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"title": "A Baby Penguin Boom at the Academy of Sciences is Just as Cute as You Hoped",
"headTitle": "A Baby Penguin Boom at the Academy of Sciences is Just as Cute as You Hoped | KQED",
"content": "\u003cp>The California Academy of Sciences has proudly announced the birth of a “staggering” 10 African penguin chicks over the past 14 months. This follows a four-year dry spell (stressful for anyone, but especially for parents who carry the weight of an endangered population on their little wings). Before that, only 10 chicks hatched over a period of 10 years.\u003c/p>\n\u003cp>Alice, Fyn, Ignatz (Iggie), Nelson, Oswald Cobblepot (Ozzie for short), Pogo and a yet-to-be named fuzzball born Jan. 12, 2024 are among the aquarium’s newest residents. (Two siblings did not survive past 30 days.)\u003c/p>\n\u003cp>What is life like for a newly hatched African penguin at the Academy of Sciences? I’m glad you asked, because now I get to tell you about \u003cem>FISH SCHOOL\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13951985\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000.jpg\" alt=\"Fluffy penguin chick in school-like environment\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The gloriously named Oswald Cobblepot is ‘curious and loves to swim, but will never pass up a free ride from a biologist.’ \u003ccite>(Gayle Laird/California Academy of Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New chicks spend 21 days in the nest box with their parents. For the first few months of their lives, they attend something that is exactly as adorable as it sounds: a place where they learn to swim on their own and eat fish provided by biologists. Enrichment activities at fish school include painting, bubbles, playing with a laser pointer, ice cakes and a tablet for audio and visual enrichment.\u003c/p>\n\u003cp>I simply cannot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once buoyant and waterproof, they join the aquarium’s African penguin colony, and eventually will be paired up to grow the population in human care. Four of the juveniles are already part of the museum’s exhibit and will be present for the annual Penguin Valentine’s program on Feb. 14 at 10:30 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13951986\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000.jpg\" alt=\"Multiple penguins stand on rocks with red felt hearts at their feet\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The annual Penguin Valentines celebration takes place on Feb. 14, at 10:30 a.m. \u003ccite>(Gayle Laird/California Academy of Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And how does a permanently tuxedoed critter celebrate Valentine’s Day? Just like a very egalitarian elementary school class, each webbed charmer will receive a heart-shaped felt valentine to be used as nesting material.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you have your own Valentine’s plans but still want to obsess over these little guys, you can get to know the Academy of Science’s penguin colony with this \u003ca href=\"https://www.calacademy.org/meet-our-african-penguins\">personality-filled cheat sheet\u003c/a> or \u003ca href=\"https://www.calacademy.org/learn-explore/animal-webcams/live-penguin-cams\">watch a live penguin webcam\u003c/a>, streaming 24/7.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The California Academy of Sciences has proudly announced the birth of a “staggering” 10 African penguin chicks over the past 14 months. This follows a four-year dry spell (stressful for anyone, but especially for parents who carry the weight of an endangered population on their little wings). Before that, only 10 chicks hatched over a period of 10 years.\u003c/p>\n\u003cp>Alice, Fyn, Ignatz (Iggie), Nelson, Oswald Cobblepot (Ozzie for short), Pogo and a yet-to-be named fuzzball born Jan. 12, 2024 are among the aquarium’s newest residents. (Two siblings did not survive past 30 days.)\u003c/p>\n\u003cp>What is life like for a newly hatched African penguin at the Academy of Sciences? I’m glad you asked, because now I get to tell you about \u003cem>FISH SCHOOL\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13951985\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000.jpg\" alt=\"Fluffy penguin chick in school-like environment\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951985\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Oswald-Cobblepot_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The gloriously named Oswald Cobblepot is ‘curious and loves to swim, but will never pass up a free ride from a biologist.’ \u003ccite>(Gayle Laird/California Academy of Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>New chicks spend 21 days in the nest box with their parents. For the first few months of their lives, they attend something that is exactly as adorable as it sounds: a place where they learn to swim on their own and eat fish provided by biologists. Enrichment activities at fish school include painting, bubbles, playing with a laser pointer, ice cakes and a tablet for audio and visual enrichment.\u003c/p>\n\u003cp>I simply cannot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once buoyant and waterproof, they join the aquarium’s African penguin colony, and eventually will be paired up to grow the population in human care. Four of the juveniles are already part of the museum’s exhibit and will be present for the annual Penguin Valentine’s program on Feb. 14 at 10:30 a.m.\u003c/p>\n\u003cfigure id=\"attachment_13951986\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000.jpg\" alt=\"Multiple penguins stand on rocks with red felt hearts at their feet\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13951986\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/PenguinValentine_MG_1115_GL_CAS_2000-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The annual Penguin Valentines celebration takes place on Feb. 14, at 10:30 a.m. \u003ccite>(Gayle Laird/California Academy of Sciences)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And how does a permanently tuxedoed critter celebrate Valentine’s Day? Just like a very egalitarian elementary school class, each webbed charmer will receive a heart-shaped felt valentine to be used as nesting material.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If you have your own Valentine’s plans but still want to obsess over these little guys, you can get to know the Academy of Science’s penguin colony with this \u003ca href=\"https://www.calacademy.org/meet-our-african-penguins\">personality-filled cheat sheet\u003c/a> or \u003ca href=\"https://www.calacademy.org/learn-explore/animal-webcams/live-penguin-cams\">watch a live penguin webcam\u003c/a>, streaming 24/7.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Food, Glorious Food (and Other Pleasures) in ‘The Taste of Things’",
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"content": "\u003cp>\u003cem>The Taste of Things\u003c/em> should come with a warning: Audiences may be tempted to abandon work as they know it and start a beautiful, calm new life in the French countryside devoted to the culinary arts.\u003c/p>\n\u003cp>[aside postid='arts_13951641']There is something rather cruel about releasing a film this lovely and voyeuristic in the dead of February, in which the cinematic gardens are lush, the game is fresh, the atmosphere is tranquil, the distractions are non-existent, the conversations are intellectual and the goal is shared. But maybe that’s why we need movies like this. It’s pure escapism and the cost of the movie ticket is slightly more affordable.\u003c/p>\n\u003cp>The film is fictional, a sort of prequel to Marcel Rouff’s \u003cem>The Life and Passion of Dodin-Bouffant, Gourmet \u003c/em>from 1924, itself loosely inspired by 19th century French epicure Jean Anthelme Brillat-Savarin. But the food is real, imagined by three-star chef Pierre Gagnaire and prepared on set by Michel Nave. Far from that ugly, almost meaningless phrase “food porn,” \u003cem>The Taste of Things\u003c/em> is a cinematic expression of the art of cuisine. The sounds of cooking provide the score. The visuals seem to transcend the screen in a very mystical way.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cKKCGtoIOVY\u003c/p>\n\u003cp>Director and screenwriter Trần Anh Hùng and cinematographer Jonathan Ricquebourg use the camera as almost a sous chef, letting the audience feel like they’re in the flurry of everything in the kitchen as well. It is not chaotic like \u003cem>The Bear\u003c/em> or any number of those shouty reality shows. This is more like a ballet — precise, delicate and quiet. And the luminous Juliette Binoche is the regal principal, guiding the proceedings with grace and a slightly undone bun.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Of course, there’s a story here, too, the side dish to the main course, which focuses on Dodin’s (Benoît Magimel) relationship with his cook Eugénie (Binoche). Theirs is a long and deep companionship, forged by a shared passion for food and a mutual respect that belies normal dynamics between boss and employee. It is kind of the ultimate in intimacy, being on the same page about quality and pairings and the seemingly very mundane, ordinary question of “What are we eating tonight?” Dodin wants to marry her. She refuses. It’s a conversation they’ve probably had many times before and perhaps why the dynamic continues to work.\u003c/p>\n\u003cp>[aside postid='arts_13950994']There is a moving story in here about love in ones “autumn years” as Dodin calls it. Everything is understated and lovely, including their very adult conversations about marriage and the right to lock their doors at night. There are some tropey flourishes, too, like a precocious young girl reciting flavor notes with suspicious specificity, and foreshadowing illness by showing a character who suddenly feels faint. They stand out as common choices in a film that is anything but.\u003c/p>\n\u003cp>Hùng won the best director award for \u003cem>The Taste of Things\u003c/em> at the Cannes Film Festival last year, and it was selected to represent France in the Oscars but was passed over for a nomination. This technicality should not dissuade anyone from being interested in the film — just a reminder of how unfair it is that all of world cinema is reduced to five nominations every year.\u003c/p>\n\u003cp>Just make sure you either go in satiated or with set plans for your post-viewing meal. In our world of gross TikTok hacks for one pot meals, it’s a balm to see things slowed down and with many, many beautifully rustic copper pots and cast-iron pans. And don’t be surprised if everyone suddenly starts making pot-au-feu, which, come to think of it, is actually a perfect meal for February.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Taste of Things’ is released in select cities, including San Francisco, on Feb. 9, 2024. It will reach screens nationwide on Feb. 14.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is something rather cruel about releasing a film this lovely and voyeuristic in the dead of February, in which the cinematic gardens are lush, the game is fresh, the atmosphere is tranquil, the distractions are non-existent, the conversations are intellectual and the goal is shared. But maybe that’s why we need movies like this. It’s pure escapism and the cost of the movie ticket is slightly more affordable.\u003c/p>\n\u003cp>The film is fictional, a sort of prequel to Marcel Rouff’s \u003cem>The Life and Passion of Dodin-Bouffant, Gourmet \u003c/em>from 1924, itself loosely inspired by 19th century French epicure Jean Anthelme Brillat-Savarin. But the food is real, imagined by three-star chef Pierre Gagnaire and prepared on set by Michel Nave. Far from that ugly, almost meaningless phrase “food porn,” \u003cem>The Taste of Things\u003c/em> is a cinematic expression of the art of cuisine. The sounds of cooking provide the score. The visuals seem to transcend the screen in a very mystical way.\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/cKKCGtoIOVY'\n title='//www.youtube.com/embed/cKKCGtoIOVY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director and screenwriter Trần Anh Hùng and cinematographer Jonathan Ricquebourg use the camera as almost a sous chef, letting the audience feel like they’re in the flurry of everything in the kitchen as well. It is not chaotic like \u003cem>The Bear\u003c/em> or any number of those shouty reality shows. This is more like a ballet — precise, delicate and quiet. And the luminous Juliette Binoche is the regal principal, guiding the proceedings with grace and a slightly undone bun.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is a moving story in here about love in ones “autumn years” as Dodin calls it. Everything is understated and lovely, including their very adult conversations about marriage and the right to lock their doors at night. There are some tropey flourishes, too, like a precocious young girl reciting flavor notes with suspicious specificity, and foreshadowing illness by showing a character who suddenly feels faint. They stand out as common choices in a film that is anything but.\u003c/p>\n\u003cp>Hùng won the best director award for \u003cem>The Taste of Things\u003c/em> at the Cannes Film Festival last year, and it was selected to represent France in the Oscars but was passed over for a nomination. This technicality should not dissuade anyone from being interested in the film — just a reminder of how unfair it is that all of world cinema is reduced to five nominations every year.\u003c/p>\n\u003cp>Just make sure you either go in satiated or with set plans for your post-viewing meal. In our world of gross TikTok hacks for one pot meals, it’s a balm to see things slowed down and with many, many beautifully rustic copper pots and cast-iron pans. And don’t be surprised if everyone suddenly starts making pot-au-feu, which, come to think of it, is actually a perfect meal for February.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Taste of Things’ is released in select cities, including San Francisco, on Feb. 9, 2024. It will reach screens nationwide on Feb. 14.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Chelsea Wolfe Says Witchcraft and Sobriety Informed Her Latest Album",
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"content": "\u003cp>Often in popular culture, witchcraft is associated with a kind of feminist reclamation of power and spite-fueled revenge.\u003c/p>\n\u003cp>And although Chelsea Wolfe’s new album is arguably her most spiritual yet, dripping with poetic lyricism about tarot, underworlds and bathing in blood, the process of making it has been marked by a time of healing, joy and relinquishing control.\u003c/p>\n\u003cp>“Over the years, as I’ve embraced a path of witchcraft and following the cycles of the seasons and the cycles of the moon, I put that into my writing process a lot, and I’ve started to share that more because this has been such a positive, wonderful thing in my life,” Wolfe explains.\u003c/p>\n\u003cp>[aside postid='arts_13951564']Witchcraft’s influence has meant an increased attentiveness to letting each record “be what it wants to be,” the singer, songwriter and musician says — which can sometimes be overtly mystical, like pulling a tarot card for “clarity and guidance” on what she is about to write, or more ostensibly mundane.\u003c/p>\n\u003cp>Take, for example, her songwriting process for \u003cem>She Reaches Out to She Reaches Out to She\u003c/em>. Although Wolfe frequently brings nearly finished demos to the studio to be fine-tuned and recorded for an album, this time around, she decided to work with producer Dave Sitek, who heavily transformed her rock-sounding songs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This one felt like it wanted to lean more electronic, a little bit more of that trip-hop influence that I’ve dabbled with over the years,” she says of her embrace of the genre which blends hip-hop and electronica.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=L0o2GraeMlo\u003c/p>\n\u003cp>And while Wolfe is pleased with where she allowed those songs to go, it was still difficult to let it happen after years of holding onto them during the pandemic.\u003c/p>\n\u003cp>“When you do have a lot of time to sit with the demos, sometimes it can be hard to then give them over to someone and hear all the changes,” she says. “But something about this place in my life and kind of what this record is about, thematically, it just felt right.”\u003c/p>\n\u003cp>Part of what informed this idea of letting go and shedding exoskeletons — “a spectral reminder of all that we’ve become,” she sings in one song — was beginning a journey of sobriety.\u003c/p>\n\u003cp>[aside postid='arts_114628']“I got sober from alcohol in early 2021, and I had already started this record. It’s interesting to kind of hear the songs that I started before that and the way that they changed,” she recalls. “That created a lot of openness and clarity in my life and my creativity that I just was then naturally channeling into this music. It became a lot about rebirth.”\u003c/p>\n\u003cp>Wolfe’s music is hard to categorize, but she is known for her tendency to blend folk music with heavier subgenres like gothic rock and doom metal. She’s aware of the specific taste required for people to enjoy it — “It’s not party music,” she laughs — but has never been afraid to stand her creative ground.\u003c/p>\n\u003cp>“There’s been collaborations that I’ve been asked to do that I felt like they just weren’t right for me. And maybe it would have given me a lot of exposure or more payment down the line,” she says. “I try to live simply and not have to do things that I don’t feel like I’m aligned with just for money. I know that’s a privilege.”\u003c/p>\n\u003cp>But she has found resourceful ways, in addition to touring, to make a living with which she feels artistically comfortable, such as collaborating with composer Tyler Bates on the soundtrack for the 2022 slasher film, \u003cem>X\u003c/em>, which stars Mia Goth.\u003c/p>\n\u003cp>Director Ti West remembers wanting to experiment with a more avant-garde sound and talking to Bates about how best to achieve it.\u003c/p>\n\u003cp>“I kind of pitched this idea to Tyler that it’d be great to have a vocal-driven score,” West says. “It just seemed conceptually like a really weird and interesting idea to not just have the same old horror score that you hear over and over again.”\u003c/p>\n\u003cp>Bates, who had admired Wolfe’s music for years and had already worked with her once before, knew she’d be perfect. He came to her with the idea to use her voice to make “percussive sounds” throughout, including laughter, growling and even sexual noises — particularly apt given the movie follows a pornographic film crew in the ‘70s.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=quXqq2q0MmA\u003c/p>\n\u003cp>“She looked at me like, ‘What do you want me to do?’” Bates laughs as he recalls explaining his proposal.\u003c/p>\n\u003cp>But West, aware of their unconventional request, says Wolfe quickly rose to the occasion, making a big difference in the finished film.\u003c/p>\n\u003cp>“It’s hugely important. Music, certainly in a horror movie, is something that’s going to curate the tone,” West says. “At least for me, it’s something I’m thinking about before I even make the movie.”\u003c/p>\n\u003cp>[aside postid='arts_13950877']Bates teases that he and Wolfe have continued this method in the score for \u003cem>MaXXXine\u003c/em>, the highly anticipated final film of the trilogy, which stars Elizabeth Debicki and singer Halsey alongside Goth.\u003c/p>\n\u003cp>Between working on the \u003cem>MaXXXine\u003c/em> score and gearing up for her album release and upcoming tour, Wolfe has been particularly intentional about taking time for self-reflection and being present amid a busy schedule.\u003c/p>\n\u003cp>That has of course involved witchcraft, though, like her music, she resists attempts to put walls around what that means.\u003c/p>\n\u003cp>“Witchcraft in itself isn’t a religion. It’s not like we all gather somewhere,” she says. “Just because someone practices witchcraft doesn’t mean that they’re going to resonate with everybody else who does.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Chelsea Wolfe’s new album, ‘She Reaches Out to She Reaches Out to She’ is released on Feb. 9, 2024 via Loma Vista Recordings.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Often in popular culture, witchcraft is associated with a kind of feminist reclamation of power and spite-fueled revenge.\u003c/p>\n\u003cp>And although Chelsea Wolfe’s new album is arguably her most spiritual yet, dripping with poetic lyricism about tarot, underworlds and bathing in blood, the process of making it has been marked by a time of healing, joy and relinquishing control.\u003c/p>\n\u003cp>“Over the years, as I’ve embraced a path of witchcraft and following the cycles of the seasons and the cycles of the moon, I put that into my writing process a lot, and I’ve started to share that more because this has been such a positive, wonderful thing in my life,” Wolfe explains.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Witchcraft’s influence has meant an increased attentiveness to letting each record “be what it wants to be,” the singer, songwriter and musician says — which can sometimes be overtly mystical, like pulling a tarot card for “clarity and guidance” on what she is about to write, or more ostensibly mundane.\u003c/p>\n\u003cp>Take, for example, her songwriting process for \u003cem>She Reaches Out to She Reaches Out to She\u003c/em>. Although Wolfe frequently brings nearly finished demos to the studio to be fine-tuned and recorded for an album, this time around, she decided to work with producer Dave Sitek, who heavily transformed her rock-sounding songs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This one felt like it wanted to lean more electronic, a little bit more of that trip-hop influence that I’ve dabbled with over the years,” she says of her embrace of the genre which blends hip-hop and electronica.\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/L0o2GraeMlo'\n title='//www.youtube.com/embed/L0o2GraeMlo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And while Wolfe is pleased with where she allowed those songs to go, it was still difficult to let it happen after years of holding onto them during the pandemic.\u003c/p>\n\u003cp>“When you do have a lot of time to sit with the demos, sometimes it can be hard to then give them over to someone and hear all the changes,” she says. “But something about this place in my life and kind of what this record is about, thematically, it just felt right.”\u003c/p>\n\u003cp>Part of what informed this idea of letting go and shedding exoskeletons — “a spectral reminder of all that we’ve become,” she sings in one song — was beginning a journey of sobriety.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I got sober from alcohol in early 2021, and I had already started this record. It’s interesting to kind of hear the songs that I started before that and the way that they changed,” she recalls. “That created a lot of openness and clarity in my life and my creativity that I just was then naturally channeling into this music. It became a lot about rebirth.”\u003c/p>\n\u003cp>Wolfe’s music is hard to categorize, but she is known for her tendency to blend folk music with heavier subgenres like gothic rock and doom metal. She’s aware of the specific taste required for people to enjoy it — “It’s not party music,” she laughs — but has never been afraid to stand her creative ground.\u003c/p>\n\u003cp>“There’s been collaborations that I’ve been asked to do that I felt like they just weren’t right for me. And maybe it would have given me a lot of exposure or more payment down the line,” she says. “I try to live simply and not have to do things that I don’t feel like I’m aligned with just for money. I know that’s a privilege.”\u003c/p>\n\u003cp>But she has found resourceful ways, in addition to touring, to make a living with which she feels artistically comfortable, such as collaborating with composer Tyler Bates on the soundtrack for the 2022 slasher film, \u003cem>X\u003c/em>, which stars Mia Goth.\u003c/p>\n\u003cp>Director Ti West remembers wanting to experiment with a more avant-garde sound and talking to Bates about how best to achieve it.\u003c/p>\n\u003cp>“I kind of pitched this idea to Tyler that it’d be great to have a vocal-driven score,” West says. “It just seemed conceptually like a really weird and interesting idea to not just have the same old horror score that you hear over and over again.”\u003c/p>\n\u003cp>Bates, who had admired Wolfe’s music for years and had already worked with her once before, knew she’d be perfect. He came to her with the idea to use her voice to make “percussive sounds” throughout, including laughter, growling and even sexual noises — particularly apt given the movie follows a pornographic film crew in the ‘70s.\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/quXqq2q0MmA'\n title='//www.youtube.com/embed/quXqq2q0MmA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“She looked at me like, ‘What do you want me to do?’” Bates laughs as he recalls explaining his proposal.\u003c/p>\n\u003cp>But West, aware of their unconventional request, says Wolfe quickly rose to the occasion, making a big difference in the finished film.\u003c/p>\n\u003cp>“It’s hugely important. Music, certainly in a horror movie, is something that’s going to curate the tone,” West says. “At least for me, it’s something I’m thinking about before I even make the movie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bates teases that he and Wolfe have continued this method in the score for \u003cem>MaXXXine\u003c/em>, the highly anticipated final film of the trilogy, which stars Elizabeth Debicki and singer Halsey alongside Goth.\u003c/p>\n\u003cp>Between working on the \u003cem>MaXXXine\u003c/em> score and gearing up for her album release and upcoming tour, Wolfe has been particularly intentional about taking time for self-reflection and being present amid a busy schedule.\u003c/p>\n\u003cp>That has of course involved witchcraft, though, like her music, she resists attempts to put walls around what that means.\u003c/p>\n\u003cp>“Witchcraft in itself isn’t a religion. It’s not like we all gather somewhere,” she says. “Just because someone practices witchcraft doesn’t mean that they’re going to resonate with everybody else who does.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Chelsea Wolfe’s new album, ‘She Reaches Out to She Reaches Out to She’ is released on Feb. 9, 2024 via Loma Vista Recordings.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A 49ers Anthem Charges Back From the ’80s for Super Bowl Sunday",
"headTitle": "A 49ers Anthem Charges Back From the ’80s for Super Bowl Sunday | KQED",
"content": "\u003cp>Look. We already have the perfect anthem for the moment the 49ers beat Taylor Swift’s boyfriend in this year’s Super Bowl. It’s by \u003ca href=\"https://www.kqed.org/arts/tag/saweetie\">Saweetie\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a> and it’s called “\u003ca href=\"https://www.kqed.org/arts/13951349/genius-new-series-mlk-x-malcolm-national-geographic-disney-hulu-streaming\">Do It For the Bay.\u003c/a>”\u003c/p>\n\u003cp>Done. Dusted. Play on repeat.\u003c/p>\n\u003cp>[aside postid='arts_13950697']But there’s another anthem vying for your attention this week. This time by Marin County producer-musician Narada Michael Walden, who, some may recall, was behind the classic 1984 Niners anthem “We’re the 49ers.”\u003c/p>\n\u003cp>The song utilized manly group vocals, cutting-edge synthesizer techniques, and uplifting lyrics like: “We don’t take no stuff / Everybody knows we’re too tough / And we ain’t gonna stop ’til we get enough.”\u003c/p>\n\u003cp>Just lifts the spirits, don’t it?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Check out this little slice of early-’80s glory to find out what Reagan-era fans were singing when the 49ers beat the Miami Dolphins in the 1985 Super Bowl:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=r30hNEQnn6c\u003c/p>\n\u003cp>I think we can all agree that this throwback to a simpler time did not need an update. Nonetheless, Narada Michael Walden has remade his former hit, 40 years later.\u003c/p>\n\u003cp>[aside postid='arts_13951328']The new version utilizes (*checks notes*) manly group vocals, cutting-edge synthesizer techniques, and uplifting lyrics. The best part is when several of the players have their skills broken down. Memorize these lyrics now, so you can unfurl them on Sunday and perplex your gathered family:\u003c/p>\n\u003cp>“Brandon Aiyuk, with \u003ca href=\"https://www.foxsports.com/watch/fmc-pzrmfv45b6qkpvmz\">the ladybug on his shoe\u003c/a>, catches all the miracle passes that are thrown to him, you dig?”\u003c/p>\n\u003cp>“Deebo Samuel, cheetah speed, shifty moves make defenders bleed!”\u003c/p>\n\u003cp>“Kittle, with the fire in his eyes, catches high above the sky!”\u003c/p>\n\u003cp>And my personal favorite:\u003c/p>\n\u003cp>“Shanahan schemes! Unstoppable. A man.”\u003c/p>\n\u003cp>Pure poetry. Listen below:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FIwJnqjeX-k\u003c/p>\n\n",
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"excerpt": "Narada Michael Walden has re-recorded his 1984 hit ‘We’re the 49ers.’ Let’s take a listen, shall we?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Look. We already have the perfect anthem for the moment the 49ers beat Taylor Swift’s boyfriend in this year’s Super Bowl. It’s by \u003ca href=\"https://www.kqed.org/arts/tag/saweetie\">Saweetie\u003c/a> and \u003ca href=\"https://www.kqed.org/arts/tag/p-lo\">P-Lo\u003c/a> and it’s called “\u003ca href=\"https://www.kqed.org/arts/13951349/genius-new-series-mlk-x-malcolm-national-geographic-disney-hulu-streaming\">Do It For the Bay.\u003c/a>”\u003c/p>\n\u003cp>Done. Dusted. Play on repeat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But there’s another anthem vying for your attention this week. This time by Marin County producer-musician Narada Michael Walden, who, some may recall, was behind the classic 1984 Niners anthem “We’re the 49ers.”\u003c/p>\n\u003cp>The song utilized manly group vocals, cutting-edge synthesizer techniques, and uplifting lyrics like: “We don’t take no stuff / Everybody knows we’re too tough / And we ain’t gonna stop ’til we get enough.”\u003c/p>\n\u003cp>Just lifts the spirits, don’t it?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Check out this little slice of early-’80s glory to find out what Reagan-era fans were singing when the 49ers beat the Miami Dolphins in the 1985 Super Bowl:\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/r30hNEQnn6c'\n title='//www.youtube.com/embed/r30hNEQnn6c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think we can all agree that this throwback to a simpler time did not need an update. Nonetheless, Narada Michael Walden has remade his former hit, 40 years later.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The new version utilizes (*checks notes*) manly group vocals, cutting-edge synthesizer techniques, and uplifting lyrics. The best part is when several of the players have their skills broken down. Memorize these lyrics now, so you can unfurl them on Sunday and perplex your gathered family:\u003c/p>\n\u003cp>“Brandon Aiyuk, with \u003ca href=\"https://www.foxsports.com/watch/fmc-pzrmfv45b6qkpvmz\">the ladybug on his shoe\u003c/a>, catches all the miracle passes that are thrown to him, you dig?”\u003c/p>\n\u003cp>“Deebo Samuel, cheetah speed, shifty moves make defenders bleed!”\u003c/p>\n\u003cp>“Kittle, with the fire in his eyes, catches high above the sky!”\u003c/p>\n\u003cp>And my personal favorite:\u003c/p>\n\u003cp>“Shanahan schemes! Unstoppable. A man.”\u003c/p>\n\u003cp>Pure poetry. Listen below:\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/FIwJnqjeX-k'\n title='//www.youtube.com/embed/FIwJnqjeX-k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\n\u003c/div>\u003c/p>",
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"title": "Diablo Cody’s ’80s Satire ‘Lisa Frankenstein’ Lurches From Whimsy to Unwatchable",
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"content": "\u003cp>It will come as no surprise that the new movie \u003cem>Lisa Frankenstein\u003c/em> is a real monster — stitched together from previous movies, painfully incoherent and deeply, deeply dumb.\u003c/p>\n\u003cp>[aside postid='arts_13951126']This is a baffling display of filmmaking, what appears to be a sort of feminist take on the reanimated creature trope that has been shoehorned into a late-1980s setting, complete with New Wave songs, teased hair and brightly colored spandex. Why? Presumably to giggle at shoulder pads, hairspray and Echo and the Bunnymen.\u003c/p>\n\u003cp>Kathryn Newton stars as the goth-like high school misfit teen Lisa Swallows, who befriends a reanimated zombie bachelor who died in 1837. Cole Sprouse plays the corpse, who is missing body parts, uses grunts to communicate and resembles Johnny Depp from \u003cem>Edward Scissorhands\u003c/em>. Whoever suggested he’d shine deserves to be made mute.\u003c/p>\n\u003cp>Lisa’s mother has met a grisly death and she has found herself in a new town with a new family after her dad remarries. Her stepmother (gloriously over-the-top Carla Gugino) hates her and her stepsister (Liza Soberano, hopefully not making a career-ending mistake) is a friendly cheerleader.\u003c/p>\n\u003cp>The arrival of a Victorian-era zombie into 1989 offers many possibilities but all the interesting ones are avoided as the filmmakers embark on a \u003cem>Weird Science\u003c/em>-like, \u003cem>My Fair Lady\u003c/em> reversal — cleaning him up and hiding him in her bedroom. “OK, Sparky, we’ve got to get you some new duds,” Lisa says helpfully. Those duds include a blazer and a Violent Femmes T-shirt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The other thing the zombie really needs is replacement body parts. “You’re a dead man, not a Chrysler LeBaron,” Lisa tells him in a line that’s sure to kill with Gen Z. So parts are naturally harvested from people who are deemed to have crossed the pair. They use an axe to procure an ear, some fingers and a penis. (Yes, this is a quality movie: Chrysler AND weenie jokes.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=POOeA3zCuUY\u003c/p>\n\u003cp>Director Zelda Williams is simply overmatched here, unable to conjure tension, interest, connection or coherence. \u003cem>Lisa Frankenstein\u003c/em> lurches from idiocy to whimsy to grossness to ultra-violence, obsessed along the way with grade-school toilet humor, like putting worms in fruit salads.\u003c/p>\n\u003cp>But the blame needs to be spread around. I mean, how many jokes can you legally try to make about vibrators and menstrual cycles in one movie? “I got to go change my pad” is one of the lines expected to trigger howls of laughter.\u003c/p>\n\u003cp>Written by Diablo Cody — unhappily a million miles now from \u003cem>Juno\u003c/em> — who has tried, if we use the best possible motive, to write a satire of ’80s teen movies, but has made something unwatchable — unfunny, unclever and dull. \u003cem>Weekend at Bernie’s\u003c/em>, which also dealt with a corpse, looks like a Christopher Nolan film in comparison.\u003c/p>\n\u003cp>[aside postid='arts_13951144']Maybe, like Cody’s previous stab at horror \u003cem>Jennifer’s Body\u003c/em>, this will become a cult hit one day. But that at least had some fun parts. This is pure lazy storytelling, like thinking that just showing us a clip of Bob Ross painting is somehow uproariously funny.\u003c/p>\n\u003cp>Lisa, who by the end of the movie is dressing as Madonna circa \u003cem>Desperately Seeking Susan\u003c/em>, has embarked on a murderous rampage and is rushing to lose her virginity before it all ends. Will she find love? Will she recognize true love before it’s too late? Will we have to endure more jokes at the expense of REO Speedwagon’s “Can’t Fight This Feeling?” Who cares?\u003c/p>\n\u003cp>Filmgoers will note with alarm that by the time the credits roll, the sweet, goth-inclined outcast Lisa has evolved into an unhinged, violent, self-involved, murderous monster while the zombie has gone the other way, becoming more human and compassionate. Talk about losing your way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lisa Frankenstein’ is released nationwide on Feb. 9, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is a baffling display of filmmaking, what appears to be a sort of feminist take on the reanimated creature trope that has been shoehorned into a late-1980s setting, complete with New Wave songs, teased hair and brightly colored spandex. Why? Presumably to giggle at shoulder pads, hairspray and Echo and the Bunnymen.\u003c/p>\n\u003cp>Kathryn Newton stars as the goth-like high school misfit teen Lisa Swallows, who befriends a reanimated zombie bachelor who died in 1837. Cole Sprouse plays the corpse, who is missing body parts, uses grunts to communicate and resembles Johnny Depp from \u003cem>Edward Scissorhands\u003c/em>. Whoever suggested he’d shine deserves to be made mute.\u003c/p>\n\u003cp>Lisa’s mother has met a grisly death and she has found herself in a new town with a new family after her dad remarries. Her stepmother (gloriously over-the-top Carla Gugino) hates her and her stepsister (Liza Soberano, hopefully not making a career-ending mistake) is a friendly cheerleader.\u003c/p>\n\u003cp>The arrival of a Victorian-era zombie into 1989 offers many possibilities but all the interesting ones are avoided as the filmmakers embark on a \u003cem>Weird Science\u003c/em>-like, \u003cem>My Fair Lady\u003c/em> reversal — cleaning him up and hiding him in her bedroom. “OK, Sparky, we’ve got to get you some new duds,” Lisa says helpfully. Those duds include a blazer and a Violent Femmes T-shirt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The other thing the zombie really needs is replacement body parts. “You’re a dead man, not a Chrysler LeBaron,” Lisa tells him in a line that’s sure to kill with Gen Z. So parts are naturally harvested from people who are deemed to have crossed the pair. They use an axe to procure an ear, some fingers and a penis. (Yes, this is a quality movie: Chrysler AND weenie jokes.)\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/POOeA3zCuUY'\n title='//www.youtube.com/embed/POOeA3zCuUY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Director Zelda Williams is simply overmatched here, unable to conjure tension, interest, connection or coherence. \u003cem>Lisa Frankenstein\u003c/em> lurches from idiocy to whimsy to grossness to ultra-violence, obsessed along the way with grade-school toilet humor, like putting worms in fruit salads.\u003c/p>\n\u003cp>But the blame needs to be spread around. I mean, how many jokes can you legally try to make about vibrators and menstrual cycles in one movie? “I got to go change my pad” is one of the lines expected to trigger howls of laughter.\u003c/p>\n\u003cp>Written by Diablo Cody — unhappily a million miles now from \u003cem>Juno\u003c/em> — who has tried, if we use the best possible motive, to write a satire of ’80s teen movies, but has made something unwatchable — unfunny, unclever and dull. \u003cem>Weekend at Bernie’s\u003c/em>, which also dealt with a corpse, looks like a Christopher Nolan film in comparison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Maybe, like Cody’s previous stab at horror \u003cem>Jennifer’s Body\u003c/em>, this will become a cult hit one day. But that at least had some fun parts. This is pure lazy storytelling, like thinking that just showing us a clip of Bob Ross painting is somehow uproariously funny.\u003c/p>\n\u003cp>Lisa, who by the end of the movie is dressing as Madonna circa \u003cem>Desperately Seeking Susan\u003c/em>, has embarked on a murderous rampage and is rushing to lose her virginity before it all ends. Will she find love? Will she recognize true love before it’s too late? Will we have to endure more jokes at the expense of REO Speedwagon’s “Can’t Fight This Feeling?” Who cares?\u003c/p>\n\u003cp>Filmgoers will note with alarm that by the time the credits roll, the sweet, goth-inclined outcast Lisa has evolved into an unhinged, violent, self-involved, murderous monster while the zombie has gone the other way, becoming more human and compassionate. Talk about losing your way.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Lisa Frankenstein’ is released nationwide on Feb. 9, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The 20th Annual Puppy Bowl Pits Team Fluff Against Team Ruff — and Everyone Wins",
"headTitle": "The 20th Annual Puppy Bowl Pits Team Fluff Against Team Ruff — and Everyone Wins | KQED",
"content": "\u003cp>The annual Puppy Bowl turns 20 this year — well over middle age in dog years. But does the sheer cuteness of it really ever get old?\u003c/p>\n\u003cp>“Who doesn’t want to watch dogs play all day long?” asks Laurie Johnson, the director of Florida Little Dog Rescue in St. Cloud, Florida, who has been part of Puppy Bowl for a decade.\u003c/p>\n\u003cp>[aside postid='news_11974882']There are some changes this year to the canine football telecast: Four previous puppy players return to be inducted in the new Puppy Bowl Hall of Fame and the show, which has grown to include armadillos, hedgehogs and chickens, will focus on dogs.\u003c/p>\n\u003cp>“What we’ve done this year to flip the whole script is because it’s sort of a celebration of the fact that it’s the 20th year,” says Puppy Bowl referee Dan Schachner. “We’ve decided to go all in on puppy, making it the “most puppiest Puppy Bowl ever.”\u003c/p>\n\u003cp>The Puppy Bowl made its debut as counter-programming to the Super Bowl in 2005. Dogs score touchdowns on a gridiron carpet when they cross the goal line — any goal line — with a toy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show is really just an excuse to spend time watching adorable, clumsy pups in colorful sweaters play with chew toys, wag their tails furiously and lick the camera. A deeper reason is to encourage animal adoption.\u003c/p>\n\u003cp>“We always say the same message every year: Adopt, don’t shop,” says Schachner. “There are responsible breeders out there, but it kind of defies logic that somebody who’s searching for a dog would look beyond their local shelter or rescue.”\u003c/p>\n\u003cp>According to the ASPCA, approximately 390,000 shelter dogs are euthanized each year and 2 million shelter dogs are adopted. Schachner says the number of animals languishing in shelters is back up after falling during the pandemic. “It’s worse than ever,” he says.\u003c/p>\n\u003cp>Florida Little Dog Rescue, which like all puppy groups is vetted by Animal Planet, sent seven pup players and two Hall of Fame inductees this year. Johnson, who volunteers her time, says it’s an honor that Animal Planet picks her pups year after year.\u003c/p>\n\u003cp>[aside postid='arts_13951328']“It does bring attention to our rescue, which helps some of our other dogs get adopted. But, honestly, for us, the biggest excitement is that we’re helping dogs all over the country get into homes, because rescue is not a competition, it’s a cooperation,” says Johnson.\u003c/p>\n\u003cp>Most of the puppies are usually adopted by airtime, since the show is filmed in the fall. But the point is to show that animals just like the ones on the show can be found in any shelter at any time.\u003c/p>\n\u003cp>Schachner also has some advice for anyone who falls for a particular pup on the broadcast: “That animal is probably likely part of a litter, right? So there’s probably siblings out there that are still up for adoption or their parents — their mom, their dad — is in the shelter looking for a forever home.”\u003c/p>\n\u003cp>Florida Little Dog Rescue was the first to send a Shar Pei to the Puppy Bowl — the pup, Wrinkles, was quickly adopted by a crew member at the taping — and Johnson says many viewers might not know that all kinds of breeds — Corgis, Westies, Doodles and Cavapoos, included — are available at shelters and rescue groups.\u003c/p>\n\u003cfigure id=\"attachment_13951741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png\" alt=\"A man in a referee uniform lays down on a miniature football field surrounded by tiny puppies.\" width=\"1920\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1536x1021.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Referee Dan Schachner with participants of the annual Puppy Bowl. \u003ccite>(Animal Planet via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inaugural Puppy Bowl was watched by nearly 6 million viewers. Last year, 13.2 million viewers tuned in, the largest reach for the event in five years. In comparison, The Emmy Awards telecast on Fox this year reached just 4.3 million viewers. This year’s show will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and Discovery.\u003c/p>\n\u003cp>The dogs are split into two teams — Team Fluff and Team Ruff — and each dog is given a nickname — like “Slick Rick” or “J-Paw” — and a specialty, like “Epic end zone dance.”\u003c/p>\n\u003cp>They are free to frolic, but may face penalties for things like “unsportlike dog conduct” and “trash barking.” Awards are given to Most Valuable Puppy and, new this year, an Underdog Award for the more introverted pup.\u003c/p>\n\u003cp>[aside postid='arts_13873945']This year’s broadcast is built on the work of dozens of volunteers, as well as 600 pee pads, 200 poop bags, 10 bags of treats, 30 water bowls and 18 cameras. The cat halftime show will also return.\u003c/p>\n\u003cp>Schachner started refereeing 13 years ago, when there were 59 dogs invited. “I’ll never forget that because I thought that was a tremendous amount of dogs to be trying to officiate in one place.”\u003c/p>\n\u003cp>That number has by now more than doubled, with this year’s broadcast featuring 131 puppies. “The scope and the size of this show from the time I started 13 years ago to now is just very impressive.”\u003c/p>\n\u003cp>The canine entries this time come from 73 shelters and rescue groups across 36 states and territories. The entrance requirements include being healthy and sturdy enough to be on the field with playmates, between 3-6 months old and having no training.\u003c/p>\n\u003cp>“We don’t want dogs that are show dogs, that are sitting there with a trainer. We want to see them in all their puppy glory. Part of that is to show what puppies are in their true state,” says Schachner.\u003c/p>\n\u003cp>“They are playful, they are curious, they’re going to get into trouble, they’re going to do crazy things. And from time to time, they’re going to score touchdowns and really impress you.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Puppy Bowl airs at 11 a.m. on Feb. 11, 2024 and will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and discovery+.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The annual Puppy Bowl turns 20 this year — well over middle age in dog years. But does the sheer cuteness of it really ever get old?\u003c/p>\n\u003cp>“Who doesn’t want to watch dogs play all day long?” asks Laurie Johnson, the director of Florida Little Dog Rescue in St. Cloud, Florida, who has been part of Puppy Bowl for a decade.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There are some changes this year to the canine football telecast: Four previous puppy players return to be inducted in the new Puppy Bowl Hall of Fame and the show, which has grown to include armadillos, hedgehogs and chickens, will focus on dogs.\u003c/p>\n\u003cp>“What we’ve done this year to flip the whole script is because it’s sort of a celebration of the fact that it’s the 20th year,” says Puppy Bowl referee Dan Schachner. “We’ve decided to go all in on puppy, making it the “most puppiest Puppy Bowl ever.”\u003c/p>\n\u003cp>The Puppy Bowl made its debut as counter-programming to the Super Bowl in 2005. Dogs score touchdowns on a gridiron carpet when they cross the goal line — any goal line — with a toy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show is really just an excuse to spend time watching adorable, clumsy pups in colorful sweaters play with chew toys, wag their tails furiously and lick the camera. A deeper reason is to encourage animal adoption.\u003c/p>\n\u003cp>“We always say the same message every year: Adopt, don’t shop,” says Schachner. “There are responsible breeders out there, but it kind of defies logic that somebody who’s searching for a dog would look beyond their local shelter or rescue.”\u003c/p>\n\u003cp>According to the ASPCA, approximately 390,000 shelter dogs are euthanized each year and 2 million shelter dogs are adopted. Schachner says the number of animals languishing in shelters is back up after falling during the pandemic. “It’s worse than ever,” he says.\u003c/p>\n\u003cp>Florida Little Dog Rescue, which like all puppy groups is vetted by Animal Planet, sent seven pup players and two Hall of Fame inductees this year. Johnson, who volunteers her time, says it’s an honor that Animal Planet picks her pups year after year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It does bring attention to our rescue, which helps some of our other dogs get adopted. But, honestly, for us, the biggest excitement is that we’re helping dogs all over the country get into homes, because rescue is not a competition, it’s a cooperation,” says Johnson.\u003c/p>\n\u003cp>Most of the puppies are usually adopted by airtime, since the show is filmed in the fall. But the point is to show that animals just like the ones on the show can be found in any shelter at any time.\u003c/p>\n\u003cp>Schachner also has some advice for anyone who falls for a particular pup on the broadcast: “That animal is probably likely part of a litter, right? So there’s probably siblings out there that are still up for adoption or their parents — their mom, their dad — is in the shelter looking for a forever home.”\u003c/p>\n\u003cp>Florida Little Dog Rescue was the first to send a Shar Pei to the Puppy Bowl — the pup, Wrinkles, was quickly adopted by a crew member at the taping — and Johnson says many viewers might not know that all kinds of breeds — Corgis, Westies, Doodles and Cavapoos, included — are available at shelters and rescue groups.\u003c/p>\n\u003cfigure id=\"attachment_13951741\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951741\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png\" alt=\"A man in a referee uniform lays down on a miniature football field surrounded by tiny puppies.\" width=\"1920\" height=\"1276\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-800x532.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1020x678.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-160x106.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-768x510.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-07-at-11.20.39-AM-1536x1021.png 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Referee Dan Schachner with participants of the annual Puppy Bowl. \u003ccite>(Animal Planet via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The inaugural Puppy Bowl was watched by nearly 6 million viewers. Last year, 13.2 million viewers tuned in, the largest reach for the event in five years. In comparison, The Emmy Awards telecast on Fox this year reached just 4.3 million viewers. This year’s show will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and Discovery.\u003c/p>\n\u003cp>The dogs are split into two teams — Team Fluff and Team Ruff — and each dog is given a nickname — like “Slick Rick” or “J-Paw” — and a specialty, like “Epic end zone dance.”\u003c/p>\n\u003cp>They are free to frolic, but may face penalties for things like “unsportlike dog conduct” and “trash barking.” Awards are given to Most Valuable Puppy and, new this year, an Underdog Award for the more introverted pup.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This year’s broadcast is built on the work of dozens of volunteers, as well as 600 pee pads, 200 poop bags, 10 bags of treats, 30 water bowls and 18 cameras. The cat halftime show will also return.\u003c/p>\n\u003cp>Schachner started refereeing 13 years ago, when there were 59 dogs invited. “I’ll never forget that because I thought that was a tremendous amount of dogs to be trying to officiate in one place.”\u003c/p>\n\u003cp>That number has by now more than doubled, with this year’s broadcast featuring 131 puppies. “The scope and the size of this show from the time I started 13 years ago to now is just very impressive.”\u003c/p>\n\u003cp>The canine entries this time come from 73 shelters and rescue groups across 36 states and territories. The entrance requirements include being healthy and sturdy enough to be on the field with playmates, between 3-6 months old and having no training.\u003c/p>\n\u003cp>“We don’t want dogs that are show dogs, that are sitting there with a trainer. We want to see them in all their puppy glory. Part of that is to show what puppies are in their true state,” says Schachner.\u003c/p>\n\u003cp>“They are playful, they are curious, they’re going to get into trouble, they’re going to do crazy things. And from time to time, they’re going to score touchdowns and really impress you.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Puppy Bowl airs at 11 a.m. on Feb. 11, 2024 and will be simulcast across Animal Planet, Discovery, TBS, truTV, Max and discovery+.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Wim Wenders’ ‘Perfect Days’ Is a Sublime Meditation on Gratitude",
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"content": "\u003cp>Wim Wenders’ \u003cem>Perfect Days\u003c/em> is set among the crowded skyscrapers of Tokyo and the quiet urban parks that Hirayama (Kôji Yakusho) traverses daily in his job cleaning public toilets. But where the movie resides, really, is Yakusho’s face.\u003c/p>\n\u003cp>In this gently sublime film, Hirayama steps outside his humble apartment each morning and gazes up at the sky with a smile radiating gratitude. Hirayama says little throughout the course of Wenders’ quiet, quotidian film. Little happens. Yet Yakusho’s warm presence speaks volumes in a film where less can mean profoundly more.\u003c/p>\n\u003cp>[aside postid='arts_81994']Wenders, the 78-year-old German filmmaker, has long had a preference for troubled loners. Think of Harry Dean Stanton’s dusty drifter in \u003cem>Paris, Texas\u003c/em>, or Bruno Ganz’s terminally ill man in \u003cem>The\u003c/em> \u003cem>American Friend\u003c/em>. But the Wenders’ movie that \u003cem>Perfect Days\u003c/em> most recalls is \u003cem>Wings of Desire\u003c/em>, where melancholy angels watched over Cold War-era Berlin and spoke of testifying “day by day for eternity.” \u003cem>Perfect Days\u003c/em> has no such supernatural element, but its gaze is likewise attuned to what’s beautiful and meaningful in everyday living.\u003c/p>\n\u003cp>Each morning, Hirayama wakes, puts on his blue sanitation jump suit and neatly drapes a white towel around his neck. He drives his van from public toilet to public toilet, where he takes remarkable care in his work. He uses a small mirror to see the underside of a toilet bowl.\u003c/p>\n\u003cp>“How can you put so much into a job like this?” says Takashi (Tokio Emoto), Hirayama’s younger, less scrupulous coworker.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hirayama’s days are rigorously routine but lively with variation. While driving through the elevated highways of Tokyo, he selects a cassette tape from a rack above the sun visor. Patti Smith, Lou Reed, the Kinks, the Animals or Nina Simone play as he rides. Usually, Hirayama, analog through and through, is driving against the traffic.\u003c/p>\n\u003cp>[aside postid='arts_13951535']He’s a lover of trees, and each day on his lunch break takes a photograph of the branches above him, with light pouring through. With the care of a surgeon, he plucks a tiny seedling, places it in a small paper sack, and adds it to his nursery at home. At night, he reads Faulkner.\u003c/p>\n\u003cp>Eventually, a niece (Arisa Nakano) turns up, followed by Hirayama’s estranged sister (Yumi Aso). But Wenders’ film, which is nominated for best international film at the Oscars and opens in theaters Wednesday, is largely uncluttered by plot or exposition. Instead, we’re invited to ponder Hirayama’s serene, monastic existence — to admire the joy he finds in the mundane and the attentiveness he gives to the things he values.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HTgWYojq-z8\u003c/p>\n\u003cp>Is he running from the world or in its thrall? Wenders, who co-wrote the film with Takuma Takasaki, is a longtime admirer of Japan; in his 1985 documentary \u003cem>Tokyo-Ga\u003c/em>, Wenders traveled to Japan to pay homage to the great filmmaker Yasujiro Ozu. Much in \u003cem>Perfect Days\u003c/em>, filmed in boxy academy ratio, radiates with a similar spirit of minimalistic wisdom.\u003c/p>\n\u003cp>[aside postid='arts_13951078']That’s a great credit to Yakusho, the great Japanese actor, whose soulfulness fills the empty spaces of \u003cem>Perfect Days\u003c/em>. It may sound like an art house enterprise but anyone could connect with Wenders’ film. My 8-year-old daughter accompanied me on my second watch; that she hung with the movie from start to finish, I think, is because Yakusho’s Hirayama is a character to love.\u003c/p>\n\u003cp>Wenders was initially drawn to the project by Tokyo’s exquisite public toilets, which are light years more artfully designed than the few you can even find in most American cities. In that way, they’re a symbol of civic good. And so is Hirayama, who in his life and work, in plant life and cassette tapes, fully encapsulates the definition of custodian.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Perfect Days’ starts screening at San Francisco’s \u003ca href=\"https://www.amctheatres.com/movies/perfect-days-75242/showtimes/perfect-days-75242/2024-02-15/amc-kabuki-8/all\">AMC Kabuki 8 Theater\u003c/a> (1881 Post Street) on Feb. 15, 2024. Other Bay Area theaters will follow.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wim Wenders’ \u003cem>Perfect Days\u003c/em> is set among the crowded skyscrapers of Tokyo and the quiet urban parks that Hirayama (Kôji Yakusho) traverses daily in his job cleaning public toilets. But where the movie resides, really, is Yakusho’s face.\u003c/p>\n\u003cp>In this gently sublime film, Hirayama steps outside his humble apartment each morning and gazes up at the sky with a smile radiating gratitude. Hirayama says little throughout the course of Wenders’ quiet, quotidian film. Little happens. Yet Yakusho’s warm presence speaks volumes in a film where less can mean profoundly more.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Wenders, the 78-year-old German filmmaker, has long had a preference for troubled loners. Think of Harry Dean Stanton’s dusty drifter in \u003cem>Paris, Texas\u003c/em>, or Bruno Ganz’s terminally ill man in \u003cem>The\u003c/em> \u003cem>American Friend\u003c/em>. But the Wenders’ movie that \u003cem>Perfect Days\u003c/em> most recalls is \u003cem>Wings of Desire\u003c/em>, where melancholy angels watched over Cold War-era Berlin and spoke of testifying “day by day for eternity.” \u003cem>Perfect Days\u003c/em> has no such supernatural element, but its gaze is likewise attuned to what’s beautiful and meaningful in everyday living.\u003c/p>\n\u003cp>Each morning, Hirayama wakes, puts on his blue sanitation jump suit and neatly drapes a white towel around his neck. He drives his van from public toilet to public toilet, where he takes remarkable care in his work. He uses a small mirror to see the underside of a toilet bowl.\u003c/p>\n\u003cp>“How can you put so much into a job like this?” says Takashi (Tokio Emoto), Hirayama’s younger, less scrupulous coworker.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hirayama’s days are rigorously routine but lively with variation. While driving through the elevated highways of Tokyo, he selects a cassette tape from a rack above the sun visor. Patti Smith, Lou Reed, the Kinks, the Animals or Nina Simone play as he rides. Usually, Hirayama, analog through and through, is driving against the traffic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>He’s a lover of trees, and each day on his lunch break takes a photograph of the branches above him, with light pouring through. With the care of a surgeon, he plucks a tiny seedling, places it in a small paper sack, and adds it to his nursery at home. At night, he reads Faulkner.\u003c/p>\n\u003cp>Eventually, a niece (Arisa Nakano) turns up, followed by Hirayama’s estranged sister (Yumi Aso). But Wenders’ film, which is nominated for best international film at the Oscars and opens in theaters Wednesday, is largely uncluttered by plot or exposition. Instead, we’re invited to ponder Hirayama’s serene, monastic existence — to admire the joy he finds in the mundane and the attentiveness he gives to the things he values.\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/HTgWYojq-z8'\n title='//www.youtube.com/embed/HTgWYojq-z8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Is he running from the world or in its thrall? Wenders, who co-wrote the film with Takuma Takasaki, is a longtime admirer of Japan; in his 1985 documentary \u003cem>Tokyo-Ga\u003c/em>, Wenders traveled to Japan to pay homage to the great filmmaker Yasujiro Ozu. Much in \u003cem>Perfect Days\u003c/em>, filmed in boxy academy ratio, radiates with a similar spirit of minimalistic wisdom.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That’s a great credit to Yakusho, the great Japanese actor, whose soulfulness fills the empty spaces of \u003cem>Perfect Days\u003c/em>. It may sound like an art house enterprise but anyone could connect with Wenders’ film. My 8-year-old daughter accompanied me on my second watch; that she hung with the movie from start to finish, I think, is because Yakusho’s Hirayama is a character to love.\u003c/p>\n\u003cp>Wenders was initially drawn to the project by Tokyo’s exquisite public toilets, which are light years more artfully designed than the few you can even find in most American cities. In that way, they’re a symbol of civic good. And so is Hirayama, who in his life and work, in plant life and cassette tapes, fully encapsulates the definition of custodian.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Perfect Days’ starts screening at San Francisco’s \u003ca href=\"https://www.amctheatres.com/movies/perfect-days-75242/showtimes/perfect-days-75242/2024-02-15/amc-kabuki-8/all\">AMC Kabuki 8 Theater\u003c/a> (1881 Post Street) on Feb. 15, 2024. Other Bay Area theaters will follow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Striking New Exhibit Celebrates 50 Years of ‘Women of Rock Art’",
"headTitle": "A Striking New Exhibit Celebrates 50 Years of ‘Women of Rock Art’ | KQED",
"content": "\u003cfigure id=\"attachment_13951426\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png\" alt=\"A gold, purple and orange design showing a mystic and a crystal ball, one hand raised in wonder.\" width=\"812\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-768x1122.png 768w\" sizes=\"(max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 Bonnie MacLean design promoting Cream at the Fillmore. \u003ccite>(Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Feb. 4, 2020, the world lost Bonnie MacLean — an artist whose work adorned \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">Fillmore\u003c/a> music posters throughout the Summer of Love. MacLean’s images encompassed elements of art nouveau, psychedelia and hippie culture. They used high contrast colors for maximum impact. And they advertised concerts for the likes of Jefferson Airplane, The Who, Chuck Berry, The Doors, Donovan and Pink Floyd.\u003c/p>\n\u003cp>[aside postid='arts_13950359']During her time making the Fillmore — and San Francisco — a more beautiful place, MacClean designed just 32 posters. Nine of those collectors’ items are currently on display as part of \u003ca href=\"https://haightstreetart.org/pages/women-of-rock-art\">\u003cem>Women of Rock Art: 1965-2023\u003c/em>\u003c/a>, a new exhibit at the Haight Street Art Center curated by Ben Marks. The show focuses exclusively on female poster artists, many of whom hail from the Bay Area or lived here at some point. (They may not have local links, but the striking work of \u003ca href=\"https://www.taramcpherson.com/\">Tara McPherson\u003c/a>, \u003ca href=\"https://isadorabullock.art/\">Isadora Bullock\u003c/a>, \u003ca href=\"https://www.housandarts.com/\">Chelsea Housand\u003c/a>, \u003ca href=\"https://www.sadiemaysart.com/about\">Sadie May\u003c/a> and \u003ca href=\"https://mishkawestell.com/posters/\">Mishka Westell\u003c/a> feels perfectly at home in this show.)\u003c/p>\n\u003cp>The exhibit is a jaunt through this particular brand of rock ‘n’ roll artwork through the decades — almost all of which reflects its era and the influences of the women making it. Two hundred pieces by 55 artists are included, starting with hand-drawn hallucinogen-inspired experiments of the 1960s. That style was perfected by Berkeley-born \u003ca href=\"https://www.johnmccarty.org/sam-sirdofsky/\">Samantha Sirdofsky\u003c/a>, but lovingly and more loosely played with by others, including a mysterious artist known only as Marjorie. The screen-printed work of Coralie Russo carries similar silhouettes to her peers but a simpler, bolder color palette — a product of her tool of choice.\u003c/p>\n\u003cfigure id=\"attachment_13951568\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg\" alt=\"Illustration of a woman's face, facing forward, wearing a winged helmet with a peace sign on it.\" width=\"552\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n-160x213.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 anti-draft benefit poster by Coralie Russo. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The posters from this period aren’t just for live shows. Some promote anti-draft benefits, children’s events and one Grateful Dead concert that also featured “mime troupe puppets.” Given the limited opportunities available for female artists of the period, it’s no wonder they were advertising some of the more fringe gatherings.\u003c/p>\n\u003cp>[aside postid='arts_13950886']It’s well established that the art of San Francisco’s 1960s music scene was dominated by the so-called “Big Five”: Stanley Mouse, Alton Kelley, Victor Moscoco, Rick Griffin and Wes Wilson. Bonnie MacLean was only granted more opportunities at the Fillmore after Bill Graham and Wes Wilson had a difference of opinion and Wilson quit. MacLean was readily available — she was married to Graham at the time. Even so, before Wilson left she had been relegated to painting noticeboards within the venue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most of the exhibit is presented without comment and that’s no accident either. Curator Ben Marks explained to KQED that despite his best efforts, little is known today about some of the earliest women featured. Thankfully, the exhibit’s introductory statement acknowledges just what these women were up against at the dawn of the artform.\u003c/p>\n\u003cfigure id=\"attachment_13951587\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png\" alt=\"A wall of scrappy multicolored flyers advertising concerts.\" width=\"1660\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-768x500.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1536x999.png 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">‘Women of Rock Art’ also features a wall of 1980s flyers donated by Seattle punk band, Student Nurse. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post-1960s, \u003cem>Women of Rock Art\u003c/em> rather starkly leaps straight into the 1980s — a jump made all the more jarring by that decade’s shift away from paint to photography. That style is best embodied here by \u003ca href=\"https://www.kqed.org/news/11966749/meet-the-woman-behind-the-fillmores-famous-posters\">the work of Arlene Owseichik\u003c/a>, but feels a touch impersonal by comparison to everything around it. No fault of the artist: The work embodies that decade’s hard lean away from the crowded, swirling aesthetics of the 1970s and into a new, cleaner, MTV-infused modernity.\u003c/p>\n\u003cp>[aside postid='news_11966749']Work on display here from the ’90s demonstrates valiant attempts at combining photos and screen-printing on the same poster. That method was sadly short-lived, and dynamic posters here for Throwing Muses, Big Star and Lush will make you wonder why we gave up on it altogether.\u003c/p>\n\u003cp>The new millennium brought with it a return to hyper-detailed and hand-drawn pieces, like that of Bay Area artists \u003ca href=\"https://www.laurenyurkovich.com/\">Lauren Yurkovich\u003c/a> and \u003ca href=\"https://alexandrafischerstudio.com/\">Alexandra Fischer\u003c/a>. There have been few obvious trend shifts in the last 20 years either — a post-modern reflection of the ways in which music culture has become more egalitarian since the dawn of the internet.\u003c/p>\n\u003cp>It is, however, impossible to ignore the sense of full circularity when looking at some of the newest posters on display. One 2022 Soul Asylum promo by \u003ca href=\"https://www.carolynferris.com/\">Carolyn Ferris\u003c/a> — featuring a woman’s face in side profile with band names unfurling in front of her in waves — appears to be a direct homage to a 1967 Bonnie MacLean piece elsewhere in the exhibit. And Oakland-based artist \u003ca href=\"https://caitlinmattisson.com/\">Caitlin Mattison\u003c/a> combines hyper-detailed modern techniques with aesthetics that clearly hark back to the work of the women that came before her.\u003c/p>\n\u003cfigure id=\"attachment_13951554\" class=\"wp-caption aligncenter\" style=\"max-width: 1995px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg\" alt=\"Illustration featuring a bohemian looking woman sitting on a horseshoe and surrounded by wilderness.\" width=\"1995\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg 1995w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-800x1026.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1020x1309.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-768x985.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1197x1536.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1596x2048.jpg 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1920x2463.jpg 1920w\" sizes=\"(max-width: 1995px) 100vw, 1995px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Mattison’s poster for last year’s Hardly Strictly Bluegrass festival. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which would no doubt thrill Bonnie MacLean. In one interview a few years before her death, MacLean noted: “I think handwork needs to be kept alive. It’s something people are inclined to do naturally. It’s something we have a human built-in desire to do. It always has been. It still is.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women of Rock Art: 1965-2023’ is on display now through April 14, 2024. Artist and photographer Arlene Owseichik will appear for a Q&A on Feb. 9 at 6 p.m. An official opening party will take place on Feb. 16 at 6 p.m. Visit the \u003ca href=\"https://haightstreetart.org/\">Haight Street Art Center website\u003c/a> for details.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13951426\" class=\"wp-caption aligncenter\" style=\"max-width: 812px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951426\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png\" alt=\"A gold, purple and orange design showing a mystic and a crystal ball, one hand raised in wonder.\" width=\"812\" height=\"1186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM.png 812w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-800x1168.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-160x234.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-02-at-1.17.53-AM-768x1122.png 768w\" sizes=\"(max-width: 812px) 100vw, 812px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 Bonnie MacLean design promoting Cream at the Fillmore. \u003ccite>(Courtesy of the Haight Street Art Center)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On Feb. 4, 2020, the world lost Bonnie MacLean — an artist whose work adorned \u003ca href=\"https://www.kqed.org/arts/13414955/without-charles-sullivan-thered-be-no-fillmore-as-we-know-it\">Fillmore\u003c/a> music posters throughout the Summer of Love. MacLean’s images encompassed elements of art nouveau, psychedelia and hippie culture. They used high contrast colors for maximum impact. And they advertised concerts for the likes of Jefferson Airplane, The Who, Chuck Berry, The Doors, Donovan and Pink Floyd.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>During her time making the Fillmore — and San Francisco — a more beautiful place, MacClean designed just 32 posters. Nine of those collectors’ items are currently on display as part of \u003ca href=\"https://haightstreetart.org/pages/women-of-rock-art\">\u003cem>Women of Rock Art: 1965-2023\u003c/em>\u003c/a>, a new exhibit at the Haight Street Art Center curated by Ben Marks. The show focuses exclusively on female poster artists, many of whom hail from the Bay Area or lived here at some point. (They may not have local links, but the striking work of \u003ca href=\"https://www.taramcpherson.com/\">Tara McPherson\u003c/a>, \u003ca href=\"https://isadorabullock.art/\">Isadora Bullock\u003c/a>, \u003ca href=\"https://www.housandarts.com/\">Chelsea Housand\u003c/a>, \u003ca href=\"https://www.sadiemaysart.com/about\">Sadie May\u003c/a> and \u003ca href=\"https://mishkawestell.com/posters/\">Mishka Westell\u003c/a> feels perfectly at home in this show.)\u003c/p>\n\u003cp>The exhibit is a jaunt through this particular brand of rock ‘n’ roll artwork through the decades — almost all of which reflects its era and the influences of the women making it. Two hundred pieces by 55 artists are included, starting with hand-drawn hallucinogen-inspired experiments of the 1960s. That style was perfected by Berkeley-born \u003ca href=\"https://www.johnmccarty.org/sam-sirdofsky/\">Samantha Sirdofsky\u003c/a>, but lovingly and more loosely played with by others, including a mysterious artist known only as Marjorie. The screen-printed work of Coralie Russo carries similar silhouettes to her peers but a simpler, bolder color palette — a product of her tool of choice.\u003c/p>\n\u003cfigure id=\"attachment_13951568\" class=\"wp-caption aligncenter\" style=\"max-width: 552px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951568\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg\" alt=\"Illustration of a woman's face, facing forward, wearing a winged helmet with a peace sign on it.\" width=\"552\" height=\"736\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n.jpg 552w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/420398214_1130167161752507_5972252161436470687_n-160x213.jpg 160w\" sizes=\"(max-width: 552px) 100vw, 552px\">\u003cfigcaption class=\"wp-caption-text\">A 1967 anti-draft benefit poster by Coralie Russo. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The posters from this period aren’t just for live shows. Some promote anti-draft benefits, children’s events and one Grateful Dead concert that also featured “mime troupe puppets.” Given the limited opportunities available for female artists of the period, it’s no wonder they were advertising some of the more fringe gatherings.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s well established that the art of San Francisco’s 1960s music scene was dominated by the so-called “Big Five”: Stanley Mouse, Alton Kelley, Victor Moscoco, Rick Griffin and Wes Wilson. Bonnie MacLean was only granted more opportunities at the Fillmore after Bill Graham and Wes Wilson had a difference of opinion and Wilson quit. MacLean was readily available — she was married to Graham at the time. Even so, before Wilson left she had been relegated to painting noticeboards within the venue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most of the exhibit is presented without comment and that’s no accident either. Curator Ben Marks explained to KQED that despite his best efforts, little is known today about some of the earliest women featured. Thankfully, the exhibit’s introductory statement acknowledges just what these women were up against at the dawn of the artform.\u003c/p>\n\u003cfigure id=\"attachment_13951587\" class=\"wp-caption aligncenter\" style=\"max-width: 1660px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951587\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png\" alt=\"A wall of scrappy multicolored flyers advertising concerts.\" width=\"1660\" height=\"1080\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM.png 1660w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-800x520.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1020x664.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-160x104.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-768x500.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-05-at-1.27.07-PM-1536x999.png 1536w\" sizes=\"(max-width: 1660px) 100vw, 1660px\">\u003cfigcaption class=\"wp-caption-text\">‘Women of Rock Art’ also features a wall of 1980s flyers donated by Seattle punk band, Student Nurse. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Post-1960s, \u003cem>Women of Rock Art\u003c/em> rather starkly leaps straight into the 1980s — a jump made all the more jarring by that decade’s shift away from paint to photography. That style is best embodied here by \u003ca href=\"https://www.kqed.org/news/11966749/meet-the-woman-behind-the-fillmores-famous-posters\">the work of Arlene Owseichik\u003c/a>, but feels a touch impersonal by comparison to everything around it. No fault of the artist: The work embodies that decade’s hard lean away from the crowded, swirling aesthetics of the 1970s and into a new, cleaner, MTV-infused modernity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Work on display here from the ’90s demonstrates valiant attempts at combining photos and screen-printing on the same poster. That method was sadly short-lived, and dynamic posters here for Throwing Muses, Big Star and Lush will make you wonder why we gave up on it altogether.\u003c/p>\n\u003cp>The new millennium brought with it a return to hyper-detailed and hand-drawn pieces, like that of Bay Area artists \u003ca href=\"https://www.laurenyurkovich.com/\">Lauren Yurkovich\u003c/a> and \u003ca href=\"https://alexandrafischerstudio.com/\">Alexandra Fischer\u003c/a>. There have been few obvious trend shifts in the last 20 years either — a post-modern reflection of the ways in which music culture has become more egalitarian since the dawn of the internet.\u003c/p>\n\u003cp>It is, however, impossible to ignore the sense of full circularity when looking at some of the newest posters on display. One 2022 Soul Asylum promo by \u003ca href=\"https://www.carolynferris.com/\">Carolyn Ferris\u003c/a> — featuring a woman’s face in side profile with band names unfurling in front of her in waves — appears to be a direct homage to a 1967 Bonnie MacLean piece elsewhere in the exhibit. And Oakland-based artist \u003ca href=\"https://caitlinmattisson.com/\">Caitlin Mattison\u003c/a> combines hyper-detailed modern techniques with aesthetics that clearly hark back to the work of the women that came before her.\u003c/p>\n\u003cfigure id=\"attachment_13951554\" class=\"wp-caption aligncenter\" style=\"max-width: 1995px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951554\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg\" alt=\"Illustration featuring a bohemian looking woman sitting on a horseshoe and surrounded by wilderness.\" width=\"1995\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-scaled.jpg 1995w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-800x1026.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1020x1309.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-160x205.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-768x985.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1197x1536.jpg 1197w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1596x2048.jpg 1596w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/20240201_163620-1920x2463.jpg 1920w\" sizes=\"(max-width: 1995px) 100vw, 1995px\">\u003cfigcaption class=\"wp-caption-text\">Caitlin Mattison’s poster for last year’s Hardly Strictly Bluegrass festival. \u003ccite>(Rae Alexandra)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>All of which would no doubt thrill Bonnie MacLean. In one interview a few years before her death, MacLean noted: “I think handwork needs to be kept alive. It’s something people are inclined to do naturally. It’s something we have a human built-in desire to do. It always has been. It still is.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Women of Rock Art: 1965-2023’ is on display now through April 14, 2024. Artist and photographer Arlene Owseichik will appear for a Q&A on Feb. 9 at 6 p.m. An official opening party will take place on Feb. 16 at 6 p.m. Visit the \u003ca href=\"https://haightstreetart.org/\">Haight Street Art Center website\u003c/a> for details.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "At the 2024 Grammys, Taylor Swift and Tracy Chapman Offer Surprises",
"headTitle": "At the 2024 Grammys, Taylor Swift and Tracy Chapman Offer Surprises | KQED",
"content": "\u003cp>From blockbuster concert events like Beyoncé’s \u003cem>RENAISSANCE\u003c/em> and Taylor Swift’s \u003cem>Eras\u003c/em> tour, to the massive hit in Greta Gerwig’s \u003cem>Barbie\u003c/em>, 2023 was “\u003ca href=\"https://www.kqed.org/arts/13933011/taylor-swift-beyonce-barbie-greta-gerwig-margot-robbie-summer-2023\">the year of the girl.\u003c/a>” That streak continued at the 66th Grammy Awards, with young women artists who made their mark on the pop charts this past year dominating the major categories.\u003c/p>\n\u003cp>Seven out of eight artists \u003ca href=\"https://www.npr.org/2024/02/04/1228452956/here-are-the-2024-grammy-award-winners\">nominated for\u003c/a> the album of the year category are for albums by women artists under the age of 40: the rock group boygenius, Miley Cyrus, Lana Del Rey, Janelle Monáe, Olivia Rodrigo, Taylor Swift and SZA.\u003c/p>\n\u003cp>[aside postid='arts_13951471']The outlier in that group is five-time Grammy winner Jon Batiste, who is nominated for six awards tonight and who took home the album of the year trophy in 2022 for \u003cem>We Are\u003c/em>. But the category’s inclusion of women artists across the pop and R&B spectrum stands in stark contrast to candidates nominated last year, which included Latin pop star Bad Bunny, rock band Coldplay and a win by Harry Styles’ \u003cem>Harry’s House \u003c/em>over Beyoncé’s \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Tonight’s main event, hosted by comedian Trevor Noah, opened with a medley of two new songs performed by Dua Lipa — her recent single “Houdini” and the unreleased “Training Season,” both from her forthcoming studio album — sandwiching a snippet from her song from the \u003cem>Barbie\u003c/em> soundtrack, “Dance the Night.”\u003c/p>\n\u003cp>In the first televised award presentation of the evening, Miley Cyrus won best pop solo performance for her song “Flowers.” As she noted a few minutes later during a raucous performance of the hit, it was her first-ever Grammy win. Cyrus took full advantage of the spotlight during the performance, ribbing the audience for not singing along to the song more at the start, and throwing her mic down at its end.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gzlpHYXIzdY\u003c/p>\n\u003cp>Never one to be upstaged, Taylor Swift took her turn at the spotlight — while accepting her 13th career Grammy, this time for best pop vocal album — to let the audience and her fans in on a secret: she has a new album on the way, \u003cem>The Tortured Poets Department\u003c/em>, dropping April 19.\u003c/p>\n\u003cp>[aside postid='arts_13951430']The Grammys are notable (or infamous) for their unlikely live collaborations, but one of the most hotly anticipated joint performances of this year was Luke Combs and Tracy Chapman’s duet on Chapman’s song “Fast Car,” which Combs has brought back into the public eye. Chapman, who performed the song at the Grammys 35 years ago, when it was nominated for record and song of the year and she won best new artist along with two other prizes, was not announced as a performer.\u003c/p>\n\u003cp>Colombian singer and songwriter Karol G took home the award for best musica urbana album, for her album\u003cem>Mañana Será Bonito\u003c/em>. “This is my first time at the Grammys, and this is my first time holding my own,” Karol G said during her acceptance speech.\u003c/p>\n\u003cp>SZA performed a duet of two of her hits: “Snooze” and “Kill Bill,” the first with a stage set featuring a literal dumpster fire, and the second with references to Quentin Tarantino’s films of the same name. Later, she won the Grammy for best R&B song for “Snooze,” thanking her family and team. “You don’t understand, I came really, really far, and it feels very fake,” she said during her emotional speech. “I’m not a very attractive crier.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=FMKQIgh85Kk\u003c/p>\n\u003cp>Billie Eilish performed her song “What Was I Made For?” from the \u003cem>Barbie\u003c/em> soundtrack, which beat out three other cuts from the soundtrack (Dua Lipa’s “Dance the Night,” Ryan Gosling’s “I’m Just Ken,” and Nicki Minaj and Ice Spice’s “Barbie World”) to win the Grammy for best song written for visual media earlier in the night. ”\u003c/p>\n\u003cp>Since there are actually 94 Grammy categories, most awards are presented hours before the televised ceremony. Among the winners in that pre-telecast ceremony were boygenius, the indie supergroup composed of singer-songwriters Lucy Dacus, Julien Baker and Phoebe Bridgers, who took home three awards for best rock song, best rock performance and best alternative music album for its release \u003cem>the record\u003c/em>. SZA, nominated for nine Grammys, the most of any artist, earned her first two in the best progressive R&B and best pop duo/group performance categories, the latter for “Ghost In The Machine,” featuring boygenius member Bridgers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s solo autobiographical album, \u003cem>Michael\u003c/em>, and his first in more than a decade, won in three of the four rap categories, taking home best rap performance, best rap song and best rap album. The rapper was handcuffed and escorted out of the venue by police shortly before the televised ceremony, according to \u003ca href=\"https://variety.com/2024/music/news/killer-mike-grammys-handcuffs-1235897372/#recipient_hashed=d0fb2ac9319a8fb7706ab82ce78458eb2dfd3070a4bcba67337ace27f83e7f94&recipient_salt=118e54f0cf77b06b8ed467582be14fb86e395ab39cc76a7c88524fc23b243123\">a report\u003c/a> in \u003cem>Variety\u003c/em>. When reached by NPR, the LAPD did not provide more information about reports of the arrest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+2024+Grammys%2C+Tracy+Chapman+and+Taylor+Swift+offer+surprises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From blockbuster concert events like Beyoncé’s \u003cem>RENAISSANCE\u003c/em> and Taylor Swift’s \u003cem>Eras\u003c/em> tour, to the massive hit in Greta Gerwig’s \u003cem>Barbie\u003c/em>, 2023 was “\u003ca href=\"https://www.kqed.org/arts/13933011/taylor-swift-beyonce-barbie-greta-gerwig-margot-robbie-summer-2023\">the year of the girl.\u003c/a>” That streak continued at the 66th Grammy Awards, with young women artists who made their mark on the pop charts this past year dominating the major categories.\u003c/p>\n\u003cp>Seven out of eight artists \u003ca href=\"https://www.npr.org/2024/02/04/1228452956/here-are-the-2024-grammy-award-winners\">nominated for\u003c/a> the album of the year category are for albums by women artists under the age of 40: the rock group boygenius, Miley Cyrus, Lana Del Rey, Janelle Monáe, Olivia Rodrigo, Taylor Swift and SZA.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The outlier in that group is five-time Grammy winner Jon Batiste, who is nominated for six awards tonight and who took home the album of the year trophy in 2022 for \u003cem>We Are\u003c/em>. But the category’s inclusion of women artists across the pop and R&B spectrum stands in stark contrast to candidates nominated last year, which included Latin pop star Bad Bunny, rock band Coldplay and a win by Harry Styles’ \u003cem>Harry’s House \u003c/em>over Beyoncé’s \u003cem>RENAISSANCE\u003c/em>.\u003c/p>\n\u003cp>Tonight’s main event, hosted by comedian Trevor Noah, opened with a medley of two new songs performed by Dua Lipa — her recent single “Houdini” and the unreleased “Training Season,” both from her forthcoming studio album — sandwiching a snippet from her song from the \u003cem>Barbie\u003c/em> soundtrack, “Dance the Night.”\u003c/p>\n\u003cp>In the first televised award presentation of the evening, Miley Cyrus won best pop solo performance for her song “Flowers.” As she noted a few minutes later during a raucous performance of the hit, it was her first-ever Grammy win. Cyrus took full advantage of the spotlight during the performance, ribbing the audience for not singing along to the song more at the start, and throwing her mic down at its end.\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/gzlpHYXIzdY'\n title='//www.youtube.com/embed/gzlpHYXIzdY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Never one to be upstaged, Taylor Swift took her turn at the spotlight — while accepting her 13th career Grammy, this time for best pop vocal album — to let the audience and her fans in on a secret: she has a new album on the way, \u003cem>The Tortured Poets Department\u003c/em>, dropping April 19.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The Grammys are notable (or infamous) for their unlikely live collaborations, but one of the most hotly anticipated joint performances of this year was Luke Combs and Tracy Chapman’s duet on Chapman’s song “Fast Car,” which Combs has brought back into the public eye. Chapman, who performed the song at the Grammys 35 years ago, when it was nominated for record and song of the year and she won best new artist along with two other prizes, was not announced as a performer.\u003c/p>\n\u003cp>Colombian singer and songwriter Karol G took home the award for best musica urbana album, for her album\u003cem>Mañana Será Bonito\u003c/em>. “This is my first time at the Grammys, and this is my first time holding my own,” Karol G said during her acceptance speech.\u003c/p>\n\u003cp>SZA performed a duet of two of her hits: “Snooze” and “Kill Bill,” the first with a stage set featuring a literal dumpster fire, and the second with references to Quentin Tarantino’s films of the same name. Later, she won the Grammy for best R&B song for “Snooze,” thanking her family and team. “You don’t understand, I came really, really far, and it feels very fake,” she said during her emotional speech. “I’m not a very attractive crier.”\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/FMKQIgh85Kk'\n title='//www.youtube.com/embed/FMKQIgh85Kk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Billie Eilish performed her song “What Was I Made For?” from the \u003cem>Barbie\u003c/em> soundtrack, which beat out three other cuts from the soundtrack (Dua Lipa’s “Dance the Night,” Ryan Gosling’s “I’m Just Ken,” and Nicki Minaj and Ice Spice’s “Barbie World”) to win the Grammy for best song written for visual media earlier in the night. ”\u003c/p>\n\u003cp>Since there are actually 94 Grammy categories, most awards are presented hours before the televised ceremony. Among the winners in that pre-telecast ceremony were boygenius, the indie supergroup composed of singer-songwriters Lucy Dacus, Julien Baker and Phoebe Bridgers, who took home three awards for best rock song, best rock performance and best alternative music album for its release \u003cem>the record\u003c/em>. SZA, nominated for nine Grammys, the most of any artist, earned her first two in the best progressive R&B and best pop duo/group performance categories, the latter for “Ghost In The Machine,” featuring boygenius member Bridgers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Killer Mike’s solo autobiographical album, \u003cem>Michael\u003c/em>, and his first in more than a decade, won in three of the four rap categories, taking home best rap performance, best rap song and best rap album. The rapper was handcuffed and escorted out of the venue by police shortly before the televised ceremony, according to \u003ca href=\"https://variety.com/2024/music/news/killer-mike-grammys-handcuffs-1235897372/#recipient_hashed=d0fb2ac9319a8fb7706ab82ce78458eb2dfd3070a4bcba67337ace27f83e7f94&recipient_salt=118e54f0cf77b06b8ed467582be14fb86e395ab39cc76a7c88524fc23b243123\">a report\u003c/a> in \u003cem>Variety\u003c/em>. When reached by NPR, the LAPD did not provide more information about reports of the arrest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=At+the+2024+Grammys%2C+Tracy+Chapman+and+Taylor+Swift+offer+surprises&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Red Carpet Looks From the 2024 Grammy Awards",
"headTitle": "Red Carpet Looks From the 2024 Grammy Awards | KQED",
"content": "\u003cp>The 66th annual Grammy Award show is in full swing. Trevor Noah is hosting for his fourth consecutive year at Crypto.com Arena in Los Angeles, CA. Some big names are attending including SZA, who has nine nominations for her album \u003cem>SOS\u003c/em>, as well as Victoria Monét, Phoebe Bridgers, Taylor Swift and more.\u003c/p>\n\u003cp>A number of artists will perform live during the show. Joni Mitchell, a nominee tonight and a nine Grammy award winner, will be performing at the show tonight for the first time. Her live album \u003cem>Joni Mitchell in Newport\u003c/em> is up for best folk album.\u003c/p>\n\u003cp>Here are some of the most memorable looks of the night.\u003c/p>\n\u003cfigure id=\"attachment_13951526\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg\" alt=\"A white woman in a high cut white flowing gown and long black gloves.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift. \u003ccite>(Jeff Kravitz/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951473\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg\" alt=\"A Black man in a green suit and a Black woman in a tight rose gold gown stand on the red carpet. The woman is holding a small child.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">John Gaines, Victoria Monét, and Hazel Monét Gaines. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951502\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png\" alt=\"A Black woman strikes a pose in a plunging PVC and silver gown.\" width=\"864\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-800x1219.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-768x1170.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951503\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png\" alt=\"A tattooed woman stands in a sheer skin toned gown in the red carpet. She is looking over her shoulder.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat. \u003ccite>(Jordan Strauss/ Invision/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951504\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg\" alt=\"A woman with cascading dark hair stands on the red carpet wearing a tight white gown.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951505\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png\" alt=\"A woman with big hair stands on the red carpet in a gold sheer gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951476\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg\" alt=\"A slender blond woman in a black and silver dress and a bald man in black suit and sunglasses stand on the red carpet with two young girls in black dresses.\" width=\"1818\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1091x1536.jpg 1091w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1455x2048.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1920x2703.jpg 1920w\" sizes=\"(max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Roderick, Billy Joel, Della Joel and Remy Joel \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951506\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg\" alt=\"A young woman with red and black hair stands on the red carpet wearing oversized black pants and a bomber jacket.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951507\" class=\"wp-caption aligncenter\" style=\"max-width: 866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png\" alt=\"A smiling Black woman wearing a plunging silver gown.\" width=\"866\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png 866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-800x1134.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-768x1089.png 768w\" sizes=\"(max-width: 866px) 100vw, 866px\">\u003cfigcaption class=\"wp-caption-text\">Coco Jones. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951478\" class=\"wp-caption aligncenter\" style=\"max-width: 1871px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg\" alt=\"A woman with long red hair wearing a plunging silver and sheer dress.\" width=\"1871\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg 1871w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-800x1094.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1020x1395.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1123x1536.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1497x2048.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1920x2627.jpg 1920w\" sizes=\"(max-width: 1871px) 100vw, 1871px\">\u003cfigcaption class=\"wp-caption-text\">Dua Lipa. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951508\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png\" alt=\"A smiling man in an all black tudedo.\" width=\"862\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-768x1144.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Noah Kahan. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951509\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg\" alt=\"Three young women in matching white suits and red ties.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951480\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg\" alt=\"A man in an embroidered suit and a woman in a shiny pale blue gown.\" width=\"1804\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-800x1135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1020x1448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1082x1536.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1443x2048.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1920x2725.jpg 1920w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Nicki Nicole. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951510\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png\" alt=\"A young white women stands smiling in a cropped corset and black skirt.\" width=\"864\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-768x1179.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Gracie Abrams. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951511\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png\" alt=\"A man in a brown elaborately patterned suit stands with a woman in a high cut silver gown.\" width=\"860\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-800x1133.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-768x1088.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Harris and Vick Hope. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951512\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png\" alt=\"A woman with long brown hair poses in a sheer, very frilled skirt and pink top.\" width=\"864\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-800x1083.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-768x1040.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Paty Cantu. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951484\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg\" alt=\"A man in a neon yellow suit and a woman in a lilac fitted gown.\" width=\"1684\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1920x2919.jpg 1920w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Michael Trotter Jr. and Tanya Trotter. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951513\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png\" alt=\"A man in a patchwork suit.\" width=\"860\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-768x1156.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951486\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg\" alt=\"A striking woman in a white gown with oversized collar.\" width=\"1690\" height=\"2452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1412x2048.jpg 1412w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">Kat Graham. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951514\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png\" alt=\"A Black woman with a lip piercing and cropped hair stands in a silver and black gown.\" width=\"864\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-800x1106.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-768x1061.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951515\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png\" alt=\"Two Black men wearing sunglasses and oversized shirts and pants stand side by side. One of them has a small boy at his side.\" width=\"862\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-800x1129.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-160x226.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-768x1083.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Big Hit and Hit-Boy. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951516\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png\" alt=\"A Black man wearing a shiny black Versace suit and sunglasses.\" width=\"864\" height=\"1178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-800x1091.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-768x1047.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Babyface. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951517\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png\" alt=\"A woman in a beige hat and cascading multicolor dress.\" width=\"862\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-768x1103.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Daigle. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951491\" class=\"wp-caption aligncenter\" style=\"max-width: 1688px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg\" alt=\"A man wearing a black suit with very long sleeves.\" width=\"1688\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg 1688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-800x1213.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1020x1547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1013x1536.jpg 1013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1920x2912.jpg 1920w\" sizes=\"(max-width: 1688px) 100vw, 1688px\">\u003cfigcaption class=\"wp-caption-text\">Luis Figueroa. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951518\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png\" alt=\"A Black woman wearing a red gown with structured straps that sprout into feathers over her head.\" width=\"864\" height=\"1302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-800x1206.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-768x1157.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951493\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg\" alt=\"A white man with scruffy facial hair in a black suit.\" width=\"1698\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1920x2895.jpg 1920w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Josh Groban. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951519\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png\" alt=\"A Black man with shoulder length dreadlocks stands wearing a white shirt, black pants and sunglasses.\" width=\"862\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-800x1203.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-768x1155.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Eric Burton. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951520\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png\" alt=\"A young blond woman glances over her shoulder and smiles. She is wearing an off the shoulder black dress.\" width=\"860\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-768x1148.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Lawrence. \u003ccite>(Neilson Barnard/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951521\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png\" alt=\"A woman wearing an orange suit and pink blouse.\" width=\"860\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-800x1181.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-768x1134.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951522\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png\" alt=\"A man in a Black suit clutches the pregnant belly of a woman wearing a flowing white gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Ledon and David Guetta. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951523\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png\" alt=\"A woman wearing a flowing orange gown.\" width=\"862\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-800x1257.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-768x1206.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951524\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951524\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png\" alt=\"A white man with curly brown hair and glasses wearing black pants and green and gold band jacket.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Marc Whitmore Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951500\" class=\"wp-caption aligncenter\" style=\"max-width: 1770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg\" alt=\"A woman wearing bloomers, a pink shirt and oversized red shoulder accessories.\" width=\"1770\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg 1770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-800x1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1020x1475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-768x1111.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1062x1536.jpg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1416x2048.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1920x2777.jpg 1920w\" sizes=\"(max-width: 1770px) 100vw, 1770px\">\u003cfigcaption class=\"wp-caption-text\">Montaigne. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Check out some of the this year’s most memorable red carpet looks from the 66th annual Grammy Awards.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 66th annual Grammy Award show is in full swing. Trevor Noah is hosting for his fourth consecutive year at Crypto.com Arena in Los Angeles, CA. Some big names are attending including SZA, who has nine nominations for her album \u003cem>SOS\u003c/em>, as well as Victoria Monét, Phoebe Bridgers, Taylor Swift and more.\u003c/p>\n\u003cp>A number of artists will perform live during the show. Joni Mitchell, a nominee tonight and a nine Grammy award winner, will be performing at the show tonight for the first time. Her live album \u003cem>Joni Mitchell in Newport\u003c/em> is up for best folk album.\u003c/p>\n\u003cp>Here are some of the most memorable looks of the night.\u003c/p>\n\u003cfigure id=\"attachment_13951526\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951526\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg\" alt=\"A white woman in a high cut white flowing gown and long black gloves.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986539539-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Taylor Swift. \u003ccite>(Jeff Kravitz/ FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951473\" class=\"wp-caption aligncenter\" style=\"max-width: 1710px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951473\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg\" alt=\"A Black man in a green suit and a Black woman in a tight rose gold gown stand on the red carpet. The woman is holding a small child.\" width=\"1710\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-scaled.jpg 1710w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-800x1198.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1020x1527.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-768x1150.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1026x1536.jpg 1026w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1368x2048.jpg 1368w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986096056_custom-8a8fa8595ffc8e48f7ea2f45bb2f3b34187dbd2c-1920x2874.jpg 1920w\" sizes=\"(max-width: 1710px) 100vw, 1710px\">\u003cfigcaption class=\"wp-caption-text\">John Gaines, Victoria Monét, and Hazel Monét Gaines. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951502\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951502\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png\" alt=\"A Black woman strikes a pose in a plunging PVC and silver gown.\" width=\"864\" height=\"1316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-800x1219.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-160x244.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.33.54-PM-768x1170.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Janelle Monae. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951503\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951503\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png\" alt=\"A tattooed woman stands in a sheer skin toned gown in the red carpet. She is looking over her shoulder.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.35.36-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Doja Cat. \u003ccite>(Jordan Strauss/ Invision/ AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951504\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951504\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg\" alt=\"A woman with cascading dark hair stands on the red carpet wearing a tight white gown.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986476579-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Olivia Rodrigo. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951505\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951505\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png\" alt=\"A woman with big hair stands on the red carpet in a gold sheer gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.40.39-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Miley Cyrus. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951476\" class=\"wp-caption aligncenter\" style=\"max-width: 1818px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951476\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg\" alt=\"A slender blond woman in a black and silver dress and a bald man in black suit and sunglasses stand on the red carpet with two young girls in black dresses.\" width=\"1818\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-scaled.jpg 1818w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-800x1126.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1020x1436.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-160x225.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-768x1081.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1091x1536.jpg 1091w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1455x2048.jpg 1455w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986261016_custom-de7f432d40b105e7f9ae46f72d1ac98c20d9157f-1920x2703.jpg 1920w\" sizes=\"(max-width: 1818px) 100vw, 1818px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Roderick, Billy Joel, Della Joel and Remy Joel \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951506\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951506\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg\" alt=\"A young woman with red and black hair stands on the red carpet wearing oversized black pants and a bomber jacket.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986204941-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">Billie Eilish. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951507\" class=\"wp-caption aligncenter\" style=\"max-width: 866px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951507\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png\" alt=\"A smiling Black woman wearing a plunging silver gown.\" width=\"866\" height=\"1228\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM.png 866w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-800x1134.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.48.15-PM-768x1089.png 768w\" sizes=\"(max-width: 866px) 100vw, 866px\">\u003cfigcaption class=\"wp-caption-text\">Coco Jones. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951478\" class=\"wp-caption aligncenter\" style=\"max-width: 1871px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951478\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg\" alt=\"A woman with long red hair wearing a plunging silver and sheer dress.\" width=\"1871\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-scaled.jpg 1871w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-800x1094.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1020x1395.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-160x219.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-768x1051.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1123x1536.jpg 1123w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1497x2048.jpg 1497w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986154109_custom-a5e323e0f2eef6e01f49dc39891204f7865a53ae-1920x2627.jpg 1920w\" sizes=\"(max-width: 1871px) 100vw, 1871px\">\u003cfigcaption class=\"wp-caption-text\">Dua Lipa. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951508\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951508\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png\" alt=\"A smiling man in an all black tudedo.\" width=\"862\" height=\"1284\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-800x1192.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-160x238.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.52.14-PM-768x1144.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Noah Kahan. \u003ccite>(Matt Winkelmeyer/Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951509\" class=\"wp-caption aligncenter\" style=\"max-width: 1707px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951509\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg\" alt=\"Three young women in matching white suits and red ties.\" width=\"1707\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-scaled.jpg 1707w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1024x1536.jpg 1024w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1365x2048.jpg 1365w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/GettyImages-1986036640-1920x2880.jpg 1920w\" sizes=\"(max-width: 1707px) 100vw, 1707px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Phoebe Bridgers, Lucy Dacus, and Julien Baker of Boygenius. \u003ccite>(Kayla Oaddams/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951480\" class=\"wp-caption aligncenter\" style=\"max-width: 1804px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951480\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg\" alt=\"A man in an embroidered suit and a woman in a shiny pale blue gown.\" width=\"1804\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-scaled.jpg 1804w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-800x1135.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1020x1448.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-160x227.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-768x1090.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1082x1536.jpg 1082w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1443x2048.jpg 1443w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986285428_custom-ebc16f62530f5626c4fba70e74a43148ed58e753-1920x2725.jpg 1920w\" sizes=\"(max-width: 1804px) 100vw, 1804px\">\u003cfigcaption class=\"wp-caption-text\">Peso Pluma and Nicki Nicole. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951510\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951510\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png\" alt=\"A young white women stands smiling in a cropped corset and black skirt.\" width=\"864\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.57.45-PM-768x1179.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Gracie Abrams. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951511\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951511\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png\" alt=\"A man in a brown elaborately patterned suit stands with a woman in a high cut silver gown.\" width=\"860\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-800x1133.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-160x227.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-6.59.58-PM-768x1088.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Calvin Harris and Vick Hope. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951512\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951512\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png\" alt=\"A woman with long brown hair poses in a sheer, very frilled skirt and pink top.\" width=\"864\" height=\"1170\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-800x1083.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-160x217.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.02.17-PM-768x1040.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Paty Cantu. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951484\" class=\"wp-caption aligncenter\" style=\"max-width: 1684px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951484\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg\" alt=\"A man in a neon yellow suit and a woman in a lilac fitted gown.\" width=\"1684\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-scaled.jpg 1684w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1020x1551.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-768x1167.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1010x1536.jpg 1010w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1347x2048.jpg 1347w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986219918_custom-a8b9e169b7e6df7e8e2b421f4ff3460ac3cc7cbd-1920x2919.jpg 1920w\" sizes=\"(max-width: 1684px) 100vw, 1684px\">\u003cfigcaption class=\"wp-caption-text\">Michael Trotter Jr. and Tanya Trotter. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951513\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951513\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png\" alt=\"A man in a patchwork suit.\" width=\"860\" height=\"1294\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-800x1204.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.05.54-PM-768x1156.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Ed Sheeran. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951486\" class=\"wp-caption aligncenter\" style=\"max-width: 1690px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951486\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg\" alt=\"A striking woman in a white gown with oversized collar.\" width=\"1690\" height=\"2452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365.jpg 1690w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-800x1161.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1020x1480.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-768x1114.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1059x1536.jpg 1059w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986220436_custom-37a30414683ff4ae216933a6548d857329336365-1412x2048.jpg 1412w\" sizes=\"(max-width: 1690px) 100vw, 1690px\">\u003cfigcaption class=\"wp-caption-text\">Kat Graham. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951514\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png\" alt=\"A Black woman with a lip piercing and cropped hair stands in a silver and black gown.\" width=\"864\" height=\"1194\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-800x1106.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-160x221.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.08.22-PM-768x1061.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Fantasia Barrino. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951515\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951515\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png\" alt=\"Two Black men wearing sunglasses and oversized shirts and pants stand side by side. One of them has a small boy at his side.\" width=\"862\" height=\"1216\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-800x1129.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-160x226.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.10.10-PM-768x1083.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Big Hit and Hit-Boy. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951516\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951516\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png\" alt=\"A Black man wearing a shiny black Versace suit and sunglasses.\" width=\"864\" height=\"1178\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-800x1091.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-160x218.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.12.10-PM-768x1047.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Babyface. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951517\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951517\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png\" alt=\"A woman in a beige hat and cascading multicolor dress.\" width=\"862\" height=\"1238\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-800x1149.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-160x230.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.14.02-PM-768x1103.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Lauren Daigle. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951491\" class=\"wp-caption aligncenter\" style=\"max-width: 1688px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951491\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg\" alt=\"A man wearing a black suit with very long sleeves.\" width=\"1688\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-scaled.jpg 1688w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-800x1213.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1020x1547.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-768x1165.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1013x1536.jpg 1013w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1350x2048.jpg 1350w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986063826_custom-c2661e793822b239b81cd2bf4587beddec235084-1920x2912.jpg 1920w\" sizes=\"(max-width: 1688px) 100vw, 1688px\">\u003cfigcaption class=\"wp-caption-text\">Luis Figueroa. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951518\" class=\"wp-caption aligncenter\" style=\"max-width: 864px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951518\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png\" alt=\"A Black woman wearing a red gown with structured straps that sprout into feathers over her head.\" width=\"864\" height=\"1302\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM.png 864w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-800x1206.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.17.31-PM-768x1157.png 768w\" sizes=\"(max-width: 864px) 100vw, 864px\">\u003cfigcaption class=\"wp-caption-text\">Dawn Richard. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951493\" class=\"wp-caption aligncenter\" style=\"max-width: 1698px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951493\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg\" alt=\"A white man with scruffy facial hair in a black suit.\" width=\"1698\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-scaled.jpg 1698w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-800x1206.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1020x1538.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-160x241.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-768x1158.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1019x1536.jpg 1019w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1358x2048.jpg 1358w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986027176_custom-5cc671e7860ce4cd2b3c52b6794c59d04a5186bb-1920x2895.jpg 1920w\" sizes=\"(max-width: 1698px) 100vw, 1698px\">\u003cfigcaption class=\"wp-caption-text\">Josh Groban. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951519\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951519\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png\" alt=\"A Black man with shoulder length dreadlocks stands wearing a white shirt, black pants and sunglasses.\" width=\"862\" height=\"1296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-800x1203.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.20.45-PM-768x1155.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Eric Burton. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951520\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951520\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png\" alt=\"A young blond woman glances over her shoulder and smiles. She is wearing an off the shoulder black dress.\" width=\"860\" height=\"1286\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-800x1196.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-160x239.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.22.37-PM-768x1148.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Charlotte Lawrence. \u003ccite>(Neilson Barnard/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951521\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951521\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png\" alt=\"A woman wearing an orange suit and pink blouse.\" width=\"860\" height=\"1270\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-800x1181.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-160x236.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.24.16-PM-768x1134.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Brandi Carlile. \u003ccite>(ROBYN BECK/ AFP via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951522\" class=\"wp-caption aligncenter\" style=\"max-width: 860px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951522\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png\" alt=\"A man in a Black suit clutches the pregnant belly of a woman wearing a flowing white gown.\" width=\"860\" height=\"1298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM.png 860w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-800x1207.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-160x241.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.25.45-PM-768x1159.png 768w\" sizes=\"(max-width: 860px) 100vw, 860px\">\u003cfigcaption class=\"wp-caption-text\">Jessica Ledon and David Guetta. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951523\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951523\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png\" alt=\"A woman wearing a flowing orange gown.\" width=\"862\" height=\"1354\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-800x1257.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-160x251.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.27.32-PM-768x1206.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Frazer Harrison/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951524\" class=\"wp-caption aligncenter\" style=\"max-width: 862px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951524\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png\" alt=\"A white man with curly brown hair and glasses wearing black pants and green and gold band jacket.\" width=\"862\" height=\"1326\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM.png 862w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-800x1231.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/Screen-Shot-2024-02-04-at-7.29.09-PM-768x1181.png 768w\" sizes=\"(max-width: 862px) 100vw, 862px\">\u003cfigcaption class=\"wp-caption-text\">Tessa Brooks. \u003ccite>(Marc Whitmore Kevin Mazur/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13951500\" class=\"wp-caption aligncenter\" style=\"max-width: 1770px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951500\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg\" alt=\"A woman wearing bloomers, a pink shirt and oversized red shoulder accessories.\" width=\"1770\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-scaled.jpg 1770w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-800x1157.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1020x1475.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-160x231.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-768x1111.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1062x1536.jpg 1062w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1416x2048.jpg 1416w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/02/gettyimages-1986022651_custom-7a6d5725822e321f84d5c59209e2fa503d986547-1920x2777.jpg 1920w\" sizes=\"(max-width: 1770px) 100vw, 1770px\">\u003cfigcaption class=\"wp-caption-text\">Montaigne. \u003ccite>(Matt Winkelmeyer/ Getty Images for The Recording Academy)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2024 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Red+carpet+looks+from+the+2024+Grammy+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Let’s Analyze Patrick Swayze’s ‘Road House’ Like It’s a Perfectly Normal Movie",
"headTitle": "Let’s Analyze Patrick Swayze’s ‘Road House’ Like It’s a Perfectly Normal Movie | KQED",
"content": "\u003cp>There’s a new version of \u003cem>Road House\u003c/em> on the horizon, starring Taylor Swift’s Meanest Ex-Boyfriend (\u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\">Jake Gyllenhaal\u003c/a>) and the Most Irritating Man Alive (Conor McGregor).\u003c/p>\n\u003cp>I know.\u003c/p>\n\u003cp>Are there any good reasons to remake this 1989 Patrick Swayze classic? Absolutely not. Will it be as preposterous as the original? Based on \u003ca href=\"https://www.youtube.com/watch?v=Y0ZsLudtfjI\">the trailer\u003c/a>, in which someone can be seen getting attacked by an alligator, it might actually be as off-the-charts unhinged as the first one was. At the very least, the new one promises to be a bit more diverse (not a massive challenge, admittedly) with Jessica Williams as a bar owner and Arturo Castro (Jaimé from \u003cem>Broad City\u003c/em>!) as a brawler.\u003c/p>\n\u003cp>The new version drops on Prime Video on March 21, so now seems like a good time to talk about the original \u003cem>Road House\u003c/em> in (a possibly unnecessary amount of) detail. You know — for people too young to have heard of this movie. And people who saw it a long time ago but are unwilling to sit inside that much testosterone ever again. And people who want to hear about the highlights without having to watch Patrick Swayze silently observing bar patrons for several minutes at a time.\u003c/p>\n\u003ch2>What is the 1989 ‘Road House’ about?\u003c/h2>\n\u003cp>\u003cem>Road House\u003c/em> is about Dalton (played wirily by P. Swizzle), a nightclub security expert who has a degree in philosophy and also enjoys stitching up his own knife wounds without pain medication. Like a Real Man.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One night, Dalton is approached by a dude in a turquoise bolo tie named Frank Tilghman. Tilghman owns a rural Missouri bar named the Double Deuce that he describes as “the kind of place where they sweep up the eyeballs after closing.” Dalton agrees to help clean up the joint for $5,000 up front, $500 a night and medical expenses. (I feel like that’s maybe all of the money this bar would even have on hand, but cool, sure, whatever.)\u003c/p>\n\u003cfigure id=\"attachment_13951168\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-2.27.49-PM-e1706567371368.png\" alt=\"A white man standing in front of chicken wire laughs while talking to another man. They are indoors and it is smokey.\" width=\"1920\" height=\"1212\">\u003cfigcaption class=\"wp-caption-text\">‘Wanna hear about the time I killed a guy?’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in town, Dalton moves into a barn (naturally) where he can do oily tai chi down by the river and sex to ladies on his flat roof. Across the river lives Evil Rich Stereotype Guy Brad Wesley who startles horses with his helicopter and extorts money out of every business in town. Soon, Dalton and Wesley are in an escalating war in which multiple buildings get inexplicably blown up and many, \u003cem>many\u003c/em> faces get punched.\u003c/p>\n\u003cp>[aside postid='arts_13939927']At the bar, Dalton does a bunch of reorganizing and says things like, “I’m telling you straight. It’s my way or the highway.” At one point he announces: “We’ve got entirely too many troublemakers here. Too many 40-year-old adolescents, felons, power drinkers, and trustees of modern chemistry.” (Don’t threaten me with a good time, Dalton!) Dalton is an excellent security guy but is absolutely abysmal at trash talk. “You’re too stupid to have a good time!” he yells before promptly breaking one guy’s ankle. (Is this really the best you can do with a philosophy degree, sir?)\u003c/p>\n\u003cp>Halfway through the movie, Dalton’s best friend Wade Garrett shows up. Wade is played by Sam Elliott looking like a sexy, white, salt-and-pepper Jesus. Soon, he too is embroiled in the feud.\u003c/p>\n\u003cfigure id=\"attachment_13951155\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.50.51-PM-e1706565197647.png\" alt=\"A man with shaggy salt and pepper hair and stubble rests one arm on his head and looks forward.\" width=\"1920\" height=\"1243\">\u003cfigcaption class=\"wp-caption-text\">Multiple people refer to Sam Elliott as ‘old man’ throughout ‘Road House’ and I’m sorry, what now? \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How silly is it?\u003c/h2>\n\u003cp>Here are some things that happen in \u003cem>Road House\u003c/em>:\u003c/p>\n\u003cul>\n\u003cli>A monster truck drives over (and destroys) an entire showroom’s worth of cars\u003c/li>\n\u003cli>A man’s throat is ripped out, by hand\u003c/li>\n\u003cli>A man gets knocked out by a taxidermied polar bear (you heard me)\u003c/li>\n\u003cli>A Mercedes bursts into flames in midair for absolutely no reason\u003c/li>\n\u003cli>Everyone at the Double Deuce has heard of Dalton and Garrett before they get to town and are awed by their arrival even though they’re literally just out-of-state bouncers\u003c/li>\n\u003cli>Despite being haunted for many years about killing a man in self defense, Dalton, towards the end of this movie, goes on what basically amounts to a gleeful killing spree\u003c/li>\n\u003cli>A doctor willingly staples up a wound on Dalton’s side without anesthesia, like litigation doesn’t exist\u003c/li>\n\u003cli>A series of violent deaths are never investigated by anyone because four townspeople, all visibly holding guns, say they “didn’t see nothin’.” Cool\u003c/li>\n\u003c/ul>\n\u003ch2>Has it stood the test of time?\u003c/h2>\n\u003cp>Oh, dear sweet Christ, no. \u003cem>Road House\u003c/em> is a blaring, albeit hilarious, time capsule of ’80s braggadocio in which everyone has way too much hairspray in their bangs, way too much arm-waving in their dance moves and way too many cigarettes in their mouths.\u003c/p>\n\u003cp>[aside postid='pop_107664']This is a movie in which the villain of the thing, even though he’s trying to kill people left and right, is about as convincingly threatening as Judge Smails in \u003cem>Caddyshack\u003c/em> or Mr. Vernon in \u003cem>The Breakfast Club\u003c/em>.\u003c/p>\n\u003cp>This is a movie in which 99% of women look like they just wandered in from a Whitesnake video shoot. Naturally, most of their personalities don’t extend beyond wanting to be topless in the bar. And who can blame them? The number of breast implants present in this small, blue collar Missouri town is truly astounding. (The phrase “male gaze” does not sufficiently describe how many lingering cropped shots of cleavage and butts there are in this thing. But the man who directed this movie is named Rowdy Herrington, so okay then.)\u003c/p>\n\u003cfigure id=\"attachment_13951151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.41.15-PM-e1706564637332.png\" alt=\"A tan blonde woman looks upwards.\" width=\"1920\" height=\"1305\">\u003cfigcaption class=\"wp-caption-text\">‘Road House’: Awash with crunchy hair outcrops like these, worn by Kelly Lynch as Doc. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the other ’80s aesthetics, Dalton’s pants are often insanely high (like, 1940s-high), rough customers are frequently dressed exactly like \u003cem>Born in the USA\u003c/em>-era Bruce Springsteen, and the mark of success in the bar is measured by how much jaunty neon signage pops up and how much beige Dalton is willing to wear to work.\u003c/p>\n\u003ch2>Should I watch this nonsense?\u003c/h2>\n\u003cp>If you want to see a half-naked Patrick Swayze flinging his slippery body at moving motorcycles, off the top of buildings and onto other humans with wild abandon, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>If you want to see Sam Elliott wearing his hair in \u003ca href=\"https://tenor.com/view/sam-dalton-fix-hair-handsome-hot-gif-15959971\">the only successfully sultry man bun in history\u003c/a>, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_97337']If you enjoy scissor-kicking and wanton violence, you should watch \u003cem>Road House.\u003c/em>\u003c/p>\n\u003cp>If you want to revel in how far we’ve come as a culture in terms of flagrant on-screen sexism, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>Finally, if you’re planning on seeing the new \u003cem>Road House\u003c/em>, you really owe it to the original to start there. Especially since some of the first script is getting recycled — “Nobody ever wins a fight” has definitely carried over. If the most famous line in the original movie — concerning nonconsensual physical acts between incarcerated people — makes it into the new one, it will be a miracle.\u003c/p>\n\u003cp>Stay safe out there, friends — and do like Dalton and \u003cem>be nice\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YH3BMICpXyA\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The original ‘Road House’ is currently streaming on \u003ca href=\"https://www.max.com/movies/road-house/a93af03d-6423-4915-bc20-546abdd63f74\">Max\u003c/a>. The new version will hit Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n",
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"excerpt": "Jake Gyllenhaal and Conor McGregor star in a soon-to-be released update, so let’s revisit the 1989 original.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a new version of \u003cem>Road House\u003c/em> on the horizon, starring Taylor Swift’s Meanest Ex-Boyfriend (\u003ca href=\"https://www.kqed.org/arts/13906513/all-too-well-parody-jake-gyllenhaal-taylor-swift-john-elliott-san-francisco\">Jake Gyllenhaal\u003c/a>) and the Most Irritating Man Alive (Conor McGregor).\u003c/p>\n\u003cp>I know.\u003c/p>\n\u003cp>Are there any good reasons to remake this 1989 Patrick Swayze classic? Absolutely not. Will it be as preposterous as the original? Based on \u003ca href=\"https://www.youtube.com/watch?v=Y0ZsLudtfjI\">the trailer\u003c/a>, in which someone can be seen getting attacked by an alligator, it might actually be as off-the-charts unhinged as the first one was. At the very least, the new one promises to be a bit more diverse (not a massive challenge, admittedly) with Jessica Williams as a bar owner and Arturo Castro (Jaimé from \u003cem>Broad City\u003c/em>!) as a brawler.\u003c/p>\n\u003cp>The new version drops on Prime Video on March 21, so now seems like a good time to talk about the original \u003cem>Road House\u003c/em> in (a possibly unnecessary amount of) detail. You know — for people too young to have heard of this movie. And people who saw it a long time ago but are unwilling to sit inside that much testosterone ever again. And people who want to hear about the highlights without having to watch Patrick Swayze silently observing bar patrons for several minutes at a time.\u003c/p>\n\u003ch2>What is the 1989 ‘Road House’ about?\u003c/h2>\n\u003cp>\u003cem>Road House\u003c/em> is about Dalton (played wirily by P. Swizzle), a nightclub security expert who has a degree in philosophy and also enjoys stitching up his own knife wounds without pain medication. Like a Real Man.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One night, Dalton is approached by a dude in a turquoise bolo tie named Frank Tilghman. Tilghman owns a rural Missouri bar named the Double Deuce that he describes as “the kind of place where they sweep up the eyeballs after closing.” Dalton agrees to help clean up the joint for $5,000 up front, $500 a night and medical expenses. (I feel like that’s maybe all of the money this bar would even have on hand, but cool, sure, whatever.)\u003c/p>\n\u003cfigure id=\"attachment_13951168\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951168\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-2.27.49-PM-e1706567371368.png\" alt=\"A white man standing in front of chicken wire laughs while talking to another man. They are indoors and it is smokey.\" width=\"1920\" height=\"1212\">\u003cfigcaption class=\"wp-caption-text\">‘Wanna hear about the time I killed a guy?’ \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Once in town, Dalton moves into a barn (naturally) where he can do oily tai chi down by the river and sex to ladies on his flat roof. Across the river lives Evil Rich Stereotype Guy Brad Wesley who startles horses with his helicopter and extorts money out of every business in town. Soon, Dalton and Wesley are in an escalating war in which multiple buildings get inexplicably blown up and many, \u003cem>many\u003c/em> faces get punched.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>At the bar, Dalton does a bunch of reorganizing and says things like, “I’m telling you straight. It’s my way or the highway.” At one point he announces: “We’ve got entirely too many troublemakers here. Too many 40-year-old adolescents, felons, power drinkers, and trustees of modern chemistry.” (Don’t threaten me with a good time, Dalton!) Dalton is an excellent security guy but is absolutely abysmal at trash talk. “You’re too stupid to have a good time!” he yells before promptly breaking one guy’s ankle. (Is this really the best you can do with a philosophy degree, sir?)\u003c/p>\n\u003cp>Halfway through the movie, Dalton’s best friend Wade Garrett shows up. Wade is played by Sam Elliott looking like a sexy, white, salt-and-pepper Jesus. Soon, he too is embroiled in the feud.\u003c/p>\n\u003cfigure id=\"attachment_13951155\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951155\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.50.51-PM-e1706565197647.png\" alt=\"A man with shaggy salt and pepper hair and stubble rests one arm on his head and looks forward.\" width=\"1920\" height=\"1243\">\u003cfigcaption class=\"wp-caption-text\">Multiple people refer to Sam Elliott as ‘old man’ throughout ‘Road House’ and I’m sorry, what now? \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>How silly is it?\u003c/h2>\n\u003cp>Here are some things that happen in \u003cem>Road House\u003c/em>:\u003c/p>\n\u003cul>\n\u003cli>A monster truck drives over (and destroys) an entire showroom’s worth of cars\u003c/li>\n\u003cli>A man’s throat is ripped out, by hand\u003c/li>\n\u003cli>A man gets knocked out by a taxidermied polar bear (you heard me)\u003c/li>\n\u003cli>A Mercedes bursts into flames in midair for absolutely no reason\u003c/li>\n\u003cli>Everyone at the Double Deuce has heard of Dalton and Garrett before they get to town and are awed by their arrival even though they’re literally just out-of-state bouncers\u003c/li>\n\u003cli>Despite being haunted for many years about killing a man in self defense, Dalton, towards the end of this movie, goes on what basically amounts to a gleeful killing spree\u003c/li>\n\u003cli>A doctor willingly staples up a wound on Dalton’s side without anesthesia, like litigation doesn’t exist\u003c/li>\n\u003cli>A series of violent deaths are never investigated by anyone because four townspeople, all visibly holding guns, say they “didn’t see nothin’.” Cool\u003c/li>\n\u003c/ul>\n\u003ch2>Has it stood the test of time?\u003c/h2>\n\u003cp>Oh, dear sweet Christ, no. \u003cem>Road House\u003c/em> is a blaring, albeit hilarious, time capsule of ’80s braggadocio in which everyone has way too much hairspray in their bangs, way too much arm-waving in their dance moves and way too many cigarettes in their mouths.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>This is a movie in which the villain of the thing, even though he’s trying to kill people left and right, is about as convincingly threatening as Judge Smails in \u003cem>Caddyshack\u003c/em> or Mr. Vernon in \u003cem>The Breakfast Club\u003c/em>.\u003c/p>\n\u003cp>This is a movie in which 99% of women look like they just wandered in from a Whitesnake video shoot. Naturally, most of their personalities don’t extend beyond wanting to be topless in the bar. And who can blame them? The number of breast implants present in this small, blue collar Missouri town is truly astounding. (The phrase “male gaze” does not sufficiently describe how many lingering cropped shots of cleavage and butts there are in this thing. But the man who directed this movie is named Rowdy Herrington, so okay then.)\u003c/p>\n\u003cfigure id=\"attachment_13951151\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13951151\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/01/Screen-Shot-2024-01-29-at-1.41.15-PM-e1706564637332.png\" alt=\"A tan blonde woman looks upwards.\" width=\"1920\" height=\"1305\">\u003cfigcaption class=\"wp-caption-text\">‘Road House’: Awash with crunchy hair outcrops like these, worn by Kelly Lynch as Doc. \u003ccite>(United Artists)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As for the other ’80s aesthetics, Dalton’s pants are often insanely high (like, 1940s-high), rough customers are frequently dressed exactly like \u003cem>Born in the USA\u003c/em>-era Bruce Springsteen, and the mark of success in the bar is measured by how much jaunty neon signage pops up and how much beige Dalton is willing to wear to work.\u003c/p>\n\u003ch2>Should I watch this nonsense?\u003c/h2>\n\u003cp>If you want to see a half-naked Patrick Swayze flinging his slippery body at moving motorcycles, off the top of buildings and onto other humans with wild abandon, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>If you want to see Sam Elliott wearing his hair in \u003ca href=\"https://tenor.com/view/sam-dalton-fix-hair-handsome-hot-gif-15959971\">the only successfully sultry man bun in history\u003c/a>, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>If you enjoy scissor-kicking and wanton violence, you should watch \u003cem>Road House.\u003c/em>\u003c/p>\n\u003cp>If you want to revel in how far we’ve come as a culture in terms of flagrant on-screen sexism, you should watch \u003cem>Road House\u003c/em>.\u003c/p>\n\u003cp>Finally, if you’re planning on seeing the new \u003cem>Road House\u003c/em>, you really owe it to the original to start there. Especially since some of the first script is getting recycled — “Nobody ever wins a fight” has definitely carried over. If the most famous line in the original movie — concerning nonconsensual physical acts between incarcerated people — makes it into the new one, it will be a miracle.\u003c/p>\n\u003cp>Stay safe out there, friends — and do like Dalton and \u003cem>be nice\u003c/em>.\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/YH3BMICpXyA'\n title='//www.youtube.com/embed/YH3BMICpXyA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The original ‘Road House’ is currently streaming on \u003ca href=\"https://www.max.com/movies/road-house/a93af03d-6423-4915-bc20-546abdd63f74\">Max\u003c/a>. The new version will hit Prime Video on March 21, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
"tagline": "Your irreverent guide to the trends redefining our world",
"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/02/CAT_2_Tile-scaled.jpg",
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"officialWebsiteLink": "/podcasts/closealltabs",
"meta": {
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"order": 1
},
"link": "/podcasts/closealltabs",
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"rss": "https://feeds.npr.org/510308/podcast.xml"
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"source": "kqed",
"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
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