-520x391.jpg 520w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy Musiker with co-host Ariana Proehl. \u003ccite>(Photo: Zaldy Serrano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m glad to welcome my co-host this week, Ariana Proehl — KQED’s youth media manager who’s also an artist, media maker and music nerd in her own right. We couldn’t quite squeeze in two extras we both were excited about: the first is the \u003ca href=\"http://www.3dwebfest.com/\" target=\"_blank\" rel=\"noopener noreferrer\">3D Webfest\u003c/a> on Friday, June 30, at the Palace of Fine Arts, a chance to see what’s happening on the cutting edge of 3D video making. Details \u003ca href=\"http://codame.com/events/3d-web-fest-2017\" target=\"_blank\" rel=\"noopener noreferrer\">here.\u003c/a> And I wanted to highlight the San Francisco Opera’s live simulcast of Mozart’s \u003cem>Don Giovanni\u003c/em>, streamed live from the War Memorial Opera House into AT&T Park. It’s \u003cstrong>free\u003c/strong>, but get your tickets online to avoid a wait as up to 30,000 people stream into the ballpark to get their garlic fries and Mozart. Details \u003ca href=\"https://sfopera.com/discover-opera/free-events/san-francisco-opera-at-att-park/simulcast-signup/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>. Now on with the show.\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/tjSnrDikc4M'\n title='//www.youtube.com/embed/tjSnrDikc4M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1 & 2\u003c/strong>: Burger Boogaloo (organized by Total Trash Productions and Burger Records) is back with a bigger lineup than ever, celebrating punk greats from the distant and recent past like Iggy Pop, NoBunny, the Buzzcocks and X, as well as contemporary garage acts like La Luz and San Francisco’s Shannon and the Clams. John Waters is also back as host, because, he says, he’s just a huge fan of punk. Waters has also called Oakland the Baltimore of the Bay Area, which is high praise indeed for him. It’s a bit pricey, but then you never know for sure when or if you’ll get to see Iggy Pop again. Details for the two-day fest at Oakland’s Mosswood Park are \u003ca href=\"http://burgerboogaloo.com/\" target=\"_blank\" rel=\"noopener noreferrer\">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/ZdcmC2UsamA'\n title='//www.youtube.com/embed/ZdcmC2UsamA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 14\u003c/strong>: We’re giving \u003ca href=\"https://www.facebook.com/laluzusa/\" target=\"_blank\" rel=\"noopener noreferrer\">La Luz\u003c/a> a separate mention here, because we really like this psychedelic surf-punk band. They were born in rainy Seattle, but they’ve since moved to Los Angeles, a sunnier place, and as such their music veers from gloom to bubbly pop. They’re at The Ritz in San Jose on July 14, and details are \u003ca href=\"http://theritzsanjose.com/shows/\" target=\"_blank\" rel=\"noopener noreferrer\">here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13546359\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13546359\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-800x266.jpg\" alt=\"The I am an Immigrant pop-up store is open in San Francisco June 30th with t-shirts to buy and free activities\" width=\"800\" height=\"266\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-800x266.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-160x53.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-768x255.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-240x80.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-375x125.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/I-am-an-immigrant-520x173.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The I Am An Immigrant pop-up store opens in San Francisco one day only, June 30, with T-shirts to buy and free activities. \u003ccite>(Photo: Courtesy of I am an Immigrant campaign)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>June 30\u003c/strong>: June is Immigrant Heritage Month, and a pop-up store has opened just in time in San Francisco called \u003ca href=\"https://www.iamanimmigrant.com/events/immigrant-san-francisco-pop\" target=\"_blank\" rel=\"noopener noreferrer\">I Am An Immigrant\u003c/a>. It’s part of a campaign celebrating the contributions immigrants have made to the U.S., and on some level, it’s an act of resistance to President Trump’s anti-immigrant policies. They sell “I am an Immigrant” and “I Stand With Immigrants” T-shirts, but there are free activities as well: photos of you in a T-shirt to post on social media, mural making for kids, and music in the evening. Details for the pop-up at the Laundry Gallery and Cafe on 26th Street in San Francisco — only there through June 30 — are\u003ca href=\"https://www.facebook.com/events/293894134387306/?acontext=%7B%22ref%22%3A%223%22%2C%22ref_newsfeed_story_type%22%3A%22regular%22%2C%22feed_story_type%22%3A%2217%22%2C%22action_history%22%3A%22null%22%7D\" target=\"_blank\" rel=\"noopener noreferrer\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13546784\" class=\"wp-caption aligncenter\" style=\"max-width: 299px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13546784\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742.jpg\" alt=\"Fireworks over the Craneway Pavilion in Richmond, where the Oakland Symphony is playing a free show on July 3rd,\" width=\"299\" height=\"169\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742.jpg 299w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/fireworks-over-Craneway-1-e1498777275742-240x136.jpg 240w\" sizes=\"(max-width: 299px) 100vw, 299px\">\u003cfigcaption class=\"wp-caption-text\">Fireworks over the Craneway Pavilion in Richmond, where the Oakland Symphony plays a free show on July 3. \u003ccite>(Photo: Courtesy of Oakland Symphony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 3 & 4:\u003c/strong> Celebrating America’s immigrant heritage seems very patriotic to me, which brings us to a trio of symphonic Fourth of July events. You can beat the rush on July 3 with conductor Michael Morgan, when he leads the Oakland Symphony in its ninth annual free concert (note: parking is $20) at the Craneway Pavilion in Richmond. The San Francisco Symphony is at the Shoreline Amphitheatre with singer Storm Large, who has a voice as bright and powerful as the fireworks on display. And the Santa Rosa Symphony plays the Green Music Center at Sonoma State in Rohnert Park. Ariana calls the setting “divine” when the sliding doors at the back are opened, and people sit on the grass and enjoy craft beer (kids under 12 get in free, and are free to roam). The Santa Rosa Symphony is joined by Kathy Mattea, a country singer with a lot of presence and a big, pure voice out of West Virginia.\u003c/p>\n\u003cfigure id=\"attachment_13547110\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13547110 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-800x450.jpg\" alt=\"Axis Dance in a rehearsal for 'Occupy' at Yerba Buena Gardens\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/DSC_1647-1-e1498779998356-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">AXIS Dance in a rehearsal for ‘Occupy’ at Yerba Buena Gardens. \u003ccite>(Photo: Courtesy of Axis Dance)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>July 1 & 2\u003c/strong>: AXIS Dance is the Oakland company, founded by Judith Smith, that features dancers with and without disabilities who show how nimbly and beautifully people can move in wheelchairs or with crutches. They’re performing a new piece this weekend choreographed by Stephen Koplowitz, who’s made his name in site-specific dance. \u003cem>Occupy\u003c/em> is about how people occupy their own bodies, a constant issue for a dancer with a disability, but also about the history of Yerba Buena Gardens, a major redevelopment project pushed through City Hall over objections by the poor residents of the neighborhood. With live music by electronic music pioneer Pamela Z, these performances are sure to be compelling. It’s free, but RSVPs are encouraged. \u003ca href=\"http://www.axisdance.org/occupy\" target=\"_blank\" rel=\"noopener noreferrer\">Details here.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/jryzEU7WAlg'\n title='//www.youtube.com/embed/jryzEU7WAlg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>July 1\u003c/strong>: \u003ca href=\"http://www.phantogram.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phantogram\u003c/a> is Sarah Barthel and Josh Carter, childhood friends who grew up to become the smartest and sexiest duo in synth-pop. Ariana’s been a fan for a while. She saw them at Coachella, and she says she got her sister hooked on their big wall of sound as well. Barthes has this delicate, high voice, but she’s a powerhouse performer on stage, looping a keyboard and working the crowd into an ecstatic mess. They play the Greek Theater in Berkeley on Saturday, and you’ll find\u003ca href=\"http://thegreekberkeley.com/events/miike-snow-phantogram/\" target=\"_blank\" rel=\"noopener noreferrer\"> details here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13547112\" class=\"wp-caption aligncenter\" style=\"max-width: 719px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13547112\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl.jpg\" alt=\"The Do List's Cy Musiker and Ariana Proehl\" width=\"719\" height=\"540\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl.jpg 719w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-375x282.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/The-Do-Lists-Cy-Musiker-and-Ariana-Proehl-520x391.jpg 520w\" sizes=\"(max-width: 719px) 100vw, 719px\">\u003cfigcaption class=\"wp-caption-text\">The Do List’s Cy Musiker with co-host Ariana Proehl. \u003ccite>(Photo: Zaldy Serrano/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" 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>We share the movies, music, and shows we can't wait for, revisit some of our favorite moments from the podcast, and praise the Lorde.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2017/06/Anticipation.mp3\" title=\"A Guide to the Most Anticipated Music, TV, and Movie Releases of Summer 2017\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>On our Summer '17 to-do lists: see all the Charlize Theron movies, watch all the HBO shows (\u003cem>Game of Thrones\u003c/em>! \u003cem>Insecure\u003c/em>!), light all the candles and be emo with Lana del Rey.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/d52803a4-787f-4401-8760-3305a366b821.gif\">\u003cimg class=\"aligncenter size-full wp-image-89000\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/d52803a4-787f-4401-8760-3305a366b821.gif\" alt=\"\" width=\"500\" height=\"269\">\u003c/a>\u003c/p>\n\u003cp>On your Summer '17 to-do list: Listen to all our old episodes and pretend like Obama is still President.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-89009\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/original.gif\" alt=\"\" width=\"700\" height=\"428\">\u003c/a>\u003c/p>\n\u003cp>It's official: Album of the Summer (maybe the Year, too): Lorde's \u003cem>Melodrama\u003c/em>. My favorite track changes day to day. Today, it's \"Homemade Dynamite.\"\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=KzgSetnFmoo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Cooler\u003c/em> is on hiatus until September. If you miss us, find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>! And do us a solid by \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\">subscribing and rating us in iTunes\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>On our Summer '17 to-do lists: see all the Charlize Theron movies, watch all the HBO shows (\u003cem>Game of Thrones\u003c/em>! \u003cem>Insecure\u003c/em>!), light all the candles and be emo with Lana del Rey.\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/d52803a4-787f-4401-8760-3305a366b821.gif\">\u003cimg class=\"aligncenter size-full wp-image-89000\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/d52803a4-787f-4401-8760-3305a366b821.gif\" alt=\"\" width=\"500\" height=\"269\">\u003c/a>\u003c/p>\n\u003cp>On your Summer '17 to-do list: Listen to all our old episodes and pretend like Obama is still President.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/original.gif\">\u003cimg class=\"aligncenter size-full wp-image-89009\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/original.gif\" alt=\"\" width=\"700\" height=\"428\">\u003c/a>\u003c/p>\n\u003cp>It's official: Album of the Summer (maybe the Year, too): Lorde's \u003cem>Melodrama\u003c/em>. My favorite track changes day to day. Today, it's \"Homemade Dynamite.\"\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/KzgSetnFmoo'\n title='//www.youtube.com/embed/KzgSetnFmoo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cem>The Cooler\u003c/em> is on hiatus until September. If you miss us, find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\" rel=\"noopener noreferrer\">Twitter\u003c/a>! And do us a solid by \u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\">subscribing and rating us in iTunes\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How Demi Moore’s 1991 Photoshoot Changed the Game for Pregnant Celebrities",
"headTitle": "KQED Pop | KQED Arts",
"content": "\u003cp>This week, Serena Williams graced the cover of \u003cem>\u003ca href=\"http://www.vanityfair.com/style/2017/06/serena-williams-cover-story\">Vanity Fair\u003c/a>’s\u003c/em>\u003cem> \u003c/em>August issue\u003cem>, \u003c/em>windswept, nearly nude, and in the late stages of pregnancy. The image is the epitome of beauty, made all the more powerful in its simple rendering of Williams’ strength and grace.\u003c/p>\n\u003cp>The cover arrives exactly 26 years after Demi Moore and Annie Leibovitz unapologetically tore up the rule book about pregnancy and sexuality, by having Demi pose in the nude while heavily pregnant. The image — probably the most famous in all of \u003cem>Vanity Fair\u003c/em>’s history — caused shock, awe, and not a little disgust when it was first released.\u003c/p>\n\u003cp>The August 1991 cover was a watercooler moment years before anyone even had a name for that. It was pored over, analyzed, dissected. \u003cem>Vanity Fair’\u003c/em>s editor Tina Brown may have \u003ca href=\"http://100photos.time.com/photos/annie-leibovitz-demi-moore\">described it\u003c/a> as “a new young movie star willing to say, ‘I look beautiful pregnant,’ and not ashamed of it,” but reactions across the country were visceral. Many people were simply unable to comprehend how this intersection of pregnancy and sexiness could be out there for the whole world to see. Some stores refused to stock the magazine; others hid Demi’s luminous form in the sorts of packaging usually reserved for pornography.\u003c/p>\n\u003cfigure id=\"attachment_88816\" class=\"wp-caption alignright\" style=\"max-width: 344px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88816 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM.png\" alt=\"\" width=\"344\" height=\"443\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM.png 344w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM-160x206.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM-240x309.png 240w\" sizes=\"(max-width: 344px) 100vw, 344px\">\u003cfigcaption class=\"wp-caption-text\">A page from Demi's 1991 Vanity Fair cover story.\u003c/figcaption>\u003c/figure>\n\u003cp>The controversy was widespread. An article for the \u003cem>\u003ca href=\"https://news.google.com/newspapers?nid=2457&dat=19910717&id=bqNJAAAAIBAJ&sjid=fA0NAAAAIBAJ&pg=2009,450468&hl=en\">Bangor Daily News\u003c/a> \u003c/em>(July 17, 1991) acts as a time capsule. In it, a 24-year-old woman asks, without a wisp of irony: “How are her kids going to feel about this when they get old enough to understand?” Another exclaims: “It’s disgusting. Women are most beautiful when they’re pregnant, but from the face up!” Another declares: “I think it’s in poor taste”.\u003c/p>\n\u003cp>Probably the most telling quote in the article though, comes from a well-meaning grandfather, who opines: “I think it’s very nice. Really very nice. This is nature at work. I get sick and tired of seeing sexy women on magazine covers. This is real.” For this particular grandpa, the image was rendered totally innocuous and asexual by the mere fact of Demi’s pregnancy. The only reason this man wasn’t offended by the image was because he entirely missed its point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Things weren’t all bad though. \u003cem>Vanity Fair\u003c/em> acquired \u003ca href=\"https://books.google.com/books?id=x849DQAAQBAJ&pg=PT302&lpg=PT302&dq=demi+moore+grotesque+and+obscene&source=bl&ots=DNvtVFhyta&sig=Ty60YGGzOqcCfPkJGUK1lQuJA0k&hl=en&sa=X&sqi=2&ved=0ahUKEwiL35fW7d7UAhVC0mMKHXw4DCoQ6AEIPDAE#v=onepage&q=demi%20moore%20grotesque%20and%20obscene&f=false\">75,000 new subscribers\u003c/a>, and the issue sold 500,000 more than expected. Liebovitz remained unfazed by all the fuss, later \u003ca href=\"http://100photos.time.com/photos/annie-leibovitz-demi-moore\">noting\u003c/a>: “It’s a magazine cover. If it were a great portrait, she wouldn’t be covering her breasts.” In 1992, Demi Moore told the \u003cem>Houston Chronicle\u003c/em> the shoot made her “feel glamorous, beautiful, and more free about my body,” also noting, quite rightly: “I don’t know how much more family-oriented I could possibly have gotten.”\u003c/p>\n\u003cp>It may have just seemed like a controversial moment at the time — a daring one-off — but that single photoshoot literally changed the perception of what it means to be a pregnant woman, forever. Prior to the Moore-Leibovitz shoot, pregnant women were expected to cover up, be more demure, and sacrifice their own sexuality for the sake of their offspring. In the years that have followed, it’s a rarity for celebrities to \u003cem>not\u003c/em> do a revealing pregnancy shoot.\u003c/p>\n\u003cp>Here’s a reminder of just some of the famous people who’ve thought nothing of following Demi's example — and received zero backlash for doing so:\u003c/p>\n\u003cfigure id=\"attachment_88726\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88726 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Pregnancy-collage-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top: Britney Spears, Christina Aguilera, Kourtney Kardashian. Middle: Natalie Portman, Jessica Simpson, Mariah Carey. Bottom: Eva Herzigová, Kelly Rowland, Cindy Crawford.\u003c/figcaption>\u003c/figure>\n\u003cp>More recently, celebrities have been bypassing the magazines altogether to do their own pregnancy shoots for social media.\u003c/p>\n\u003cfigure id=\"attachment_88735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88735 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/alicia-bey-kim-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-800x494.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-768x475.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1020x630.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1920x1187.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1180x729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-960x593.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-240x148.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-375x232.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alicia Keys, Beyoncé, Kim Kardashian\u003c/figcaption>\u003c/figure>\n\u003cp>It seems absurd, looking back, that a beautiful famous woman and her unborn child could cause such a national uproar, but in the years before the internet, media was far more filtered and sensibilities infinitely more delicate. It took Moore an incredible amount of bravery to face the inevitable backlash and she did so with aplomb.\u003c/p>\n\u003cp>Demi Moore bit a metaphorical bullet to grant women more agency over their images during pregnancy. Today, bumps are to be celebrated and shown off; not hidden away under loose maternity wear. Moore’s example emboldened women to retain their sense of selves while on the road to motherhood in a way that had been taboo for generations before. She and Leibovitz also — for better or worse — accidentally spawned an entirely new industry: the world of “\u003ca href=\"https://www.pinterest.com/momm4of3/maternity-boudoir/?lp=true\">Maternity Boudoir\u003c/a>” photography.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What Demi Moore gave women, via the medium of that 1991 magazine cover, was a lot: inspiration, bravery, and a bolder outlook on what was possible for mothers. Given that the trend she set more than a quarter century ago has never actually died out, even some of her original critics might view the shoot as iconic by now. It’s almost impossible not to.\u003c/p>\n\n",
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"excerpt": "Naked pregnancy shoots may be de rigueur now, but 26 years ago, Demi Moore faced the wrath of the nation.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This week, Serena Williams graced the cover of \u003cem>\u003ca href=\"http://www.vanityfair.com/style/2017/06/serena-williams-cover-story\">Vanity Fair\u003c/a>’s\u003c/em>\u003cem> \u003c/em>August issue\u003cem>, \u003c/em>windswept, nearly nude, and in the late stages of pregnancy. The image is the epitome of beauty, made all the more powerful in its simple rendering of Williams’ strength and grace.\u003c/p>\n\u003cp>The cover arrives exactly 26 years after Demi Moore and Annie Leibovitz unapologetically tore up the rule book about pregnancy and sexuality, by having Demi pose in the nude while heavily pregnant. The image — probably the most famous in all of \u003cem>Vanity Fair\u003c/em>’s history — caused shock, awe, and not a little disgust when it was first released.\u003c/p>\n\u003cp>The August 1991 cover was a watercooler moment years before anyone even had a name for that. It was pored over, analyzed, dissected. \u003cem>Vanity Fair’\u003c/em>s editor Tina Brown may have \u003ca href=\"http://100photos.time.com/photos/annie-leibovitz-demi-moore\">described it\u003c/a> as “a new young movie star willing to say, ‘I look beautiful pregnant,’ and not ashamed of it,” but reactions across the country were visceral. Many people were simply unable to comprehend how this intersection of pregnancy and sexiness could be out there for the whole world to see. Some stores refused to stock the magazine; others hid Demi’s luminous form in the sorts of packaging usually reserved for pornography.\u003c/p>\n\u003cfigure id=\"attachment_88816\" class=\"wp-caption alignright\" style=\"max-width: 344px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88816 size-full\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM.png\" alt=\"\" width=\"344\" height=\"443\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM.png 344w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM-160x206.png 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Screen-Shot-2017-06-27-at-11.13.03-PM-240x309.png 240w\" sizes=\"(max-width: 344px) 100vw, 344px\">\u003cfigcaption class=\"wp-caption-text\">A page from Demi's 1991 Vanity Fair cover story.\u003c/figcaption>\u003c/figure>\n\u003cp>The controversy was widespread. An article for the \u003cem>\u003ca href=\"https://news.google.com/newspapers?nid=2457&dat=19910717&id=bqNJAAAAIBAJ&sjid=fA0NAAAAIBAJ&pg=2009,450468&hl=en\">Bangor Daily News\u003c/a> \u003c/em>(July 17, 1991) acts as a time capsule. In it, a 24-year-old woman asks, without a wisp of irony: “How are her kids going to feel about this when they get old enough to understand?” Another exclaims: “It’s disgusting. Women are most beautiful when they’re pregnant, but from the face up!” Another declares: “I think it’s in poor taste”.\u003c/p>\n\u003cp>Probably the most telling quote in the article though, comes from a well-meaning grandfather, who opines: “I think it’s very nice. Really very nice. This is nature at work. I get sick and tired of seeing sexy women on magazine covers. This is real.” For this particular grandpa, the image was rendered totally innocuous and asexual by the mere fact of Demi’s pregnancy. The only reason this man wasn’t offended by the image was because he entirely missed its point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Things weren’t all bad though. \u003cem>Vanity Fair\u003c/em> acquired \u003ca href=\"https://books.google.com/books?id=x849DQAAQBAJ&pg=PT302&lpg=PT302&dq=demi+moore+grotesque+and+obscene&source=bl&ots=DNvtVFhyta&sig=Ty60YGGzOqcCfPkJGUK1lQuJA0k&hl=en&sa=X&sqi=2&ved=0ahUKEwiL35fW7d7UAhVC0mMKHXw4DCoQ6AEIPDAE#v=onepage&q=demi%20moore%20grotesque%20and%20obscene&f=false\">75,000 new subscribers\u003c/a>, and the issue sold 500,000 more than expected. Liebovitz remained unfazed by all the fuss, later \u003ca href=\"http://100photos.time.com/photos/annie-leibovitz-demi-moore\">noting\u003c/a>: “It’s a magazine cover. If it were a great portrait, she wouldn’t be covering her breasts.” In 1992, Demi Moore told the \u003cem>Houston Chronicle\u003c/em> the shoot made her “feel glamorous, beautiful, and more free about my body,” also noting, quite rightly: “I don’t know how much more family-oriented I could possibly have gotten.”\u003c/p>\n\u003cp>It may have just seemed like a controversial moment at the time — a daring one-off — but that single photoshoot literally changed the perception of what it means to be a pregnant woman, forever. Prior to the Moore-Leibovitz shoot, pregnant women were expected to cover up, be more demure, and sacrifice their own sexuality for the sake of their offspring. In the years that have followed, it’s a rarity for celebrities to \u003cem>not\u003c/em> do a revealing pregnancy shoot.\u003c/p>\n\u003cp>Here’s a reminder of just some of the famous people who’ve thought nothing of following Demi's example — and received zero backlash for doing so:\u003c/p>\n\u003cfigure id=\"attachment_88726\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88726 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/Pregnancy-collage-800x800.jpg\" alt=\"\" width=\"800\" height=\"800\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-800x800.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-160x160.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-768x768.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1020x1020.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1920x1920.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-1180x1180.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-960x960.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-240x240.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-375x375.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-520x520.jpg 520w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-32x32.jpg 32w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-50x50.jpg 50w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-64x64.jpg 64w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-96x96.jpg 96w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-128x128.jpg 128w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/Pregnancy-collage-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Top: Britney Spears, Christina Aguilera, Kourtney Kardashian. Middle: Natalie Portman, Jessica Simpson, Mariah Carey. Bottom: Eva Herzigová, Kelly Rowland, Cindy Crawford.\u003c/figcaption>\u003c/figure>\n\u003cp>More recently, celebrities have been bypassing the magazines altogether to do their own pregnancy shoots for social media.\u003c/p>\n\u003cfigure id=\"attachment_88735\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg decoding=\"async\" loading=\"lazy\" class=\"wp-image-88735 size-medium\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/alicia-bey-kim-800x494.jpg\" alt=\"\" width=\"800\" height=\"494\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-800x494.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-160x99.jpg 160w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-768x475.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1020x630.jpg 1020w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1920x1187.jpg 1920w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-1180x729.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-960x593.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-240x148.jpg 240w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-375x232.jpg 375w, https://ww2.kqed.org/app/uploads/sites/12/2017/06/alicia-bey-kim-520x321.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alicia Keys, Beyoncé, Kim Kardashian\u003c/figcaption>\u003c/figure>\n\u003cp>It seems absurd, looking back, that a beautiful famous woman and her unborn child could cause such a national uproar, but in the years before the internet, media was far more filtered and sensibilities infinitely more delicate. It took Moore an incredible amount of bravery to face the inevitable backlash and she did so with aplomb.\u003c/p>\n\u003cp>Demi Moore bit a metaphorical bullet to grant women more agency over their images during pregnancy. Today, bumps are to be celebrated and shown off; not hidden away under loose maternity wear. Moore’s example emboldened women to retain their sense of selves while on the road to motherhood in a way that had been taboo for generations before. She and Leibovitz also — for better or worse — accidentally spawned an entirely new industry: the world of “\u003ca href=\"https://www.pinterest.com/momm4of3/maternity-boudoir/?lp=true\">Maternity Boudoir\u003c/a>” photography.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>What Demi Moore gave women, via the medium of that 1991 magazine cover, was a lot: inspiration, bravery, and a bolder outlook on what was possible for mothers. Given that the trend she set more than a quarter century ago has never actually died out, even some of her original critics might view the shoot as iconic by now. It’s almost impossible not to.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Gchat (or \"Google Talk,\" as it was officially called and never known), the simple in-Gmail chat service, has been sunsetted. From all the \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/06/gchat-we-hardly-knew-ye/531612/\" target=\"_blank\" rel=\"noopener noreferrer\">eulogizing\u003c/a> on the \u003ca href=\"https://theringer.com/google-chat-messaging-service-ending-bce80fff5d9c\" target=\"_blank\" rel=\"noopener noreferrer\">internet\u003c/a>, you would imagine that in-email chat had been killed completely, another footnote in the march of obsolescence. It’s only been upgraded to Hangouts, a slicker, more flexible platform that can support things like animated gifs and group video calls, along with in-email chat. This wave of mourning for Gchat seems to be less about the service itself and more about the time when we could live our lives in its little windows, when our romances and comedies and dramas fit neatly into a two-inch text-box, when we had nothing to do but sit around and chat all day, even when we technically had other things to do.\u003c/p>\n\u003cp>We sent each other links. We fell in love. We talked frequently about Beyoncé, \u003ca href=\"http://mentalfloss.com/article/59967/13-unlikely-adorable-animal-friendships\">unlikely animal friends,\u003c/a> that weird guy in the breakroom, and really anything that wasn’t the task at hand. We couldn’t wait to share gossip. We chatted all day every day until one of us got a new job and went from always green to never green. We had a clever status message. We emailed the person we were interested in for no reason except to make them pop into our chat, and then never messaged them because what would we say? We obsessively reread saved conversations. We cultivated intimacies with unlikely people and revealed hopes and dreams late at night, alone together in the glow of our screens. We decided whether we were “hahaha” or “lol” people. We used emojis ironically and then earnestly. We chatted off the record when we thought bosses were watching, as though they weren’t recording every keystroke. We fell out of love, or suspected the other person’s lack of response meant they had. We were typing, but then we weren’t. We started texting.\u003c/p>\n\u003cp>Goodbye Gchat, and goodbye to our younger selves, those brave, beautiful idiots that we all still have inside of us somewhere. At some point this week, we may be tempted to revisit the archives and get a sense for who those people were and what they talked about, but let’s try to resist the urge to memorialize them with statistics about the who and where and what. The personal in this case is not the universal; it’s like hearing about someone else’s dreams. We each have our own stats, our own heavy accumulated chat history. We’re the sum total of it, an immense body of text remarkable only in its sweet mundanity.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Gchat (or \"Google Talk,\" as it was officially called and never known), the simple in-Gmail chat service, has been sunsetted. From all the \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/06/gchat-we-hardly-knew-ye/531612/\" target=\"_blank\" rel=\"noopener noreferrer\">eulogizing\u003c/a> on the \u003ca href=\"https://theringer.com/google-chat-messaging-service-ending-bce80fff5d9c\" target=\"_blank\" rel=\"noopener noreferrer\">internet\u003c/a>, you would imagine that in-email chat had been killed completely, another footnote in the march of obsolescence. It’s only been upgraded to Hangouts, a slicker, more flexible platform that can support things like animated gifs and group video calls, along with in-email chat. This wave of mourning for Gchat seems to be less about the service itself and more about the time when we could live our lives in its little windows, when our romances and comedies and dramas fit neatly into a two-inch text-box, when we had nothing to do but sit around and chat all day, even when we technically had other things to do.\u003c/p>\n\u003cp>We sent each other links. We fell in love. We talked frequently about Beyoncé, \u003ca href=\"http://mentalfloss.com/article/59967/13-unlikely-adorable-animal-friendships\">unlikely animal friends,\u003c/a> that weird guy in the breakroom, and really anything that wasn’t the task at hand. We couldn’t wait to share gossip. We chatted all day every day until one of us got a new job and went from always green to never green. We had a clever status message. We emailed the person we were interested in for no reason except to make them pop into our chat, and then never messaged them because what would we say? We obsessively reread saved conversations. We cultivated intimacies with unlikely people and revealed hopes and dreams late at night, alone together in the glow of our screens. We decided whether we were “hahaha” or “lol” people. We used emojis ironically and then earnestly. We chatted off the record when we thought bosses were watching, as though they weren’t recording every keystroke. We fell out of love, or suspected the other person’s lack of response meant they had. We were typing, but then we weren’t. We started texting.\u003c/p>\n\u003cp>Goodbye Gchat, and goodbye to our younger selves, those brave, beautiful idiots that we all still have inside of us somewhere. At some point this week, we may be tempted to revisit the archives and get a sense for who those people were and what they talked about, but let’s try to resist the urge to memorialize them with statistics about the who and where and what. The personal in this case is not the universal; it’s like hearing about someone else’s dreams. We each have our own stats, our own heavy accumulated chat history. We’re the sum total of it, an immense body of text remarkable only in its sweet mundanity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>If you didn’t watch the entirety of new Netflix series \u003ca href=\"http://www.imdb.com/title/tt5770786/episodes?season=1&ref_=tt_eps_sn_1\">\u003cem>GLOW\u003c/em>\u003c/a> over the weekend, chances are you were simply too busy doing a plethora of amazing Pride-related stuff. That’s okay. You can casually start watching this show about women’s wrestling next weekend, only to find that you can’t step away from your TV. Truly, this is the most addictive show to hit screens since \u003ca href=\"https://ww2.kqed.org/pop/tag/stranger-things/\">\u003cem>Stranger Things \u003c/em>\u003c/a>(the ’80s — and \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a> — is clearly having a moment right now).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wnKEoXbBTEw\u003c/p>\n\u003cp>Amidst all of the leotards, compelling drama, and genuinely heart-felt humor, it took me a couple of episodes to really notice Rhonda Richardson, a.k.a. Britannica (the smartest of all of the wrestling personas in the show, she clobbers her opponents with a text book).\u003c/p>\n\u003cp>Rhonda’s character has so far been noticed online for her \u003ca href=\"http://www.refinery29.com/2017/06/160673/kate-nash-glow-robyn-lively-teen-witch\">resemblance to Robyn Lively\u003c/a> in 1989’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098453/?ref_=nv_sr_1\">Teen Witch\u003c/a>, \u003c/em>and not much else. This is a reflection of how many amazing characters there are in this thing, rather than an indictment of her character. Rhonda is a beautiful and outspoken live wire with a sweet nature and unfiltered sexuality.\u003c/p>\n\u003cfigure id=\"attachment_88615\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-88615\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\" alt=\"\" width=\"700\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-520x357.jpg 520w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>It was in \u003cem>GLOW\u003c/em>‘s third episode (the hilariously titled “Wrath of Kuntar”) that it clicked.\u003cbr>\n“Hang on, that’s Kate Nash!” I said.\u003cbr>\n“Who the hell is Kate Nash?” my perplexed binge-watching companion asked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I hit pause and put this on:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ryH5cga0yUI\u003c/p>\n\u003cp>Nash has been an indie music darling in the UK for a decade — something quite evident by the 13 million views the “Foundations” video has wracked up on YouTube thus far. Her first album, \u003ca href=\"https://en.wikipedia.org/wiki/Made_of_Bricks\">\u003cem>Made of Bricks\u003c/em>\u003c/a>, was full of jaunty piano-based tunes about unrequited crushes, bad relationships, and childhood friendships. Nash unselfconsciously sang the entire thing in her broad London accent. Legend has it, the album was only written to kill boredom, after the singer \u003ca href=\"http://www.bbc.co.uk/music/reviews/nbvr/\">broke her foot\u003c/a> in a panic induced by getting rejected from the theater school of her choice. On her home soil, the twist of fate catapulted her into actual, \u003ca href=\"https://www.youtube.com/watch?v=KBWudCTDKEI\">BRIT-Award-winning\u003c/a> stardom (she beat PJ Harvey and Bat For Lashes in the 2008 Best British Female category).\u003c/p>\n\u003cp>At the start of her music career, the then-20-year-old Nash combined wholesome, traditionally feminine aesthetics with a penchant for cursing and unfiltered opinion-giving. It was an intoxicating combination, but one that didn’t really speak to the more punk rock aspects of Nash’s character. On the side, away from all the adoration, she played bass part-time in a punk band called \u003ca href=\"https://www.youtube.com/watch?v=LJspXDQRdjk\">the Receeders\u003c/a>. She also fully embraced underground, DIY culture with her own fanzine and blog, \u003ca href=\"http://myignorantyouth.blogspot.com/\">\u003cem>My Ignorant Youth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nash’s second album, 2010’s \u003ca href=\"https://www.youtube.com/watch?v=GNPxAOQbIpM&list=PLeYteSIQR-Q--so3wG1DGoLmxHeTL8sEx\">\u003cem>My Best Friend is You\u003c/em>\u003c/a>, had elements of her earlier sweetness — even incorporating ’60s girl group vibes on lead single, \u003ca href=\"https://www.youtube.com/watch?v=OqV-embx_tA\">“Do-Wah-Doo”\u003c/a> — but her on-stage image got spikier and the album tracks were far dirtier and more caustic than anyone had expected. By the time 2013’s \u003ca href=\"https://www.youtube.com/watch?v=bfBoxX64d6I\">\u003cem>Girl Talk\u003c/em> \u003c/a>came out, it was widely noted that Nash had \u003ca href=\"https://consequenceofsound.net/2012/06/video-kate-nash-under-estimate-the-girl/\">“gone full riot grrrl.”\u003c/a> Reviews were a little mixed, but Nash doubled down, creating a YouTube channel called \u003ca href=\"https://www.youtube.com/watch?v=quNE_r79qMk\">Girl Gang TV\u003c/a>, that \u003ca href=\"https://www.theguardian.com/music/2015/feb/06/kate-nashs-girl-gang-the-online-community-for-todays-riot-grrrls\">\u003cem>The Guardian\u003c/em>\u003c/a> dubbed “a meeting place for a new generation of likeminded feminists.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=quNE_r79qMk\u003c/p>\n\u003cp>Suffice it to say, Kate Nash ending up on a show about sexism, female empowerment, community amongst women, and DIY determination shouldn’t be in the least bit surprising, especially since, before that pesky broken foot, she had been more interested in a career in acting than in music. (Fun fact: she attended the same London \u003ca href=\"https://en.wikipedia.org/wiki/BRIT_School\">school for performing arts\u003c/a> that Amy Winehouse and Adele did.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kate Nash’s fourth album is due out sometime before February 2018, but it’s hard to imagine \u003cem>GLOW\u003c/em> not taking over her life for the forseeable future. The cool thing is, this second leap into the limelight comes with its own in-built girl gang — something she’s been trying to cultivate on her own for years.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you didn’t watch the entirety of new Netflix series \u003ca href=\"http://www.imdb.com/title/tt5770786/episodes?season=1&ref_=tt_eps_sn_1\">\u003cem>GLOW\u003c/em>\u003c/a> over the weekend, chances are you were simply too busy doing a plethora of amazing Pride-related stuff. That’s okay. You can casually start watching this show about women’s wrestling next weekend, only to find that you can’t step away from your TV. Truly, this is the most addictive show to hit screens since \u003ca href=\"https://ww2.kqed.org/pop/tag/stranger-things/\">\u003cem>Stranger Things \u003c/em>\u003c/a>(the ’80s — and \u003ca href=\"https://www.kqed.org/arts/tag/netflix\">Netflix\u003c/a> — is clearly having a moment right now).\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/wnKEoXbBTEw'\n title='//www.youtube.com/embed/wnKEoXbBTEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Amidst all of the leotards, compelling drama, and genuinely heart-felt humor, it took me a couple of episodes to really notice Rhonda Richardson, a.k.a. Britannica (the smartest of all of the wrestling personas in the show, she clobbers her opponents with a text book).\u003c/p>\n\u003cp>Rhonda’s character has so far been noticed online for her \u003ca href=\"http://www.refinery29.com/2017/06/160673/kate-nash-glow-robyn-lively-teen-witch\">resemblance to Robyn Lively\u003c/a> in 1989’s \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0098453/?ref_=nv_sr_1\">Teen Witch\u003c/a>, \u003c/em>and not much else. This is a reflection of how many amazing characters there are in this thing, rather than an indictment of her character. Rhonda is a beautiful and outspoken live wire with a sweet nature and unfiltered sexuality.\u003c/p>\n\u003cfigure id=\"attachment_88615\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003ca href=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-88615\" src=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg\" alt=\"\" width=\"700\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-160x110.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-240x165.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-375x257.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/12/2017/06/glow-s1-kate-nash-01-700-480-520x357.jpg 520w\" sizes=\"auto, (max-width: 700px) 100vw, 700px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Photo: Netflix\u003c/figcaption>\u003c/figure>\n\u003cp>It was in \u003cem>GLOW\u003c/em>‘s third episode (the hilariously titled “Wrath of Kuntar”) that it clicked.\u003cbr>\n“Hang on, that’s Kate Nash!” I said.\u003cbr>\n“Who the hell is Kate Nash?” my perplexed binge-watching companion asked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I hit pause and put this on:\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/ryH5cga0yUI'\n title='//www.youtube.com/embed/ryH5cga0yUI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nash has been an indie music darling in the UK for a decade — something quite evident by the 13 million views the “Foundations” video has wracked up on YouTube thus far. Her first album, \u003ca href=\"https://en.wikipedia.org/wiki/Made_of_Bricks\">\u003cem>Made of Bricks\u003c/em>\u003c/a>, was full of jaunty piano-based tunes about unrequited crushes, bad relationships, and childhood friendships. Nash unselfconsciously sang the entire thing in her broad London accent. Legend has it, the album was only written to kill boredom, after the singer \u003ca href=\"http://www.bbc.co.uk/music/reviews/nbvr/\">broke her foot\u003c/a> in a panic induced by getting rejected from the theater school of her choice. On her home soil, the twist of fate catapulted her into actual, \u003ca href=\"https://www.youtube.com/watch?v=KBWudCTDKEI\">BRIT-Award-winning\u003c/a> stardom (she beat PJ Harvey and Bat For Lashes in the 2008 Best British Female category).\u003c/p>\n\u003cp>At the start of her music career, the then-20-year-old Nash combined wholesome, traditionally feminine aesthetics with a penchant for cursing and unfiltered opinion-giving. It was an intoxicating combination, but one that didn’t really speak to the more punk rock aspects of Nash’s character. On the side, away from all the adoration, she played bass part-time in a punk band called \u003ca href=\"https://www.youtube.com/watch?v=LJspXDQRdjk\">the Receeders\u003c/a>. She also fully embraced underground, DIY culture with her own fanzine and blog, \u003ca href=\"http://myignorantyouth.blogspot.com/\">\u003cem>My Ignorant Youth\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>Nash’s second album, 2010’s \u003ca href=\"https://www.youtube.com/watch?v=GNPxAOQbIpM&list=PLeYteSIQR-Q--so3wG1DGoLmxHeTL8sEx\">\u003cem>My Best Friend is You\u003c/em>\u003c/a>, had elements of her earlier sweetness — even incorporating ’60s girl group vibes on lead single, \u003ca href=\"https://www.youtube.com/watch?v=OqV-embx_tA\">“Do-Wah-Doo”\u003c/a> — but her on-stage image got spikier and the album tracks were far dirtier and more caustic than anyone had expected. By the time 2013’s \u003ca href=\"https://www.youtube.com/watch?v=bfBoxX64d6I\">\u003cem>Girl Talk\u003c/em> \u003c/a>came out, it was widely noted that Nash had \u003ca href=\"https://consequenceofsound.net/2012/06/video-kate-nash-under-estimate-the-girl/\">“gone full riot grrrl.”\u003c/a> Reviews were a little mixed, but Nash doubled down, creating a YouTube channel called \u003ca href=\"https://www.youtube.com/watch?v=quNE_r79qMk\">Girl Gang TV\u003c/a>, that \u003ca href=\"https://www.theguardian.com/music/2015/feb/06/kate-nashs-girl-gang-the-online-community-for-todays-riot-grrrls\">\u003cem>The Guardian\u003c/em>\u003c/a> dubbed “a meeting place for a new generation of likeminded feminists.”\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/quNE_r79qMk'\n title='//www.youtube.com/embed/quNE_r79qMk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Suffice it to say, Kate Nash ending up on a show about sexism, female empowerment, community amongst women, and DIY determination shouldn’t be in the least bit surprising, especially since, before that pesky broken foot, she had been more interested in a career in acting than in music. (Fun fact: she attended the same London \u003ca href=\"https://en.wikipedia.org/wiki/BRIT_School\">school for performing arts\u003c/a> that Amy Winehouse and Adele did.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kate Nash’s fourth album is due out sometime before February 2018, but it’s hard to imagine \u003cem>GLOW\u003c/em> not taking over her life for the forseeable future. The cool thing is, this second leap into the limelight comes with its own in-built girl gang — something she’s been trying to cultivate on her own for years.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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