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"content": "\u003cp>Creative works by and about musicians turned out to be big winners among this year’s Peabody Awards. Among this year’s honorees are \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a> and Donald Glover, whose prizes were \u003ca href=\"http://www.peabodyawards.com/stories/story/entertainment-winners-named-for-peabody-30\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> today, and two documentaries announced earlier this week: the films \u003cem>Hip-Hop Evolution\u003c/em> and \u003cem>MAVIS!\u003c/em>\u003c/p>\n\u003cp>Beyoncé’s “visual album” \u003cem>Lemonade\u003c/em>, released by HBO Entertainment in association with Parkwood Entertainment, was cited for “the audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.”\u003c/p>\n\u003cp>Actor and director Donald Glover, whose hip-hop persona is \u003ca href=\"http://www.npr.org/search/index.php?searchinput=childish+gambino\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, won for his television show \u003cem>\u003ca href=\"http://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\" target=\"_blank\" rel=\"noopener\">Atlanta\u003c/a>\u003c/em> on the FX network. The judges called it an “enchanting series on the struggles of two young black men trying to make it in Atlanta’s rap scene blends vibrant character study and rich socio-political commentary in delivering a detailed and textured exploration of a Southern city.”\u003c/p>\n\u003cp> Two music documentaries were announced as Peabody winners on \u003ca href=\"http://www.peabodyawards.com/stories/story/twelve-documentaries-win-2016-peabody-awards\">Tuesday\u003c/a>. One was \u003cem>Hip-Hop Evolution\u003c/em> (Banger Films, distributed by Netflix and HBO Canada), which was described by the panel as “an entertaining, consummate history of hip-hop music told in a series of interviews with influential MCs, DJs, and moguls who were there at the beginning of the genre’s birth and through its dynamic evolution.”\u003c/p>\n\u003cp>The other was \u003cem>MAVIS!\u003c/em> (Film First and HBO Documentary Films): “More than just a biopic,” the judges wrote, “this story celebrates the deep influence of Mavis Staples and the Staple Singers across music genres — from gospel to soul and rock-and-roll. \u003cem>MAVIS!\u003c/em> illustrates the history of social movements in America and is a powerful reminder of one woman’s impact on popular culture.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Peabody Awards are given yearly by the University of Georgia’s Grady College of Journalism and Mass Communication. The ceremony will be held May 20 in New York City at Cipriani Wall Street. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%2C+Donald+Glover+Among+This+Year%27s+Peabody+Award+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Creative works by and about musicians turned out to be big winners among this year’s Peabody Awards. Among this year’s honorees are \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a> and Donald Glover, whose prizes were \u003ca href=\"http://www.peabodyawards.com/stories/story/entertainment-winners-named-for-peabody-30\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> today, and two documentaries announced earlier this week: the films \u003cem>Hip-Hop Evolution\u003c/em> and \u003cem>MAVIS!\u003c/em>\u003c/p>\n\u003cp>Beyoncé’s “visual album” \u003cem>Lemonade\u003c/em>, released by HBO Entertainment in association with Parkwood Entertainment, was cited for “the audacity of its reach and fierceness of its vision challenges our cultural imagination, while crafting a stunning and sublime masterpiece about the lives of women of color and the bonds of friendship seldom seen or heard in American popular culture.”\u003c/p>\n\u003cp>Actor and director Donald Glover, whose hip-hop persona is \u003ca href=\"http://www.npr.org/search/index.php?searchinput=childish+gambino\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, won for his television show \u003cem>\u003ca href=\"http://www.npr.org/2016/09/17/494390868/donald-glover-explores-a-surreal-feel-in-atlanta\" target=\"_blank\" rel=\"noopener\">Atlanta\u003c/a>\u003c/em> on the FX network. The judges called it an “enchanting series on the struggles of two young black men trying to make it in Atlanta’s rap scene blends vibrant character study and rich socio-political commentary in delivering a detailed and textured exploration of a Southern city.”\u003c/p>\n\u003cp> Two music documentaries were announced as Peabody winners on \u003ca href=\"http://www.peabodyawards.com/stories/story/twelve-documentaries-win-2016-peabody-awards\">Tuesday\u003c/a>. One was \u003cem>Hip-Hop Evolution\u003c/em> (Banger Films, distributed by Netflix and HBO Canada), which was described by the panel as “an entertaining, consummate history of hip-hop music told in a series of interviews with influential MCs, DJs, and moguls who were there at the beginning of the genre’s birth and through its dynamic evolution.”\u003c/p>\n\u003cp>The other was \u003cem>MAVIS!\u003c/em> (Film First and HBO Documentary Films): “More than just a biopic,” the judges wrote, “this story celebrates the deep influence of Mavis Staples and the Staple Singers across music genres — from gospel to soul and rock-and-roll. \u003cem>MAVIS!\u003c/em> illustrates the history of social movements in America and is a powerful reminder of one woman’s impact on popular culture.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Peabody Awards are given yearly by the University of Georgia’s Grady College of Journalism and Mass Communication. The ceremony will be held May 20 in New York City at Cipriani Wall Street. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9%2C+Donald+Glover+Among+This+Year%27s+Peabody+Award+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What To Expect When You're Expecting (An Arguably Irrelevant Awards Show)",
"headTitle": "What To Expect When You’re Expecting (An Arguably Irrelevant Awards Show) | KQED",
"content": "\u003cp>Ah, February. We’ve barely had time to catch our breath after the acrobatic, drone-assisted ode to America and Pepsi and whichever poor soul has the job of helping Lady Gaga in and out of her leotards that was the Super Bowl Halftime Show — and already it’s time to turn our attention to another stiffly scripted, expensively produced television spectacle that might get political but probably won’t. Where \u003cem>does\u003c/em> the time go?\u003c/p>\n\u003cp>Which is to say: The \u003ca href=\"https://www.grammy.com/\" target=\"_blank\" rel=\"noopener\">59th annual Grammy Awards\u003c/a> take place this Sunday, Feb. 12 at 5pm, and I’m going to go out on a limb and speak for a lot of youngish people here when I say, “Who cares?”\u003c/p>\n\u003cp>This is no slight, mind you, to the more deserving nominees — many of whom hail from the Bay Area, like Oakland’s Fantastic Negrito (whose excellent \u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Days of Oakland\u003c/em> \u003c/a>is nominated for Best Contemporary Blues Album).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=myWfoR3l6O4\u003c/p>\n\u003cp>But it’s undeniable that the Grammys — which have always rewarded popularity and record sales over artistry — have in recent years grown increasingly out of step with not only the way fans listen to music but with how artists themselves measure value, how they mark and celebrate their own contributions to the cultural canon.\u003c/p>\n\u003ch2>Big stars drop out\u003c/h2>\n\u003cp>Need proof? Frank Ocean, a two-time Grammy winner himself, \u003ca href=\"https://www.nytimes.com/2016/11/20/arts/music/frank-ocean-blonde-interview.html\" target=\"_blank\" rel=\"noopener\">told the \u003cem>New York Times\u003c/em> in November \u003c/a>that he wouldn’t be submitting his long-anticipated 2016 records \u003cem>Blond\u003c/em> and \u003cem>Endless (\u003c/em>both of which dotted many a critic’s best-of-the-year list) for the Recording Academy’s consideration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“That institution certainly has nostalgic importance,” he said. “It just doesn’t seem to be representing very well for people who come from where I come from, and hold down what I hold down.”\u003c/p>\n\u003cp>Ocean continued: “I think the infrastructure of the awarding system and the nomination system and screening system is dated. I’d rather this be my Colin Kaepernick moment for the Grammys than sit there in the audience.”\u003c/p>\n\u003cfigure id=\"attachment_12751713\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys.jpg\" alt=\"Frank Ocean accepts the Best Urban Contemporary Album award for 'Channel Orange' at the 55th Grammy Awards in 2013. \" width=\"1100\" height=\"715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-520x338.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Frank Ocean accepts the Best Urban Contemporary Album award for ‘Channel Orange’ at the 55th Grammy Awards in 2013. \u003ccite>(Kevork Djansezian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after, TMZ reported that Drake, Justin Bieber and Kanye West — all of whom are up for awards in major categories — would follow suit in their own way, skipping the show entirely.\u003c/p>\n\u003cp>Ocean is maybe the first artist of his stature to share that sentiment, in those words, with a publication like the \u003cem>New York Times\u003c/em>. But he’s far from the first person to criticize the Grammys for being out of touch, particularly with the music currently being released by artists who are young, black, or both. Much like the Oscars, the recipients of Grammy recognition (nominees and awardees alike) tend to skew disproportionately whiter and older when compared to the artists who are actually selling the most records, topping the charts, and affecting the cultural zeitgeist in meaningful ways.\u003c/p>\n\u003ch2>The demographics behind the snubs\u003c/h2>\n\u003cp>You can look at cases of this from recent memory: In 2014, Macklemore took home the Grammy for Best Rap Album over Kendrick Lamar’s critically acclaimed \u003cem>Good Kid, M.A.A.D City\u003c/em>, leading to the \u003ca href=\"http://www.stereogum.com/1644301/read-macklemores-apology-text-to-kendrick-lamar-for-winning-best-rap-album-grammy/news/\" target=\"_blank\" rel=\"noopener\">fake-apology-text-message\u003c/a> heard round the world. At the 2015 awards, Beyoncé’s self-titled record — which marked both a turn in the singer’s sound as well as a groundbreaking use of media (the surprise release; the music video in a long format as “visual album”) — lost Album of the Year to Beck’s sweet, sleepy \u003cem>Morning Phase\u003c/em>.\u003c/p>\n\u003cp>Or you could take it back much further: In 1989, right after the Best Heavy Metal Performance category was created, Metallica was nominated but lost that award to Jethro Tull — yes, Jethro Tull, the prog dudes prone to flute solos — and people in the audience started \u003cem>laughing\u003c/em>. It’s hard to imagine now, but Metallica hadn’t quite achieved mainstream commercial success then. To the voters, they were some young scrappy punks. Whereas Jethro Tull had been around since the ’60s, and in many voters’ minds were likely overdue for Grammy recognition.\u003c/p>\n\u003cp>https://youtu.be/r5fTtd_hdok?t=1m45s\u003c/p>\n\u003cp>To get to the heart of this, you must first look at — much like with the Oscars — the requirements for becoming a voting member of the Recording Academy. They’re actually pretty simple: You must have credits on six or 12 tracks of recorded material (depending on whether you’re dealing with a physical or online-only release). You can be a performer, producer, engineer, or the person who writes the liner notes. And then you have to pay $100 a year.\u003c/p>\n\u003cp>That’s about it. It’s my understanding that the largest group of voting members within the Recording Academy is the producers and engineers wing — that’s a group that’s something like 6,000 people strong, out of a group of about 13,000. Even without hard demographics from the Recording Academy (they’ve declined to release stats on age, race or gender), it’s pretty easy to deduce \u003ca href=\"http://www.huffingtonpost.com/entry/women-producers-statistics_us_57113cebe4b0060ccda345be\" target=\"_blank\" rel=\"noopener\">based on industry reports\u003c/a> that a disproportionate number of those professionals are older men. That’s slowly changing, thanks to organizations like \u003ca href=\"https://ww2.kqed.org/arts/2016/11/22/womens-audio-mission-smashing-the-glass-ceiling-of-the-studio-world/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> — but very slowly.\u003c/p>\n\u003cfigure id=\"attachment_12751711\" class=\"wp-caption alignright\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KendrickLamar.jpg\" alt=\"Kendrick Lamar at the Grammy Awards in 2014, the year Macklemore won Best Rap Album.\" width=\"546\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-375x488.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-520x677.jpg 520w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar at the Grammy Awards in 2014, the year Macklemore won Best Rap Album. \u003ccite>(Christopher Polk/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Giving Chance a chance\u003c/h2>\n\u003cp>Then, perhaps more importantly, you have the voting process. As a voting member you’re asked to vote on the Big Four — Album of the Year, Record of the Year, Song of the Year, and Best New Artist — as well as up to nine other genre-based categories. Voters are supposedly discouraged from voting on genres in which they have little expertise, but there’s really nothing structural to prevent them from doing that. So what happens — and \u003ca href=\"http://www.complex.com/music/2014/01/how-does-grammy-voting-work\" target=\"_blank\" rel=\"noopener\">Grammy voters have confirmed this\u003c/a> — is a lot of people vote in areas they really know nothing about. That’s when you get people voting based on name recognition alone, or popularity, or album sales, or (who knows?) something they know their kids like. And that’s how you get Macklemore winning Best Rap Album over Kendrick Lamar.\u003c/p>\n\u003cp>Real change isn’t going to happen without the Academy fundamentally changing the membership, nominations and voting processes. There are encouraging signs, however, that the Academy knows it needs to adapt if it’s going to keep up. One of the most interesting stories in this year’s awards is that of Chance the Rapper, whose star has (rightfully) risen exponentially over the past half-decade, despite his steadfast refusal to sign to a label, or sell his work commercially.\u003c/p>\n\u003cp>Up until last year, Grammy rules stated that an artist’s work had to be for sale and distributed through a label to be considered for nomination. The Academy was effectively forced to change these rules thanks to pressure from critics and fans to recognize \u003cem>Coloring Book,\u003c/em> Chance’s online-only 2016 mixtape. He’s up for seven awards on Sunday night, and will perform live as well (no word on whether or not \u003ca href=\"https://www.youtube.com/watch?v=be37-T72DNk\" target=\"_blank\" rel=\"noopener\">muppets will be involved\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=be37-T72DNk\u003c/p>\n\u003ch2>Adele vs. Beyoncé\u003c/h2>\n\u003cp>If the Recording Academy wants to take an easy step toward earning back younger Grammy viewers’ trust, however, there’s one really simple choice it can make during Sunday night’s program: award Album of the Year to \u003cem>Lemonade\u003c/em>.\u003c/p>\n\u003cp>Beyoncé’s 2016 opus — a grand-scale, unapologetic and intensely personal meditation on racism, infidelity, black culture, the South, and female sexuality — without question deserves this title. It’s aesthetically adventurous, the result of impressive collaboration; topically, it represents a savvy wielding of iconic pop superstardom in the name of a political statement. A win would also represent a corrective steer for Beyoncé’s loss to Beck in 2015.\u003c/p>\n\u003cp>Whether the Academy executes this correctly depends on how safe they want to play it — and, much like the buzz surrounding whether or not Lady Gaga would use the Super Bowl Halftime Show as a platform for protest, you can bet CBS executives are having conversations about how political they can let this thing get. The safe choice in this instance would be Adele, who is a wonderful singer who sells a ton of records. That’s about it, though — and as the \u003cem>Chronicle\u003c/em>‘s Aidin Vaziri noted in our \u003ca href=\"https://ww2.kqed.org/forum/2017/02/08/previewing-the-2017-grammys/\" target=\"_blank\" rel=\"noopener\">conversation yesterday on Forum\u003c/a>, \u003cem>25\u003c/em> isn’t even her best record.\u003c/p>\n\u003cfigure id=\"attachment_12751712\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Adele.Beyonce.jpg\" alt=\"Adele and Beyonce at the 55th Annual Grammy Awards in 2013.\" width=\"1100\" height=\"701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-960x612.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-520x331.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Adele and Beyonce at the 55th Annual Grammy Awards in 2013. \u003ccite>(Christopher Polk/Getty Images for NARAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ll have to wait another day to find out whether I’m giving Grammy voters too much or too little credit here. In the meantime, a couple other stray observations:\u003c/p>\n\u003cul>\n\u003cli>I have a feeling Song of the Year is going to everyone’s favorite rehabilitated snot-nosed punk, Justin Bieber — if only because Ed Sheeran co-wrote “Love Yourself,” and man, the Grammys love that guy.\u003c/li>\n\u003cli>Definitely looking forward to tributes to both Prince and George Michael.\u003c/li>\n\u003cli>How long will it take for James Corden’s “British Jimmy Fallon” thing to wear thin? Are we there yet?\u003c/li>\n\u003cli>Other first-time-nominated locals to root for include Panamanian hip-hop duo Los Rakas (whose self-titled LP is up for best Latin Urban, Alternative or Contemporary Album), Sunset District resident Frances England (whose \u003cem>Explorer of the World\u003c/em> is up for Best Children’s Album) and San Francisco electronic mainstay Tycho (\u003cem>Epoch\u003c/em>, Best Electronic or Dance Album)\u003c/li>\n\u003cli>Lady Gaga and Metallica will perform a tribute to the Bee Gees. “Looking forward to it” isn’t the right expression for how I feel, but I’ll watch it.\u003c/li>\n\u003c/ul>\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=\"Q.Logo.Break\" 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 59th Grammy Awards \u003ca href=\"http://www.cbs.com/shows/grammys/\" target=\"_blank\" rel=\"noopener\">air on CBS\u003c/a> on Sunday, Feb. 12, at 5pm.\u003c/em>\u003c/p>\n\n",
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"excerpt": "The Grammy Awards are back, and big stars are denouncing them or staying home altogether. After the Grammys' cascade into 'institutional relic,' who can blame them?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ah, February. We’ve barely had time to catch our breath after the acrobatic, drone-assisted ode to America and Pepsi and whichever poor soul has the job of helping Lady Gaga in and out of her leotards that was the Super Bowl Halftime Show — and already it’s time to turn our attention to another stiffly scripted, expensively produced television spectacle that might get political but probably won’t. Where \u003cem>does\u003c/em> the time go?\u003c/p>\n\u003cp>Which is to say: The \u003ca href=\"https://www.grammy.com/\" target=\"_blank\" rel=\"noopener\">59th annual Grammy Awards\u003c/a> take place this Sunday, Feb. 12 at 5pm, and I’m going to go out on a limb and speak for a lot of youngish people here when I say, “Who cares?”\u003c/p>\n\u003cp>This is no slight, mind you, to the more deserving nominees — many of whom hail from the Bay Area, like Oakland’s Fantastic Negrito (whose excellent \u003ca href=\"https://ww2.kqed.org/arts/2016/12/14/the-10-best-bay-area-albums-of-2016-fantastic-negrito-the-last-days-of-oakland/\" target=\"_blank\" rel=\"noopener\">\u003cem>The Last Days of Oakland\u003c/em> \u003c/a>is nominated for Best Contemporary Blues Album).\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/myWfoR3l6O4'\n title='//www.youtube.com/embed/myWfoR3l6O4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it’s undeniable that the Grammys — which have always rewarded popularity and record sales over artistry — have in recent years grown increasingly out of step with not only the way fans listen to music but with how artists themselves measure value, how they mark and celebrate their own contributions to the cultural canon.\u003c/p>\n\u003ch2>Big stars drop out\u003c/h2>\n\u003cp>Need proof? Frank Ocean, a two-time Grammy winner himself, \u003ca href=\"https://www.nytimes.com/2016/11/20/arts/music/frank-ocean-blonde-interview.html\" target=\"_blank\" rel=\"noopener\">told the \u003cem>New York Times\u003c/em> in November \u003c/a>that he wouldn’t be submitting his long-anticipated 2016 records \u003cem>Blond\u003c/em> and \u003cem>Endless (\u003c/em>both of which dotted many a critic’s best-of-the-year list) for the Recording Academy’s consideration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That institution certainly has nostalgic importance,” he said. “It just doesn’t seem to be representing very well for people who come from where I come from, and hold down what I hold down.”\u003c/p>\n\u003cp>Ocean continued: “I think the infrastructure of the awarding system and the nomination system and screening system is dated. I’d rather this be my Colin Kaepernick moment for the Grammys than sit there in the audience.”\u003c/p>\n\u003cfigure id=\"attachment_12751713\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751713\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys.jpg\" alt=\"Frank Ocean accepts the Best Urban Contemporary Album award for 'Channel Orange' at the 55th Grammy Awards in 2013. \" width=\"1100\" height=\"715\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-160x104.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-800x520.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-768x499.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-1020x663.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-960x624.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-240x156.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-375x244.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/FrankOcean.Grammys-520x338.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Frank Ocean accepts the Best Urban Contemporary Album award for ‘Channel Orange’ at the 55th Grammy Awards in 2013. \u003ccite>(Kevork Djansezian/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Not long after, TMZ reported that Drake, Justin Bieber and Kanye West — all of whom are up for awards in major categories — would follow suit in their own way, skipping the show entirely.\u003c/p>\n\u003cp>Ocean is maybe the first artist of his stature to share that sentiment, in those words, with a publication like the \u003cem>New York Times\u003c/em>. But he’s far from the first person to criticize the Grammys for being out of touch, particularly with the music currently being released by artists who are young, black, or both. Much like the Oscars, the recipients of Grammy recognition (nominees and awardees alike) tend to skew disproportionately whiter and older when compared to the artists who are actually selling the most records, topping the charts, and affecting the cultural zeitgeist in meaningful ways.\u003c/p>\n\u003ch2>The demographics behind the snubs\u003c/h2>\n\u003cp>You can look at cases of this from recent memory: In 2014, Macklemore took home the Grammy for Best Rap Album over Kendrick Lamar’s critically acclaimed \u003cem>Good Kid, M.A.A.D City\u003c/em>, leading to the \u003ca href=\"http://www.stereogum.com/1644301/read-macklemores-apology-text-to-kendrick-lamar-for-winning-best-rap-album-grammy/news/\" target=\"_blank\" rel=\"noopener\">fake-apology-text-message\u003c/a> heard round the world. At the 2015 awards, Beyoncé’s self-titled record — which marked both a turn in the singer’s sound as well as a groundbreaking use of media (the surprise release; the music video in a long format as “visual album”) — lost Album of the Year to Beck’s sweet, sleepy \u003cem>Morning Phase\u003c/em>.\u003c/p>\n\u003cp>Or you could take it back much further: In 1989, right after the Best Heavy Metal Performance category was created, Metallica was nominated but lost that award to Jethro Tull — yes, Jethro Tull, the prog dudes prone to flute solos — and people in the audience started \u003cem>laughing\u003c/em>. It’s hard to imagine now, but Metallica hadn’t quite achieved mainstream commercial success then. To the voters, they were some young scrappy punks. Whereas Jethro Tull had been around since the ’60s, and in many voters’ minds were likely overdue for Grammy recognition.\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/r5fTtd_hdok'\n title='//www.youtube.com/embed/r5fTtd_hdok'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To get to the heart of this, you must first look at — much like with the Oscars — the requirements for becoming a voting member of the Recording Academy. They’re actually pretty simple: You must have credits on six or 12 tracks of recorded material (depending on whether you’re dealing with a physical or online-only release). You can be a performer, producer, engineer, or the person who writes the liner notes. And then you have to pay $100 a year.\u003c/p>\n\u003cp>That’s about it. It’s my understanding that the largest group of voting members within the Recording Academy is the producers and engineers wing — that’s a group that’s something like 6,000 people strong, out of a group of about 13,000. Even without hard demographics from the Recording Academy (they’ve declined to release stats on age, race or gender), it’s pretty easy to deduce \u003ca href=\"http://www.huffingtonpost.com/entry/women-producers-statistics_us_57113cebe4b0060ccda345be\" target=\"_blank\" rel=\"noopener\">based on industry reports\u003c/a> that a disproportionate number of those professionals are older men. That’s slowly changing, thanks to organizations like \u003ca href=\"https://ww2.kqed.org/arts/2016/11/22/womens-audio-mission-smashing-the-glass-ceiling-of-the-studio-world/\" target=\"_blank\" rel=\"noopener\">Women’s Audio Mission\u003c/a> — but very slowly.\u003c/p>\n\u003cfigure id=\"attachment_12751711\" class=\"wp-caption alignright\" style=\"max-width: 546px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751711\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/KendrickLamar.jpg\" alt=\"Kendrick Lamar at the Grammy Awards in 2014, the year Macklemore won Best Rap Album.\" width=\"546\" height=\"711\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar.jpg 546w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-160x208.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-240x313.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-375x488.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/KendrickLamar-520x677.jpg 520w\" sizes=\"(max-width: 546px) 100vw, 546px\">\u003cfigcaption class=\"wp-caption-text\">Kendrick Lamar at the Grammy Awards in 2014, the year Macklemore won Best Rap Album. \u003ccite>(Christopher Polk/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Giving Chance a chance\u003c/h2>\n\u003cp>Then, perhaps more importantly, you have the voting process. As a voting member you’re asked to vote on the Big Four — Album of the Year, Record of the Year, Song of the Year, and Best New Artist — as well as up to nine other genre-based categories. Voters are supposedly discouraged from voting on genres in which they have little expertise, but there’s really nothing structural to prevent them from doing that. So what happens — and \u003ca href=\"http://www.complex.com/music/2014/01/how-does-grammy-voting-work\" target=\"_blank\" rel=\"noopener\">Grammy voters have confirmed this\u003c/a> — is a lot of people vote in areas they really know nothing about. That’s when you get people voting based on name recognition alone, or popularity, or album sales, or (who knows?) something they know their kids like. And that’s how you get Macklemore winning Best Rap Album over Kendrick Lamar.\u003c/p>\n\u003cp>Real change isn’t going to happen without the Academy fundamentally changing the membership, nominations and voting processes. There are encouraging signs, however, that the Academy knows it needs to adapt if it’s going to keep up. One of the most interesting stories in this year’s awards is that of Chance the Rapper, whose star has (rightfully) risen exponentially over the past half-decade, despite his steadfast refusal to sign to a label, or sell his work commercially.\u003c/p>\n\u003cp>Up until last year, Grammy rules stated that an artist’s work had to be for sale and distributed through a label to be considered for nomination. The Academy was effectively forced to change these rules thanks to pressure from critics and fans to recognize \u003cem>Coloring Book,\u003c/em> Chance’s online-only 2016 mixtape. He’s up for seven awards on Sunday night, and will perform live as well (no word on whether or not \u003ca href=\"https://www.youtube.com/watch?v=be37-T72DNk\" target=\"_blank\" rel=\"noopener\">muppets will be involved\u003c/a>).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/be37-T72DNk'\n title='//www.youtube.com/embed/be37-T72DNk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>Adele vs. Beyoncé\u003c/h2>\n\u003cp>If the Recording Academy wants to take an easy step toward earning back younger Grammy viewers’ trust, however, there’s one really simple choice it can make during Sunday night’s program: award Album of the Year to \u003cem>Lemonade\u003c/em>.\u003c/p>\n\u003cp>Beyoncé’s 2016 opus — a grand-scale, unapologetic and intensely personal meditation on racism, infidelity, black culture, the South, and female sexuality — without question deserves this title. It’s aesthetically adventurous, the result of impressive collaboration; topically, it represents a savvy wielding of iconic pop superstardom in the name of a political statement. A win would also represent a corrective steer for Beyoncé’s loss to Beck in 2015.\u003c/p>\n\u003cp>Whether the Academy executes this correctly depends on how safe they want to play it — and, much like the buzz surrounding whether or not Lady Gaga would use the Super Bowl Halftime Show as a platform for protest, you can bet CBS executives are having conversations about how political they can let this thing get. The safe choice in this instance would be Adele, who is a wonderful singer who sells a ton of records. That’s about it, though — and as the \u003cem>Chronicle\u003c/em>‘s Aidin Vaziri noted in our \u003ca href=\"https://ww2.kqed.org/forum/2017/02/08/previewing-the-2017-grammys/\" target=\"_blank\" rel=\"noopener\">conversation yesterday on Forum\u003c/a>, \u003cem>25\u003c/em> isn’t even her best record.\u003c/p>\n\u003cfigure id=\"attachment_12751712\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12751712\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/Adele.Beyonce.jpg\" alt=\"Adele and Beyonce at the 55th Annual Grammy Awards in 2013.\" width=\"1100\" height=\"701\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-160x102.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-800x510.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-768x489.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-1020x650.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-960x612.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-240x153.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-375x239.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/Adele.Beyonce-520x331.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Adele and Beyonce at the 55th Annual Grammy Awards in 2013. \u003ccite>(Christopher Polk/Getty Images for NARAS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We’ll have to wait another day to find out whether I’m giving Grammy voters too much or too little credit here. In the meantime, a couple other stray observations:\u003c/p>\n\u003cul>\n\u003cli>I have a feeling Song of the Year is going to everyone’s favorite rehabilitated snot-nosed punk, Justin Bieber — if only because Ed Sheeran co-wrote “Love Yourself,” and man, the Grammys love that guy.\u003c/li>\n\u003cli>Definitely looking forward to tributes to both Prince and George Michael.\u003c/li>\n\u003cli>How long will it take for James Corden’s “British Jimmy Fallon” thing to wear thin? Are we there yet?\u003c/li>\n\u003cli>Other first-time-nominated locals to root for include Panamanian hip-hop duo Los Rakas (whose self-titled LP is up for best Latin Urban, Alternative or Contemporary Album), Sunset District resident Frances England (whose \u003cem>Explorer of the World\u003c/em> is up for Best Children’s Album) and San Francisco electronic mainstay Tycho (\u003cem>Epoch\u003c/em>, Best Electronic or Dance Album)\u003c/li>\n\u003cli>Lady Gaga and Metallica will perform a tribute to the Bee Gees. “Looking forward to it” isn’t the right expression for how I feel, but I’ll watch it.\u003c/li>\n\u003c/ul>\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=\"Q.Logo.Break\" 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 59th Grammy Awards \u003ca href=\"http://www.cbs.com/shows/grammys/\" target=\"_blank\" rel=\"noopener\">air on CBS\u003c/a> on Sunday, Feb. 12, at 5pm.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
"link": "https://www.cityarts.net",
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"order": 1
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"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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"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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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
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"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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"source": "kqed",
"order": 9
},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"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",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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