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"content": "\u003cp>It’s time to acknowledge that the Grammy Awards has a real race problem on its hands: It’s racing toward total irrelevance.\u003c/p>\n\u003cp>Well before the night reached its disappointing apex, viewers were already feeling let down. “[S]till mad as hell that I kept watching the Grammys after Best New Artist,” Nadeska Alexis, the moderator of Complex’s \u003cem>Everyday Struggle\u003c/em> hip-hop commentary show, tweeted during her morning-after commute today, echoing the sentiments of most hip-hop fans. She was referring to the loss by R&B darling SZA in the Best New Artist category, despite the breakout success of her debut album \u003cem>Ctrl\u003c/em> in 2017. The loss by Kendrick Lamar’s Top Dawg Entertainment labelmate foreshadowed the rest of the 60th Annual Grammy Awards.\u003c/p>\n\u003cp>[contextly_sidebar id=”7FctIg3iAu3HXUgtXuItolE9k4067uR6″]\u003c/p>\n\u003cp>This happened despite the Academy’s attempt to make up for its history of snubs where hip-hop, and black music in general, are concerned. The main event of November’s nominations was the record number of rap artists nominated outside the hip-hop categories. For those keeping score, it signaled that the Academy might finally be ready to acknowledge that the genre’s impact is much broader than the narrow confines to which it has historically been relegated. The recognition seemed to coincide with the rise of hip-hop/R&B — i.e. black music — as the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8085975/us-music-consumption-up-2017-rb-hip-hop-most-popular-genre\">most-consumed genre\u003c/a> in 2017.\u003c/p>\n\u003cp>Two of 2017’s most resonant albums, Kendrick Lamar’s \u003cem>DAMN.\u003c/em> and Jay-Z’s \u003cem>4:44\u003c/em>, competed against rapper Childish Gambino’s funk-inspired departure \u003cem>“Awaken, My Love!”\u003c/em> in a category rounded out by Lorde (\u003cem>Melodrama\u003c/em>) and ultimate upsetter Bruno Mars (\u003cem>24K Magic\u003c/em>), who also took home respective trophies for Song and Record of the Year (“That’s What I Like,” “24K Magic”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even with the deck stacked in hip-hop’s favor, the genre came up short yet again in the coveted Album of the Year category. But the real loss is for the Recording Academy, which continues to prove how out of step it has become. If the story of 2017 is hip-hop’s takeover, the Grammys, by failing to reflect rap’s urgency, have settled deeper into an age-old narrative.\u003c/p>\n\u003cp>Oddly enough, Jay made a record as close to Grammy bait as any, a veteran performer releasing his most mature album to date, wrapped in a vulnerable narrative that features everything from him apologizing for celebrity infidelity to his mother’s personal coming out on record. And Lamar released a record deemed consensus album of the year, a critical and commercial success, by toeing the line between heady conceptual arc and rare pop triumph.\u003c/p>\n\u003cp>The snub makes it explicit that the Grammys is not here for hip-hop. And that’s no surprise. As is often the case, there are plenty of other problems we could discuss regarding Sunday night’s Grammy Awards. The lack of women nominees, in a year when the industry’s complicit silence around sexism speaks louder than the resulting #metoo movement, is a travesty. And there’s no excusing how the Spanish-language “Despacito,” which tied for longest-running \u003cem>Billboard \u003c/em>100 No. 1, failed to pick up a single award.\u003c/p>\n\u003cp>These are the results of a flawed voting process that increasingly fails to reflect the will of the majority in pop or politics. The electorate, in this case, is an aging academy membership in dire need of hip replacement surgery. But there’s a bigger takeaway regarding the Academy’s record on hip-hop that’s easy to miss. Despite celebrated Album of the Year wins by Lauryn Hill (\u003cem>The Miseducation of Lauryn Hill\u003c/em>, 1999) and OutKast (\u003cem>Speakerboxxx/The Love Below\u003c/em>, 2004), a pure rap album has never won the Grammy’s most esteemed category. Without the R&B-heavy stylings Lauryn offered on \u003cem>Miseducation\u003c/em> or Andre 3000’s pop-inflected melodies, a la “Hey Ya,” on \u003cem>The Love Below\u003c/em>, neither of those projects would’ve been primed for the award. Not even Eminem, the genre’s great white hope and one of the best emcees of all time, has won in the coveted AOY category; nominated for \u003cem>The Marshall Mathers LP\u003c/em> in 2001, he lost to Steely Dan.\u003c/p>\n\u003cp>So, what does it mean? Are the Grammys woefully out of touch, or do these chronic missteps mirror a deeper reflection of America’s inbred racism?\u003c/p>\n\u003cp>[contextly_sidebar id=”m3uVq5Jn241snf2khW8w9JVA4MGP65SS”]\u003c/p>\n\u003cp>That, in no way, erases the impact of Bruno Mars’ album win. Being a man of color himself, he acknowledges R&B predecessors from Jimmy Jam & Terry Lewis to Teddy Riley among his greatest influences. But in 2018, he’s also a safe Grammy pick who echoes the sounds of the past with performances that recall an era of black music more palatable to the mainstream now that it’s two decades in the recycled past. His chops may be rooted within the realm of hip-hop, as \u003cem>The New York Times Magazine’s \u003c/em>Jody Rosen \u003ca href=\"https://twitter.com/jodyrosen/status/958013399937495042\">argued today\u003c/a>, but it’s the fact that his music is also pop-friendly, drawing from many genres, that makes him easy for Grammy voters to embrace.\u003c/p>\n\u003cp>Meanwhile, artists pushing the envelope in 2017 are forced to watch from the sidelines or fight like crabs over the rap categories. Hip-hop’s relationship with the award show began with a boycott back in 1989. Since then the debate has continued to rage on about whether such recognition matters. From frequent Grammy-winner Kanye West to the never-nominated Vince Staples, rap artists have pointed to the significance of rap being segregated from the general categories. While November’s list of nominees looked hopeful, it was only a reminder of the inherent bias that remains built into the system in the end.\u003c/p>\n\u003cp>An artist would be stupid at this point to believe in change. Jay-Z reportedly declined the Academy’s invitation to perform last night. A performance on the Grammy stage works wonders for most young artists, but at this point in Jay-Z’s career he’d only be putting on a spectacle for ratings. The most successful rap artist in the history of the genre might not require our sympathies, but just imagine what it must be like for Jay-Z to walk away empty-handed in the general award categories, just as his wife Beyoncé did one year ago. When Adele won Album of the Year over \u003cem>Lemonade\u003c/em>, even she admittedly struggled to accept the award.\u003c/p>\n\u003cp>[contextly_sidebar id=”21FhlAhmAEBYUxUYVzNVElaY5edakSjO”]\u003c/p>\n\u003cp>But I don’t know if the Academy deserves all the blame. Maybe the award show is a scapegoat for a greater ill. The Grammys’ continued ghettoization of hip-hop is a distillation of America’s longstanding record on race. It’s a woefully offbeat record that black artists continue to remix and subvert. But if the rough and real noise heard in voices that dare to challenge that record — like those voices employed by Lamar throughout \u003cem>DAMN. \u003c/em>or the ones Jay exorcises on such \u003cem>4:44\u003c/em> songs as “Story of O.J.” — continue to fall on deaf Academy ears, those voices will only grow louder. And the Grammy’s will mute its own self-importance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, a show of some sort will go on — whether onstage or off. Because “the only thing more frightening than watching a black man be honest in America,” as comedian Dave Chappelle interjected last night during Kendrick Lamar’s opening performance, is \u003cem>being \u003c/em>black in America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Same+Old+Rap%3A+The+Grammys%27+Race+Toward+Irrelevance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time to acknowledge that the Grammy Awards has a real race problem on its hands: It’s racing toward total irrelevance.\u003c/p>\n\u003cp>Well before the night reached its disappointing apex, viewers were already feeling let down. “[S]till mad as hell that I kept watching the Grammys after Best New Artist,” Nadeska Alexis, the moderator of Complex’s \u003cem>Everyday Struggle\u003c/em> hip-hop commentary show, tweeted during her morning-after commute today, echoing the sentiments of most hip-hop fans. She was referring to the loss by R&B darling SZA in the Best New Artist category, despite the breakout success of her debut album \u003cem>Ctrl\u003c/em> in 2017. The loss by Kendrick Lamar’s Top Dawg Entertainment labelmate foreshadowed the rest of the 60th Annual Grammy Awards.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This happened despite the Academy’s attempt to make up for its history of snubs where hip-hop, and black music in general, are concerned. The main event of November’s nominations was the record number of rap artists nominated outside the hip-hop categories. For those keeping score, it signaled that the Academy might finally be ready to acknowledge that the genre’s impact is much broader than the narrow confines to which it has historically been relegated. The recognition seemed to coincide with the rise of hip-hop/R&B — i.e. black music — as the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8085975/us-music-consumption-up-2017-rb-hip-hop-most-popular-genre\">most-consumed genre\u003c/a> in 2017.\u003c/p>\n\u003cp>Two of 2017’s most resonant albums, Kendrick Lamar’s \u003cem>DAMN.\u003c/em> and Jay-Z’s \u003cem>4:44\u003c/em>, competed against rapper Childish Gambino’s funk-inspired departure \u003cem>“Awaken, My Love!”\u003c/em> in a category rounded out by Lorde (\u003cem>Melodrama\u003c/em>) and ultimate upsetter Bruno Mars (\u003cem>24K Magic\u003c/em>), who also took home respective trophies for Song and Record of the Year (“That’s What I Like,” “24K Magic”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even with the deck stacked in hip-hop’s favor, the genre came up short yet again in the coveted Album of the Year category. But the real loss is for the Recording Academy, which continues to prove how out of step it has become. If the story of 2017 is hip-hop’s takeover, the Grammys, by failing to reflect rap’s urgency, have settled deeper into an age-old narrative.\u003c/p>\n\u003cp>Oddly enough, Jay made a record as close to Grammy bait as any, a veteran performer releasing his most mature album to date, wrapped in a vulnerable narrative that features everything from him apologizing for celebrity infidelity to his mother’s personal coming out on record. And Lamar released a record deemed consensus album of the year, a critical and commercial success, by toeing the line between heady conceptual arc and rare pop triumph.\u003c/p>\n\u003cp>The snub makes it explicit that the Grammys is not here for hip-hop. And that’s no surprise. As is often the case, there are plenty of other problems we could discuss regarding Sunday night’s Grammy Awards. The lack of women nominees, in a year when the industry’s complicit silence around sexism speaks louder than the resulting #metoo movement, is a travesty. And there’s no excusing how the Spanish-language “Despacito,” which tied for longest-running \u003cem>Billboard \u003c/em>100 No. 1, failed to pick up a single award.\u003c/p>\n\u003cp>These are the results of a flawed voting process that increasingly fails to reflect the will of the majority in pop or politics. The electorate, in this case, is an aging academy membership in dire need of hip replacement surgery. But there’s a bigger takeaway regarding the Academy’s record on hip-hop that’s easy to miss. Despite celebrated Album of the Year wins by Lauryn Hill (\u003cem>The Miseducation of Lauryn Hill\u003c/em>, 1999) and OutKast (\u003cem>Speakerboxxx/The Love Below\u003c/em>, 2004), a pure rap album has never won the Grammy’s most esteemed category. Without the R&B-heavy stylings Lauryn offered on \u003cem>Miseducation\u003c/em> or Andre 3000’s pop-inflected melodies, a la “Hey Ya,” on \u003cem>The Love Below\u003c/em>, neither of those projects would’ve been primed for the award. Not even Eminem, the genre’s great white hope and one of the best emcees of all time, has won in the coveted AOY category; nominated for \u003cem>The Marshall Mathers LP\u003c/em> in 2001, he lost to Steely Dan.\u003c/p>\n\u003cp>So, what does it mean? Are the Grammys woefully out of touch, or do these chronic missteps mirror a deeper reflection of America’s inbred racism?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That, in no way, erases the impact of Bruno Mars’ album win. Being a man of color himself, he acknowledges R&B predecessors from Jimmy Jam & Terry Lewis to Teddy Riley among his greatest influences. But in 2018, he’s also a safe Grammy pick who echoes the sounds of the past with performances that recall an era of black music more palatable to the mainstream now that it’s two decades in the recycled past. His chops may be rooted within the realm of hip-hop, as \u003cem>The New York Times Magazine’s \u003c/em>Jody Rosen \u003ca href=\"https://twitter.com/jodyrosen/status/958013399937495042\">argued today\u003c/a>, but it’s the fact that his music is also pop-friendly, drawing from many genres, that makes him easy for Grammy voters to embrace.\u003c/p>\n\u003cp>Meanwhile, artists pushing the envelope in 2017 are forced to watch from the sidelines or fight like crabs over the rap categories. Hip-hop’s relationship with the award show began with a boycott back in 1989. Since then the debate has continued to rage on about whether such recognition matters. From frequent Grammy-winner Kanye West to the never-nominated Vince Staples, rap artists have pointed to the significance of rap being segregated from the general categories. While November’s list of nominees looked hopeful, it was only a reminder of the inherent bias that remains built into the system in the end.\u003c/p>\n\u003cp>An artist would be stupid at this point to believe in change. Jay-Z reportedly declined the Academy’s invitation to perform last night. A performance on the Grammy stage works wonders for most young artists, but at this point in Jay-Z’s career he’d only be putting on a spectacle for ratings. The most successful rap artist in the history of the genre might not require our sympathies, but just imagine what it must be like for Jay-Z to walk away empty-handed in the general award categories, just as his wife Beyoncé did one year ago. When Adele won Album of the Year over \u003cem>Lemonade\u003c/em>, even she admittedly struggled to accept the award.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But I don’t know if the Academy deserves all the blame. Maybe the award show is a scapegoat for a greater ill. The Grammys’ continued ghettoization of hip-hop is a distillation of America’s longstanding record on race. It’s a woefully offbeat record that black artists continue to remix and subvert. But if the rough and real noise heard in voices that dare to challenge that record — like those voices employed by Lamar throughout \u003cem>DAMN. \u003c/em>or the ones Jay exorcises on such \u003cem>4:44\u003c/em> songs as “Story of O.J.” — continue to fall on deaf Academy ears, those voices will only grow louder. And the Grammy’s will mute its own self-importance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, a show of some sort will go on — whether onstage or off. Because “the only thing more frightening than watching a black man be honest in America,” as comedian Dave Chappelle interjected last night during Kendrick Lamar’s opening performance, is \u003cem>being \u003c/em>black in America.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Same+Old+Rap%3A+The+Grammys%27+Race+Toward+Irrelevance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Recording Academy President Neil Portnow faced criticism Monday for his remarks after the 60th annual Grammy Awards ended with only two female winners on stage.\u003c/p>\n\u003cp>Following the awards show Sunday, many music fans and critics questioned whether the Time’s Up movement was just given lip service when the only woman nominated for album of the year, Lorde, didn’t perform. Instead, multiple minutes on the telecast was given to male artists who weren’t nominated, such as Sting and the band U2.\u003c/p>\n\u003cp>While the red carpet was filled with artists sporting white roses to symbolize support of gender equality, backstage after the show wrapped Portnow was questioned about Lorde’s absence from the stage, as well as the fact that only two women were shown on TV accepting awards.\u003c/p>\n\u003cp>“It has to begin with women who have the creativity in their hearts and their souls, who want to be musicians, who want to be engineers, who want to be producers, who want to be part of the industry on an executive level, to step up,” Portnow said backstage after the show. “Because I think they would be welcome. I don’t have personal experience of those kind of brick walls that you face. It’s us as an industry making a welcome mat very obvious — creating mentorships, creating opportunities for all people who want to be creative, and, really, paying it forward, and creating that next generation of artists who feel like they can do anything, say anything.”\u003c/p>\n\u003cp>Criticism for Portnow’s comments was swift. Grammy-winning singer Sheryl Crow tweeted Monday: “I wish the #Grammys would return to female/male categories. Who will young girls be inspired by to pick up a guitar and rock when most every category is filled with men? I’m not sure it is about women needing to “step up”, (as said by the male in charge). #GrammysSoMale”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Actress Debra Messing joined in the criticism, writing on Twitter: “This is incredibly dismaying to say the least” in regards to Portnow’s comments.\u003c/p>\n\u003cp>The Recording Academy did not immediately return an email seeking comment Monday.\u003c/p>\n\u003cp>There were no women nominated in the record of the year category and the only male to be nominated in the best pop solo performance, Ed Sheeran, won. Alessia Cara won best new artist and Rihanna also got to take the stage when she and Kendrick Lamar won best rap/sung performance for “LOYALTY.”\u003c/p>\n\u003cp>As for why Lorde didn’t get to perform solo, Portnow said, “We have a wealth of riches every year and it’s hard to have a balanced show and have everybody involved. Every year’s different. We can’t have a performance from every nominee. We have over 80 categories. And so we have to realize that we’ve got to create something that has balance and so on and so forth, and what you saw was our best judgment on how to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for Lorde, she seemed to address the controversy when she tweeted Monday morning, “If you’re debating whether or not I can murder a stage… come see it for urself.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Recording Academy President Neil Portnow faced criticism Monday for his remarks after the 60th annual Grammy Awards ended with only two female winners on stage.\u003c/p>\n\u003cp>Following the awards show Sunday, many music fans and critics questioned whether the Time’s Up movement was just given lip service when the only woman nominated for album of the year, Lorde, didn’t perform. Instead, multiple minutes on the telecast was given to male artists who weren’t nominated, such as Sting and the band U2.\u003c/p>\n\u003cp>While the red carpet was filled with artists sporting white roses to symbolize support of gender equality, backstage after the show wrapped Portnow was questioned about Lorde’s absence from the stage, as well as the fact that only two women were shown on TV accepting awards.\u003c/p>\n\u003cp>“It has to begin with women who have the creativity in their hearts and their souls, who want to be musicians, who want to be engineers, who want to be producers, who want to be part of the industry on an executive level, to step up,” Portnow said backstage after the show. “Because I think they would be welcome. I don’t have personal experience of those kind of brick walls that you face. It’s us as an industry making a welcome mat very obvious — creating mentorships, creating opportunities for all people who want to be creative, and, really, paying it forward, and creating that next generation of artists who feel like they can do anything, say anything.”\u003c/p>\n\u003cp>Criticism for Portnow’s comments was swift. Grammy-winning singer Sheryl Crow tweeted Monday: “I wish the #Grammys would return to female/male categories. Who will young girls be inspired by to pick up a guitar and rock when most every category is filled with men? I’m not sure it is about women needing to “step up”, (as said by the male in charge). #GrammysSoMale”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Actress Debra Messing joined in the criticism, writing on Twitter: “This is incredibly dismaying to say the least” in regards to Portnow’s comments.\u003c/p>\n\u003cp>The Recording Academy did not immediately return an email seeking comment Monday.\u003c/p>\n\u003cp>There were no women nominated in the record of the year category and the only male to be nominated in the best pop solo performance, Ed Sheeran, won. Alessia Cara won best new artist and Rihanna also got to take the stage when she and Kendrick Lamar won best rap/sung performance for “LOYALTY.”\u003c/p>\n\u003cp>As for why Lorde didn’t get to perform solo, Portnow said, “We have a wealth of riches every year and it’s hard to have a balanced show and have everybody involved. Every year’s different. We can’t have a performance from every nominee. We have over 80 categories. And so we have to realize that we’ve got to create something that has balance and so on and so forth, and what you saw was our best judgment on how to do that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for Lorde, she seemed to address the controversy when she tweeted Monday morning, “If you’re debating whether or not I can murder a stage… come see it for urself.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The 60th Grammy Awards might well be its most diverse.\u003c/p>\n\u003cp>Early Tuesday the Recording Academy announced the first round of nominees following changes to its nomination process. After much-celebrated works by Black musicians were snubbed in recent years, the academy implemented a digitized voting system in June and added review committees for rap, new age and contemporary instrumental nominees — two decisions that the academy hoped would result in a level playing field.\u003c/p>\n\u003cp>The impact was apparent this year. Kendrick Lamar, Childish Gambino, and former GRAMMY winners Bruno Mars and Jay-Z, are all in contention for Album of the Year, but not one white artist. (Ed Sheeran’s \u003ci>Divide,\u003c/i> one of the year’s best sellers, was \u003ca href=\"https://www.washingtonpost.com/news/business/wp/2017/11/28/by-shunning-taylor-swift-and-ed-sheeran-grammys-somewhat-move-away-from-mega-sellers/?utm_term=.9840407b0906\" target=\"_blank\" rel=\"noopener\">expected to be in the running\u003c/a>.)\u003c/p>\n\u003cp>The Bay Area, in all its eclectic musical breadth, has also earned a considerable amount of love at the Grammy nominations this year. Here’s a list of six Bay Area artists nominated for the gilded gramophone.\u003c/p>\n\u003ch2>Kehlani\u003c/h2>\n\u003cp>\u003cstrong>Best R&B Performance\u003c/strong> — “Distraction”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oakland’s very own Kehlani follows her sterling record with the Recording Academy with a nod for “Distraction,” a track off her 2017 release \u003cem>SweetSexySavage\u003c/em>. It is her second Grammy nomination in her short but illustrious career: her mixtape \u003cem>You Should Be Here\u003c/em> was nominated in 2016 for Best Urban Contemporary Album.\u003c/p>\n\u003cp>“Distraction,” a number produced by Pop & Oak, distills the promise of her album title into a three-minute confection. It is in contention with Bruno Mars’ “That’s What I Like,” SZA’s “The Weekend,” Ledisi’s “High” and Daniel Caesar’s “Get You.”\u003c/p>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>\u003cstrong>Best Rock Song\u003c/strong> — “Atlas, Rise!”\u003cbr>\n\u003cstrong>Best Rock Album\u003c/strong> — \u003cem>Hardwired…To Self-Destruct\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hardwired…to Self-Destruct\u003c/em>, Metallica’s tenth album, was recorded entirely in the band’s San Rafael headquarters and released in November 2016. It heralds a return-to-form for the band, who have already won nine Grammys.\u003c/p>\n\u003cp>Its nominated single, “Atlas, Rise!” is in competition for Best Rock Song with songs by acts as varied as rap-rock songwriter K. Flay, fellow metal stalwarts Avenged Sevenfold and perennial Grammy favorites Foo Fighters.\u003c/p>\n\u003cp>The nomination follows Metallica’s headlining performance at \u003ca href=\"https://ww2.kqed.org/arts/2017/11/10/photo-recap-band-together-bay-area/\" target=\"_blank\" rel=\"noopener\">Band Together Bay Area\u003c/a>, a North Bay fire benefit held in early November at AT&T Park.\u003c/p>\n\u003ch2>Kitaro\u003c/h2>\n\u003cp>\u003cstrong>Best New Age Album\u003c/strong> — \u003cem>Sacred Journey of Ku-Kai Vol. 5\u003c/em>\u003c/p>\n\u003cp>Japanese new age composer Kitaro’s \u003cem>Sacred Journey of Ku-Kai\u003c/em> series was conceived following the 9/11 attacks. It is a statement on global connectivity and peace amid a period of unrest.\u003c/p>\n\u003cp>He’s been putting out volumes from this series since 2003, all of which have earned Grammy nods. And Kitaro, who now resides in Sebastopol, couldn’t have dropped this fifth volume at a better time. As his North Bay community comes to grips with environmental disaster, his work, which is laden with tranquil natural soundscapes, is a necessary reminder of Earth’s majesty in spite of its cruelties.\u003c/p>\n\u003cp>Following the North Bay wildfires, Kitaro performed a duo of shows in Healsburg’s Raven Performing Arts Theater shows on Nov. 19 — one recalling the immersive glory of space, and the other assuaging Sonoma County residents afflicted by the fires.\u003c/p>\n\u003ch2>Alphabet Rockers\u003c/h2>\n\u003cp>\u003cstrong>Best Children’s Album\u003c/strong> — \u003cem>Rise Shine #Woke\u003c/em>\u003c/p>\n\u003cp>Alphabet Rockers’ latest release, \u003cem>Rise Shine #Woke\u003c/em>, is the rare release that doesn’t treat its audience with kid gloves. Tommy Shepherd, Jr. and Kaitlin McGaw, the children’s hip-hop outfit’s two lead performers, have produced a work that stands for multiculturalism and social justice amid a political time where these goals seem to be held in low regard. (We covered the release of this album \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/alphabet-rockers-now-making-childrens-songs-about-social-issues/\" target=\"_blank\" rel=\"noopener\">back in February\u003c/a>.)\u003c/p>\n\u003ch2>The Grateful Dead\u003c/h2>\n\u003cp>\u003cstrong>Best Music Film\u003c/strong> — \u003cem>Long Strange Trip\u003c/em>\u003cbr>\n\u003cstrong>Best Boxed Or Special Limited Edition Package\u003c/strong> — \u003cem>May 1977: Get Shown the Light\u003c/em>\u003c/p>\n\u003cp>The Grateful Dead’s two Grammy nods this year are for works that serve as great introductions to their world. \u003cem>Get Shown the Light — \u003c/em>a boxset of remastered audio from their revered performance at Cornell University’s Barton Hall and other performances from that era — is a polished display of the Dead at its most approachable. The nearly four-hour documentary \u003cem>Long Strange Trip\u003c/em>, true to its word, is a sprawling, oftentimes messy document of the band at its peak.\u003c/p>\n\u003ch2>Julian Lage\u003c/h2>\n\u003cp>\u003cstrong>Best Contemporary Instrumental Album\u003c/strong> — \u003cem>Mount Royal \u003c/em>(with Chris Eldridge)\u003c/p>\n\u003cp>Santa Rosa local Julian Lage is nothing if not prodigious. By the age of 13, Lage was performing on the Grammys stage. By 22, his debut solo album was nominated for a Grammy.\u003c/p>\n\u003cp>At 29, well, he’s crafting lovely guitar music with the likes of Wilco’s Nels Cline and Punch Brothers’ Chris Eldridge. His second full-length with Eldridge, \u003cem>Mount Royal\u003c/em> was nominated for a Grammy, both their second nod by the Recording Academy. Not too shabby for someone who’s just about to celebrate his 30th birthday in less than a month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Honorable mention: Florida blues rock duo Tedeschi Trucks Band, while they’re not based in the Bay Area, received a Grammy nomination for Best Contemporary Blues Album for a live album recorded right in Oakland’s Fox Theatre.\u003c/p>\n\n",
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"description": "This year's nominees more diverse than previous years, and five local artists are in the running ",
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"headline": "Six Bay Area Artists Receive Nominations for 2018 Grammys",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The 60th Grammy Awards might well be its most diverse.\u003c/p>\n\u003cp>Early Tuesday the Recording Academy announced the first round of nominees following changes to its nomination process. After much-celebrated works by Black musicians were snubbed in recent years, the academy implemented a digitized voting system in June and added review committees for rap, new age and contemporary instrumental nominees — two decisions that the academy hoped would result in a level playing field.\u003c/p>\n\u003cp>The impact was apparent this year. Kendrick Lamar, Childish Gambino, and former GRAMMY winners Bruno Mars and Jay-Z, are all in contention for Album of the Year, but not one white artist. (Ed Sheeran’s \u003ci>Divide,\u003c/i> one of the year’s best sellers, was \u003ca href=\"https://www.washingtonpost.com/news/business/wp/2017/11/28/by-shunning-taylor-swift-and-ed-sheeran-grammys-somewhat-move-away-from-mega-sellers/?utm_term=.9840407b0906\" target=\"_blank\" rel=\"noopener\">expected to be in the running\u003c/a>.)\u003c/p>\n\u003cp>The Bay Area, in all its eclectic musical breadth, has also earned a considerable amount of love at the Grammy nominations this year. Here’s a list of six Bay Area artists nominated for the gilded gramophone.\u003c/p>\n\u003ch2>Kehlani\u003c/h2>\n\u003cp>\u003cstrong>Best R&B Performance\u003c/strong> — “Distraction”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oakland’s very own Kehlani follows her sterling record with the Recording Academy with a nod for “Distraction,” a track off her 2017 release \u003cem>SweetSexySavage\u003c/em>. It is her second Grammy nomination in her short but illustrious career: her mixtape \u003cem>You Should Be Here\u003c/em> was nominated in 2016 for Best Urban Contemporary Album.\u003c/p>\n\u003cp>“Distraction,” a number produced by Pop & Oak, distills the promise of her album title into a three-minute confection. It is in contention with Bruno Mars’ “That’s What I Like,” SZA’s “The Weekend,” Ledisi’s “High” and Daniel Caesar’s “Get You.”\u003c/p>\n\u003ch2>Metallica\u003c/h2>\n\u003cp>\u003cstrong>Best Rock Song\u003c/strong> — “Atlas, Rise!”\u003cbr>\n\u003cstrong>Best Rock Album\u003c/strong> — \u003cem>Hardwired…To Self-Destruct\u003c/em>\u003c/p>\n\u003cp>\u003cem>Hardwired…to Self-Destruct\u003c/em>, Metallica’s tenth album, was recorded entirely in the band’s San Rafael headquarters and released in November 2016. It heralds a return-to-form for the band, who have already won nine Grammys.\u003c/p>\n\u003cp>Its nominated single, “Atlas, Rise!” is in competition for Best Rock Song with songs by acts as varied as rap-rock songwriter K. Flay, fellow metal stalwarts Avenged Sevenfold and perennial Grammy favorites Foo Fighters.\u003c/p>\n\u003cp>The nomination follows Metallica’s headlining performance at \u003ca href=\"https://ww2.kqed.org/arts/2017/11/10/photo-recap-band-together-bay-area/\" target=\"_blank\" rel=\"noopener\">Band Together Bay Area\u003c/a>, a North Bay fire benefit held in early November at AT&T Park.\u003c/p>\n\u003ch2>Kitaro\u003c/h2>\n\u003cp>\u003cstrong>Best New Age Album\u003c/strong> — \u003cem>Sacred Journey of Ku-Kai Vol. 5\u003c/em>\u003c/p>\n\u003cp>Japanese new age composer Kitaro’s \u003cem>Sacred Journey of Ku-Kai\u003c/em> series was conceived following the 9/11 attacks. It is a statement on global connectivity and peace amid a period of unrest.\u003c/p>\n\u003cp>He’s been putting out volumes from this series since 2003, all of which have earned Grammy nods. And Kitaro, who now resides in Sebastopol, couldn’t have dropped this fifth volume at a better time. As his North Bay community comes to grips with environmental disaster, his work, which is laden with tranquil natural soundscapes, is a necessary reminder of Earth’s majesty in spite of its cruelties.\u003c/p>\n\u003cp>Following the North Bay wildfires, Kitaro performed a duo of shows in Healsburg’s Raven Performing Arts Theater shows on Nov. 19 — one recalling the immersive glory of space, and the other assuaging Sonoma County residents afflicted by the fires.\u003c/p>\n\u003ch2>Alphabet Rockers\u003c/h2>\n\u003cp>\u003cstrong>Best Children’s Album\u003c/strong> — \u003cem>Rise Shine #Woke\u003c/em>\u003c/p>\n\u003cp>Alphabet Rockers’ latest release, \u003cem>Rise Shine #Woke\u003c/em>, is the rare release that doesn’t treat its audience with kid gloves. Tommy Shepherd, Jr. and Kaitlin McGaw, the children’s hip-hop outfit’s two lead performers, have produced a work that stands for multiculturalism and social justice amid a political time where these goals seem to be held in low regard. (We covered the release of this album \u003ca href=\"https://ww2.kqed.org/arts/2017/02/01/alphabet-rockers-now-making-childrens-songs-about-social-issues/\" target=\"_blank\" rel=\"noopener\">back in February\u003c/a>.)\u003c/p>\n\u003ch2>The Grateful Dead\u003c/h2>\n\u003cp>\u003cstrong>Best Music Film\u003c/strong> — \u003cem>Long Strange Trip\u003c/em>\u003cbr>\n\u003cstrong>Best Boxed Or Special Limited Edition Package\u003c/strong> — \u003cem>May 1977: Get Shown the Light\u003c/em>\u003c/p>\n\u003cp>The Grateful Dead’s two Grammy nods this year are for works that serve as great introductions to their world. \u003cem>Get Shown the Light — \u003c/em>a boxset of remastered audio from their revered performance at Cornell University’s Barton Hall and other performances from that era — is a polished display of the Dead at its most approachable. The nearly four-hour documentary \u003cem>Long Strange Trip\u003c/em>, true to its word, is a sprawling, oftentimes messy document of the band at its peak.\u003c/p>\n\u003ch2>Julian Lage\u003c/h2>\n\u003cp>\u003cstrong>Best Contemporary Instrumental Album\u003c/strong> — \u003cem>Mount Royal \u003c/em>(with Chris Eldridge)\u003c/p>\n\u003cp>Santa Rosa local Julian Lage is nothing if not prodigious. By the age of 13, Lage was performing on the Grammys stage. By 22, his debut solo album was nominated for a Grammy.\u003c/p>\n\u003cp>At 29, well, he’s crafting lovely guitar music with the likes of Wilco’s Nels Cline and Punch Brothers’ Chris Eldridge. His second full-length with Eldridge, \u003cem>Mount Royal\u003c/em> was nominated for a Grammy, both their second nod by the Recording Academy. Not too shabby for someone who’s just about to celebrate his 30th birthday in less than a month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Honorable mention: Florida blues rock duo Tedeschi Trucks Band, while they’re not based in the Bay Area, received a Grammy nomination for Best Contemporary Blues Album for a live album recorded right in Oakland’s Fox Theatre.\u003c/p>\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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"title": "What To Expect When You're Expecting (An Arguably Irrelevant Awards Show) | KQED",
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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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"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"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",
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"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",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"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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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"here-and-now": {
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"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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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"source": "WaitWhat"
},
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"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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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
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