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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This week, KQED is proud to present \u003c/em>\u003ca href=\"https://www.kqed.org/arts/tag/movie-theaters-we-have-lost\">Movie Theaters We Have Lost\u003c/a>\u003cem> by Briana Loewinsohn, a cartoonist, teacher and author of the upcoming graphic memoir \u003c/em>\u003ca href=\"https://www.fantagraphics.com/collections/briana-loewinsohn/products/raised-by-ghosts\">Raised By Ghosts\u003c/a>\u003cem>, about growing up in the East Bay.\u003c/em>\u003c/p>\n\u003cp>\u003cem>At a time of \u003ca href=\"https://www.kqed.org/forum/2010101893696/the-pandemic-took-a-number-of-bay-area-movie-theaters-whats-working-for-the-theaters-that-survived\">unprecedented movie theater closures\u003c/a>, Briana illustrates her memories of shuttered East Bay theaters, and the ways they adorned our lives. Today’s installment is the United Artists theater in Berkeley (“the UA”), which closed in 2023.\u003c/em>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968240\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_0-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968245\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_1-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2.jpg\" alt=\"\" width=\"2000\" height=\"2000\" class=\"aligncenter size-full wp-image-13968246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/UA_2-1920x1920.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Supreme Court Meets Andy Warhol, Prince and a Case That Could Threaten Creativity",
"headTitle": "The Supreme Court Meets Andy Warhol, Prince and a Case That Could Threaten Creativity | KQED",
"content": "\u003cp>You know all those famous Andy Warhol silk screen prints of Marilyn Monroe and Liz Taylor and lots of other glitterati? Now one of the most famous of these, the Prince series, is at the heart of a case the Supreme Court will examine on Wednesday. And it is a case of enormous importance to all manner of artists.\u003c/p>\n\u003cp>On one side of the dispute is Lynn Goldsmith, famous for photographing rock stars and whose work is on more than 100 album covers. In 1981 Goldsmith was commissioned to shoot a series of photos of Prince for \u003cem>Newsweek\u003c/em>. At the time the \u003cem>Purple Rain\u003c/em> rock star was just starting to take off. Goldsmith photographed him in concert and invited him to her studio where she gave him purple eyeshadow and lip gloss to accentuate his sensuality and his androgyny. She even set her photography umbrellas to create pinpricks of light in his eyes. The result was an image that she would later say was a portrait of vulnerability. \u003cem>Newsweek \u003c/em>didn’t use the studio photo, opting instead to use the concert photo, and Goldsmith kept the other photos in her files for future publication or licensing.\u003c/p>\n\u003cp>[aside postID='arts_11514986']Three years later Prince was a superstar, and \u003cem>Vanity Fair\u003c/em> magazine commissioned Andy Warhol to make an illustration of Prince for an article it was running. In commissioning the work, the magazine asked Warhol to use as a reference point one of Goldsmith’s black-and-white photos. The magazine paid Goldsmith $400 in licensing fees and promised in writing to use the image only in this one\u003cem> Vanity Fair\u003c/em> issue.\u003c/p>\n\u003cp>There is no evidence in the record that Warhol knew about the licensing agreement. But in any event, he went beyond it and created a set of 16 Prince silkscreens, which he copyrighted, and one of which \u003cem>Vanity Fair\u003c/em> used for the article. The silkscreen images have since been sold and reproduced to the tune of hundreds of millions of dollars in profits for the Andy Warhol Foundation, a nonprofit that was set up after Warhol’s death to promote his work and the visual arts.\u003c/p>\n\u003cp>After Prince died in 2016, \u003cem>Vanity Fair\u003c/em>‘s parent company, Conde Nast, expedited a tribute, “The Genius of Prince,” featuring many Prince photographs, and it paid the Warhol foundation $10,250 to run “Orange Prince” on its cover. Goldsmith received no payment or credit this time, and she eventually sued the foundation, claiming that Warhol had infringed her copyright, and that the foundation owes her potentially millions of dollars in unpaid licensing fees and royalties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The foundation countered that Warhol not only copyrighted his iconic Prince series, but that his treatment was, in legal terms, “transformative” because his artistic rendering is very different from Goldsmith’s original photo. The foundation asserted that in Warhol’s version, not only did Warhol crop the image to remove Prince’s torso, but he resized the image, altered the angle of Prince’s face, and changed the tones, lighting and detail, in addition to adding layers of bright and unnatural colors, conspicuous, hand-drawn outlines and line screens and stark back shading that exaggerated Prince’s features.\u003c/p>\n\u003cp>The result, according to the foundation, is “a flat, impersonal, disembodied, masklike appearance” that is no longer vulnerable but iconic. Essentially, the foundation is arguing that Warhol used a black-and-white photograph as a building block, in much the way that a collage artist might use slices of different photos in a larger work.\u003c/p>\n\u003cp>[aside postID='arts_13863015']As you might imagine, each side has its experts, and indeed two lower courts disagreed on the matter. A federal district court judge found that the Warhol series is “transformative” because it conveys a different message from the original, and thus is “fair use” under the Copyright Act. But a three-judge panel of the Second Circuit Court of Appeals disagreed, declaring that judges “should not assume the role of art critic and seek to ascertain … the meaning of the works at issue.” If the Supreme Court agrees, the Warhol Foundation will have to pay royalties or licensing fees, and potentially other damages to the original creator, Goldsmith.\u003c/p>\n\u003cp>However the Supreme Court rules, its decision will have rippling practical consequences. So it is no surprise that some \u003cem>three dozen \u003c/em>friend of the court briefs have been filed arguing on one side or the other, and representing everyone from the American Association of publishers and the Motion Picture Association of America to the Library Futures Institute, the Digital Media Licensing Association, Dr. Seuss Enterprises, the Recording Industry Association of America and even the union that represents NPR’s reporters, editors and producers, the Screen Actors Guild-American Federation of Television and Radio Artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The outcome could shift the law to favor more control by the original artist, but doing that could also inhibit artists and other content creators who build on existing work in everything from music and posters to AI creations and documentaries. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Supreme+Court+meets+Andy+Warhol%2C+Prince+and+a+case+that+could+threaten+creativity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You know all those famous Andy Warhol silk screen prints of Marilyn Monroe and Liz Taylor and lots of other glitterati? Now one of the most famous of these, the Prince series, is at the heart of a case the Supreme Court will examine on Wednesday. And it is a case of enormous importance to all manner of artists.\u003c/p>\n\u003cp>On one side of the dispute is Lynn Goldsmith, famous for photographing rock stars and whose work is on more than 100 album covers. In 1981 Goldsmith was commissioned to shoot a series of photos of Prince for \u003cem>Newsweek\u003c/em>. At the time the \u003cem>Purple Rain\u003c/em> rock star was just starting to take off. Goldsmith photographed him in concert and invited him to her studio where she gave him purple eyeshadow and lip gloss to accentuate his sensuality and his androgyny. She even set her photography umbrellas to create pinpricks of light in his eyes. The result was an image that she would later say was a portrait of vulnerability. \u003cem>Newsweek \u003c/em>didn’t use the studio photo, opting instead to use the concert photo, and Goldsmith kept the other photos in her files for future publication or licensing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Three years later Prince was a superstar, and \u003cem>Vanity Fair\u003c/em> magazine commissioned Andy Warhol to make an illustration of Prince for an article it was running. In commissioning the work, the magazine asked Warhol to use as a reference point one of Goldsmith’s black-and-white photos. The magazine paid Goldsmith $400 in licensing fees and promised in writing to use the image only in this one\u003cem> Vanity Fair\u003c/em> issue.\u003c/p>\n\u003cp>There is no evidence in the record that Warhol knew about the licensing agreement. But in any event, he went beyond it and created a set of 16 Prince silkscreens, which he copyrighted, and one of which \u003cem>Vanity Fair\u003c/em> used for the article. The silkscreen images have since been sold and reproduced to the tune of hundreds of millions of dollars in profits for the Andy Warhol Foundation, a nonprofit that was set up after Warhol’s death to promote his work and the visual arts.\u003c/p>\n\u003cp>After Prince died in 2016, \u003cem>Vanity Fair\u003c/em>‘s parent company, Conde Nast, expedited a tribute, “The Genius of Prince,” featuring many Prince photographs, and it paid the Warhol foundation $10,250 to run “Orange Prince” on its cover. Goldsmith received no payment or credit this time, and she eventually sued the foundation, claiming that Warhol had infringed her copyright, and that the foundation owes her potentially millions of dollars in unpaid licensing fees and royalties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The foundation countered that Warhol not only copyrighted his iconic Prince series, but that his treatment was, in legal terms, “transformative” because his artistic rendering is very different from Goldsmith’s original photo. The foundation asserted that in Warhol’s version, not only did Warhol crop the image to remove Prince’s torso, but he resized the image, altered the angle of Prince’s face, and changed the tones, lighting and detail, in addition to adding layers of bright and unnatural colors, conspicuous, hand-drawn outlines and line screens and stark back shading that exaggerated Prince’s features.\u003c/p>\n\u003cp>The result, according to the foundation, is “a flat, impersonal, disembodied, masklike appearance” that is no longer vulnerable but iconic. Essentially, the foundation is arguing that Warhol used a black-and-white photograph as a building block, in much the way that a collage artist might use slices of different photos in a larger work.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>As you might imagine, each side has its experts, and indeed two lower courts disagreed on the matter. A federal district court judge found that the Warhol series is “transformative” because it conveys a different message from the original, and thus is “fair use” under the Copyright Act. But a three-judge panel of the Second Circuit Court of Appeals disagreed, declaring that judges “should not assume the role of art critic and seek to ascertain … the meaning of the works at issue.” If the Supreme Court agrees, the Warhol Foundation will have to pay royalties or licensing fees, and potentially other damages to the original creator, Goldsmith.\u003c/p>\n\u003cp>However the Supreme Court rules, its decision will have rippling practical consequences. So it is no surprise that some \u003cem>three dozen \u003c/em>friend of the court briefs have been filed arguing on one side or the other, and representing everyone from the American Association of publishers and the Motion Picture Association of America to the Library Futures Institute, the Digital Media Licensing Association, Dr. Seuss Enterprises, the Recording Industry Association of America and even the union that represents NPR’s reporters, editors and producers, the Screen Actors Guild-American Federation of Television and Radio Artists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The outcome could shift the law to favor more control by the original artist, but doing that could also inhibit artists and other content creators who build on existing work in everything from music and posters to AI creations and documentaries. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Supreme+Court+meets+Andy+Warhol%2C+Prince+and+a+case+that+could+threaten+creativity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The first time I stood in a room with the outsized icons of \u003ca href=\"https://www.kellyinouye.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Inouye\u003c/a>’s \u003ci>MTV Generation\u003c/i>, a show of large-scale watercolor paintings, I was immediately transported back to my childhood. Back to 1983 and my cousin’s living room floor for the premiere of Michael Jackson’s “Thriller” video. To my family couch the first time we all witnessed Boy George finger-snapping his way through “Karma Chameleon.” (“Is that a man or a woman?” my dad asked no one in particular.) To the countless Saturday mornings when I’d wake up early to catch a glimpse of Public Enemy on \u003cem>Yo! MTV Raps\u003c/em>.\u003c/p>\n\u003cp>[aside postid='arts_13865253']For people like me who grew up in the ’80s, awed and impressed by the pop idols of the period, gazing upon Inouye’s latest work is a visceral experience. Here, the haze that watercolors naturally yield evoke an intense nostalgia. The portraits become a DeLorean back to a time when music was curated by—and filtered through—an all-powerful marketing machine that decided who was cool and what records Americans bought. They’re also a reminder of the excitement of catching your favorite music videos in the years when watching anything on demand was impossible.\u003c/p>\n\u003cp>“It felt transgressive to watch MTV when it first came out because it was so scandalous,” Inouye says during a studio visit with KQED Arts as she was finishing the work for a solo show at San Francisco’s Marrow Gallery. “There is a different cultural zeitgeist today. It’s not a collective culture anymore. I thought about making smaller paintings and more [of them], but I didn’t feel like that would convey the power and the strength that was wielded by MTV.”\u003c/p>\n\u003cfigure id=\"attachment_13910812\" class=\"wp-caption aligncenter\" style=\"max-width: 736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png\" alt=\"Vertical painting on paper made with black watercolor\" width=\"736\" height=\"1318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png 736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM-160x287.png 160w\" sizes=\"(max-width: 736px) 100vw, 736px\">\u003cfigcaption class=\"wp-caption-text\">A watercolor rendition of Janet Jackson in her ‘Rhythm Nation 1814’ days. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Generation MTV\u003c/em> features imposing renditions of Madonna, Michael Jackson, Duran Duran, Boy George, Prince and the Revolution, Twisted Sister, Janet Jackson and Public Enemy. The paintings—supported by a grant from the San Francisco Arts Commission—are presented in the chronological order (1981–1989) of the moments and videos Inouye based them on. And while most of her subjects were the biggest stars of the decade, that’s not the only reason Inouye selected them.\u003c/p>\n\u003cp>“If you think about all of these artists,” she explains, “they were not people who were elevated in society. I wanted to include the Revolution with Prince because they were such a diverse, interesting, alternative group of people. Wendy and Lisa were gay and together on screen—that never happened before. Culture Club had a multi-ethnicity that reflected the ‘United Colors of Benetton’ tone of the time. That’s what I felt like the future would be like, but it’s not,” Inouye continues. “That was part of the inclination for me to do this—the world now feels different to the one I was promised when I was a kid.”\u003c/p>\n\u003cfigure id=\"attachment_13910813\" class=\"wp-caption aligncenter\" style=\"max-width: 1002px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910813\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png\" alt=\"Watercolor painting of singer in hat\" width=\"1002\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png 1002w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-768x934.png 768w\" sizes=\"(max-width: 1002px) 100vw, 1002px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Inouye’s watercolor painting of Boy George. \u003ccite>(Courtesy of the artist.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inouye has spent much of the last 20 years examining and exploring pop culture from a personal perspective. Her last show before the pandemic focused on \u003ca href=\"https://www.kqed.org/arts/13865253/watercolors-find-empowerment-in-female-professional-wrestlers\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Gorgeous Ladies of Wrestling\u003c/em>\u003c/a>. Prior to that, she focused her energy on painting memorable \u003ca href=\"https://www.kellyinouye.com/sitcom-series\" target=\"_blank\" rel=\"noopener noreferrer\">moments from popular TV shows of the 1970s and ’80s\u003c/a>. In 2015, she painted \u003ca href=\"https://www.kellyinouye.com/art-on-market-street-poster-series\" target=\"_blank\" rel=\"noopener noreferrer\">stills from San Francisco movies\u003c/a> including \u003cem>Dirty Harry\u003c/em>, \u003cem>Milk\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> for display in bus shelters along Market Street.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, Inouye refers to \u003cem>MTV Generation\u003c/em> as “by far the most influential set of images from my lifetime.” To do them justice during the creative process, the artist immersed herself in a soundtrack of music from—and podcasts about—the ’80s. She also devoured books that analyzed the era, including \u003cem>Outlaw Culture\u003c/em> by bell hooks and Questlove’s \u003cem>Music is History\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_10561']“I was trying to feed my brain with stuff that communicated the feeling that I wanted to paint,” Inouye says. “With watercolor, it’s fleeting, right? If you don’t touch it at the right time, it doesn’t have the same feeling.”\u003c/p>\n\u003cp>\u003cem>MTV Generation\u003c/em> is likely not the end of Inouye’s examination of the channel’s influence on pop culture (then and now). “I feel like I’ve just scratched the surface,” she says. “There’s really a lot to do here. A lot of directions to take it. And I mean, that’s a good feeling. Being finished with paintings for a show, and I’m still excited.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘MTV Generation’ is on view May 4—June 4 at Marrow Gallery (548 Irving Street, San Francisco), with an opening reception at 5pm on May 7. Visitors are invited to record their own MTV memories for a future book. \u003ca href=\"https://www.marrowgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time I stood in a room with the outsized icons of \u003ca href=\"https://www.kellyinouye.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Kelly Inouye\u003c/a>’s \u003ci>MTV Generation\u003c/i>, a show of large-scale watercolor paintings, I was immediately transported back to my childhood. Back to 1983 and my cousin’s living room floor for the premiere of Michael Jackson’s “Thriller” video. To my family couch the first time we all witnessed Boy George finger-snapping his way through “Karma Chameleon.” (“Is that a man or a woman?” my dad asked no one in particular.) To the countless Saturday mornings when I’d wake up early to catch a glimpse of Public Enemy on \u003cem>Yo! MTV Raps\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>For people like me who grew up in the ’80s, awed and impressed by the pop idols of the period, gazing upon Inouye’s latest work is a visceral experience. Here, the haze that watercolors naturally yield evoke an intense nostalgia. The portraits become a DeLorean back to a time when music was curated by—and filtered through—an all-powerful marketing machine that decided who was cool and what records Americans bought. They’re also a reminder of the excitement of catching your favorite music videos in the years when watching anything on demand was impossible.\u003c/p>\n\u003cp>“It felt transgressive to watch MTV when it first came out because it was so scandalous,” Inouye says during a studio visit with KQED Arts as she was finishing the work for a solo show at San Francisco’s Marrow Gallery. “There is a different cultural zeitgeist today. It’s not a collective culture anymore. I thought about making smaller paintings and more [of them], but I didn’t feel like that would convey the power and the strength that was wielded by MTV.”\u003c/p>\n\u003cfigure id=\"attachment_13910812\" class=\"wp-caption aligncenter\" style=\"max-width: 736px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910812\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png\" alt=\"Vertical painting on paper made with black watercolor\" width=\"736\" height=\"1318\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM.png 736w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.20.57-PM-160x287.png 160w\" sizes=\"(max-width: 736px) 100vw, 736px\">\u003cfigcaption class=\"wp-caption-text\">A watercolor rendition of Janet Jackson in her ‘Rhythm Nation 1814’ days. \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Generation MTV\u003c/em> features imposing renditions of Madonna, Michael Jackson, Duran Duran, Boy George, Prince and the Revolution, Twisted Sister, Janet Jackson and Public Enemy. The paintings—supported by a grant from the San Francisco Arts Commission—are presented in the chronological order (1981–1989) of the moments and videos Inouye based them on. And while most of her subjects were the biggest stars of the decade, that’s not the only reason Inouye selected them.\u003c/p>\n\u003cp>“If you think about all of these artists,” she explains, “they were not people who were elevated in society. I wanted to include the Revolution with Prince because they were such a diverse, interesting, alternative group of people. Wendy and Lisa were gay and together on screen—that never happened before. Culture Club had a multi-ethnicity that reflected the ‘United Colors of Benetton’ tone of the time. That’s what I felt like the future would be like, but it’s not,” Inouye continues. “That was part of the inclination for me to do this—the world now feels different to the one I was promised when I was a kid.”\u003c/p>\n\u003cfigure id=\"attachment_13910813\" class=\"wp-caption aligncenter\" style=\"max-width: 1002px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910813\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png\" alt=\"Watercolor painting of singer in hat\" width=\"1002\" height=\"1218\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM.png 1002w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-800x972.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-160x194.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-17-at-9.23.28-PM-768x934.png 768w\" sizes=\"(max-width: 1002px) 100vw, 1002px\">\u003cfigcaption class=\"wp-caption-text\">Kelly Inouye’s watercolor painting of Boy George. \u003ccite>(Courtesy of the artist.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Inouye has spent much of the last 20 years examining and exploring pop culture from a personal perspective. Her last show before the pandemic focused on \u003ca href=\"https://www.kqed.org/arts/13865253/watercolors-find-empowerment-in-female-professional-wrestlers\" target=\"_blank\" rel=\"noopener noreferrer\">the \u003cem>Gorgeous Ladies of Wrestling\u003c/em>\u003c/a>. Prior to that, she focused her energy on painting memorable \u003ca href=\"https://www.kellyinouye.com/sitcom-series\" target=\"_blank\" rel=\"noopener noreferrer\">moments from popular TV shows of the 1970s and ’80s\u003c/a>. In 2015, she painted \u003ca href=\"https://www.kellyinouye.com/art-on-market-street-poster-series\" target=\"_blank\" rel=\"noopener noreferrer\">stills from San Francisco movies\u003c/a> including \u003cem>Dirty Harry\u003c/em>, \u003cem>Milk\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> for display in bus shelters along Market Street.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, Inouye refers to \u003cem>MTV Generation\u003c/em> as “by far the most influential set of images from my lifetime.” To do them justice during the creative process, the artist immersed herself in a soundtrack of music from—and podcasts about—the ’80s. She also devoured books that analyzed the era, including \u003cem>Outlaw Culture\u003c/em> by bell hooks and Questlove’s \u003cem>Music is History\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“I was trying to feed my brain with stuff that communicated the feeling that I wanted to paint,” Inouye says. “With watercolor, it’s fleeting, right? If you don’t touch it at the right time, it doesn’t have the same feeling.”\u003c/p>\n\u003cp>\u003cem>MTV Generation\u003c/em> is likely not the end of Inouye’s examination of the channel’s influence on pop culture (then and now). “I feel like I’ve just scratched the surface,” she says. “There’s really a lot to do here. A lot of directions to take it. And I mean, that’s a good feeling. Being finished with paintings for a show, and I’m still excited.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘MTV Generation’ is on view May 4—June 4 at Marrow Gallery (548 Irving Street, San Francisco), with an opening reception at 5pm on May 7. Visitors are invited to record their own MTV memories for a future book. \u003ca href=\"https://www.marrowgallery.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Details here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=i_o69a9ZFFA\u003c/p>\n\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vAdboa7jWZo\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been 37 years since \u003ca href=\"https://www.npr.org/tags/475156774/prince\">Prince\u003c/a> released \u003cem>1999\u003c/em>, but this week, the Prince estate will reissue a remastered version of the iconic album—this time with 35 previously unreleased tracks. During his lifetime, Prince was notoriously protective of his music, both released and unreleased. Notably, he had a long-term public battle with Warner Brothers over rights to his masters and sued \u003ca href=\"https://www.independent.co.uk/arts-entertainment/music/news/prince-sues-bootlegging-facebook-fans-for-22-million-in-piracy-lawsuit-9088733.html\">Facebook users\u003c/a> for posting links to unauthorized music. To learn about the estate’s decision to release the record after his death, NPR’s Michel Martin spoke with Michael Howe, the archivist for the Prince vault.\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On the role of “Prince’s archivist:”\u003c/strong>\u003c/p>\n\u003cp>The overarching thrust of the job is to organize and preserve Prince’s audiovisual legacy—his vault—and the extension of that is to be the A&R guy for everything that comes out of the vault. So I’m responsible, to some degree, for contextualizing and preserving Prince’s life work. It’s a pretty daunting proposition, as you might imagine.\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/i_o69a9ZFFA'\n title='//www.youtube.com/embed/i_o69a9ZFFA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>On the rationale for releasing these songs right now:\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think the idea is to shine a light on the entirety of Prince’s creative legacy. There were at least a couple of times during his life where he mentioned that he thought the contents of his vault, or some portion thereof, would be released at some point after he was gone. So using that guiding principle, we use our best judgment to present the things that we think are appropriate for specific creative eras of his life.\u003c/p>\n\u003cp>\u003cstrong>On the fan response to releasing the songs:\u003c/strong>\u003c/p>\n\u003cp>I haven’t gotten any direct pushback. I know that the Prince fan community has very strong opinions and it’s very, very large. I’m sure there are some people who think, philosophically, that a lot of these things should probably stay in the vault. But I think the overwhelming majority of fans and musicians and people—who are interested in the history and artistry of a guy who was on the Mt. Rushmore of music—really should and deserve to be heard.\u003c/p>\n\u003cp>\u003cstrong>On the rumor that Prince has enough unreleased songs for an album every year until the 22nd century:\u003c/strong>\u003c/p>\n\u003cp>I would say that’s probably true, yeah. It’s an enormous amount of work that he left behind that he didn’t release, not all of which, obviously, will end up emerging. But there’s a tremendous amount of stuff that correlates with particular creative periods in his life. The way we decided to proceed on this one, as we do with everything, the guiding principle is to approach these things with the completeness and respect and integrity that Prince himself would demand and that his body of work deserves.\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/vAdboa7jWZo'\n title='//www.youtube.com/embed/vAdboa7jWZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>1999 Remastered \u003cem>is out Nov. 29 via \u003c/em>\u003ca href=\"https://store.prince.com/dept/1999-remastered\">\u003cem>The Prince Estate\u003c/em>\u003c/a>\u003cem> and Warner Bros.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%27s+%271999%27+Sees+Another+Life+%E2%80%94+This+Time+With+35+New+Songs+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>[aside tag='prince' label='More on Prince']\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m a longtime Prince fan. I would listen to his raunchy songs with the sound turned down low so my parents couldn’t hear, because even before I understood a lot of the double entendre in his lyrics, I sensed they—and he—were naughty. And, of course, my parents confirmed.\u003c/p>\n\u003cp>Once while driving in the car with my mom, \u003cem>Erotic City\u003c/em> started playing on the radio. She reached over, snapped the radio off and said, “That Prince is just nasty.” And he \u003cem>was\u003c/em> nasty. In a good way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prince was also perspicacious and artistically brilliant and mischievous and shrewd and all the many other superlatives that have been bestowed on him over the years.\u003c/p>\n\u003cp>Still, I wasn’t sure what to expect from \u003cem>The Beautiful Ones. \u003c/em>Before I had the book in hand, I read \u003ca href=\"https://www.newyorker.com/magazine/2019/09/09/the-book-of-prince\">an excerpt of its introduction\u003c/a> in \u003cem>The New Yorker, \u003c/em>which detailed the origin of the book. I wondered how anyone could publish a book Prince wanted to write about himself if Prince, himself, was no longer with us to write the book? How Sway?!\u003c/p>\n\u003cfigure id=\"attachment_13868958\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868958\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg\" alt=\"Prince plays a guitar in bed at his new home on France Avenue, April 1978.\" width=\"800\" height=\"573\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-800x573.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-768x550.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1020x731.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1200x860.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7-1920x1376.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/joegiannetti_custom-3bfcbb527eafc3d89b15b4c604057845323a9ea7.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince plays a guitar in bed at his new home on France Avenue, April 1978. \u003ccite>(Joseph Giannetti/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Prince died in 2016 without a will (this still shocks me) and, since he didn’t write down explicitly what he wanted done with his estate, others had to make their best guess. One of those decisions included finishing this memoir.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The introduction sets the stage, as it were, by explaining how writer Dan Piepenbring—an editor for \u003cem>The Paris Review \u003c/em>who was not yet 30 or a published author at the time—got pulled into the project. As I read his words I jealously thought “this lucky so-and-so, imagine your first published book is a collaboration with Prince Rogers Nelson?!”\u003c/p>\n\u003cp>Everything Piepenbring shares about being a fan chosen to work with one of his idols resonates with me: Be cool. Cool, cool, cool, cool. I mean, this is Prince we’re talking about, dude oozed cool, so you needed to be cool, too. But not \u003cem>too\u003c/em> cool. Try not to say or do the wrong, stupid thing, but also try to prove you have the talent for the gig, and gah! somehow you still say and do the wrong, stupid thing. When Piepenbring sweeps his phone off a conference room table because Prince glanced at it and wondered if he was recording their conversation, I laughed. That’s right, just throw the whole phone away.\u003c/p>\n\u003cfigure id=\"attachment_13868959\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868959\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe\" alt=\"Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu's idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs.\" width=\"800\" height=\"537\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-800x537.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-768x516.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1020x685.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1200x806.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/contact-sheet-outtakes-from-dirty-mind-cover-shoot-credit-allen-beaulieu_custom-2097e42861929314c63b683918f5c5db4d81b632-1920x1289.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Allen Beaulieu photographed Prince and his band for the 1980 Dirty Mind album; these are some of the outtakes. Prince told Beaulieu that he wanted to appear on a bed on the album cover. It was Beaulieu’s idea to buy a worn-out box spring from a junkyard and photograph Prince in front of the springs. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But Piepenbring doesn’t just want to write this memoir with Prince, he wants to do it right (whatever “right” is, Prince always colored way outside of the purple lines). Once Prince dies and the book project lives on, Piepenbring also wants to do right by his idol.\u003c/p>\n\u003cp>Prince’s mandate(s) for the book was that it “be a handbook for the brilliant community,” “a radical call for collective ownership, for black creativity,” a book about freedom.\u003c/p>\n\u003cp>“Try to create,” he told Piepenbring. “I want to tell people to create. Just start by creating your day. Then create your life.”\u003c/p>\n\u003cp>That’s a whole lot of things. But then, so was Prince.\u003c/p>\n\u003cp>This means we get a memoir that is written by Prince, literally. Handwritten pages he had shared with Piepenbring make up Part 1, taking us from his first memory—his mother’s eyes—through the early days of his career. We learn about his epileptic seizures, his first kiss, his relationship with his parents, their relationship with each other, his adolescent years, and how Prince saw himself and his place in the world. Some of it’s sad, some funny (there’s a story about him tap dancing with no music for 28 1/2 minutes at a school talent show) and all of it pierces through some of the mystery Prince purposely cultivated around and about himself. Of course, even he admitted that he still had to brush his own teeth, like the rest of us.\u003c/p>\n\u003cfigure id=\"attachment_13868960\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13868960\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe\" alt=\"Prince taking a phone call in bed, circa 1980-81.\" width=\"800\" height=\"115\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-800x115.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-160x23.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-768x110.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1020x146.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1200x172.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/10/shots-of-prince-on-bed-on-phone-credit-allen-beaulieu_custom-cdaeca51e5c779a774328345f311b528c148cffc-1920x275.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Prince taking a phone call in bed, circa 1980-81. \u003ccite>(Allen Beaulieu/Penguin Random House, LLC)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We also get a memoir that is carefully curated by Piepenbring, who writes that he was able to go through Paisley Park, room-by-room, sorting through Prince’s life. He describes choosing items “that communicated some intimacy; that shed a new light on his family and his art; that demonstrated his creative process, and, as he desired, would make his readers want to create, too.”\u003c/p>\n\u003cp>Part of what he found anchors the next section of the memoir: a scrapbook Prince kept while making his first album, \u003cem>For You. \u003c/em>It’s like a 1977 version of Instagram. Photos of him, of his friends, his notes, drawings, song lyrics. The whimsy and playfulness in the pages made me realize that Prince maybe wasn’t a tortured artist in those early days, as I had imagined. It looked like he had a ball.\u003c/p>\n\u003cp>The last section’s handwritten synopsis of what later became \u003cem>Purple Rain\u003c/em> required a couple of readings. I’ve seen the movie so many times I had to shake free of what ended up on the screen in order to really take in what Prince had initially envisioned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>The Beautiful Ones \u003c/em>doesn’t paint a perfect picture. It’s not definitive. It can’t be, it shouldn’t be and, thankfully, it doesn’t try to be. We’ll never know what it might have been if Prince had lived. But it’s a good start. Now, it’s up to us to take what’s there and make something out of it for ourselves, creating, just as Prince wanted. That’s what I’m doing, anyway. It’s time we all reach out for something new.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> is everything. Yes, I’m using a meme-ably meaningless phrase to describe the most fascinating artist to reign during my lifetime, but it’s nearly factual for the Purple One: the intense reconsideration so many listeners have given his work since his death in April 2016 continues to reveal new facets of his genius and his work’s cultural importance. And yes, I’m using the present tense, because though we will never be again blessed with the dynamism of his physical presence, Prince left behind riches that at this point seem bottomless. With Prince, as with only a few popular artists, offerings from the vault – even demos of well-known tracks, or rehearsal material – illuminate and excite. That’s because Prince’s music is all about process: the absorption of so many elements into his signature sounds, and the fleshing out of his music’s central themes of joy in the body and the soul’s loneliness.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/493333311″ params=”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true” width=”100%” height=”300″ iframe=”true” /]\u003c/p>\n\u003cp>The song “17 Days” perfectly expresses the eternal expansiveness of Prince’s audio-vision. Now, fans can hear it in one of its earliest forms, with just Prince and his piano setting down the blueprint for what would become an epic tender jam. This cut is from a new album to be released Sep. 21 by the Prince estate and Warner Bros. Records. \u003cem>Piano & A Microphone 1983\u003c/em> is just what the title says: a 35-minute home studio recording of the Great One at his keyboard, playing songs including “Purple Rain,” “International Lover,” Joni Mitchell’s “A Case of You,” the version of the gospel chestnut “Mary Don’t You Weep” that recently was featured in Spike Lee’s \u003cem>BlacKKKlansman\u003c/em> – and this widely acknowledged yet still relatively unknown classic.\u003c/p>\n\u003cp>[contextly_sidebar id=”6LDp5OL9qXWD314mcciCSVNBFnskJMA4″]\u003c/p>\n\u003cp>One of the artist’s most beloved B-Sides (many fans call it one of his best songs, period), “17 Days” had a strange inception. Prince wrote it inspired by Vanity 6, the girl group that was one of the earliest embodiments of his sense of the feminine. But his muse and the group’s lead singer, Vanity, left before the trio could record it (an early version was recorded, apparently, with member Brenda Bennett singing lead) and some say that the song was never really intended for her anyway – though it may be \u003cem>about \u003c/em>her. Prince held on to the song for his own use, and, remade with his band the Revolution, it became the B-side to his landmark single “When Doves Cry.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the guitarist Vernon Reid once said when discussing his band Living Colour’s cover version, “17 Days” is a composition that grows differently in the hands of anyone who touches it, but which always retains the “sad little simplicity” that also characterized the music of Prince’s idol, Miles Davis. That quality blossoms in Prince’s solo version in various ways. It’s there in his lively piano lines, redolent of gospel music and then turning toward jazz, and in his soul-soaked vocal. It grows more complex as he sings his own background vocal parts, mapping out how the song would sound with women’s voices in the mix. And it’s in the echoes of the Beatles’ “Rain” that humidify the chorus: the gentlest hint of psychedelic grandeur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All that in a solo track recorded in Prince’s home studio? Of course. After all, Prince is everything.\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=Hear+Prince%27s+Intimate+Home+Recording+Of+The+Song+%2717+Days%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> is everything. Yes, I’m using a meme-ably meaningless phrase to describe the most fascinating artist to reign during my lifetime, but it’s nearly factual for the Purple One: the intense reconsideration so many listeners have given his work since his death in April 2016 continues to reveal new facets of his genius and his work’s cultural importance. And yes, I’m using the present tense, because though we will never be again blessed with the dynamism of his physical presence, Prince left behind riches that at this point seem bottomless. With Prince, as with only a few popular artists, offerings from the vault – even demos of well-known tracks, or rehearsal material – illuminate and excite. That’s because Prince’s music is all about process: the absorption of so many elements into his signature sounds, and the fleshing out of his music’s central themes of joy in the body and the soul’s loneliness.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”300″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/493333311″&visual=true&”color=#ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”'\n title='”https://api.soundcloud.com/tracks/493333311″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The song “17 Days” perfectly expresses the eternal expansiveness of Prince’s audio-vision. Now, fans can hear it in one of its earliest forms, with just Prince and his piano setting down the blueprint for what would become an epic tender jam. This cut is from a new album to be released Sep. 21 by the Prince estate and Warner Bros. Records. \u003cem>Piano & A Microphone 1983\u003c/em> is just what the title says: a 35-minute home studio recording of the Great One at his keyboard, playing songs including “Purple Rain,” “International Lover,” Joni Mitchell’s “A Case of You,” the version of the gospel chestnut “Mary Don’t You Weep” that recently was featured in Spike Lee’s \u003cem>BlacKKKlansman\u003c/em> – and this widely acknowledged yet still relatively unknown classic.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>One of the artist’s most beloved B-Sides (many fans call it one of his best songs, period), “17 Days” had a strange inception. Prince wrote it inspired by Vanity 6, the girl group that was one of the earliest embodiments of his sense of the feminine. But his muse and the group’s lead singer, Vanity, left before the trio could record it (an early version was recorded, apparently, with member Brenda Bennett singing lead) and some say that the song was never really intended for her anyway – though it may be \u003cem>about \u003c/em>her. Prince held on to the song for his own use, and, remade with his band the Revolution, it became the B-side to his landmark single “When Doves Cry.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the guitarist Vernon Reid once said when discussing his band Living Colour’s cover version, “17 Days” is a composition that grows differently in the hands of anyone who touches it, but which always retains the “sad little simplicity” that also characterized the music of Prince’s idol, Miles Davis. That quality blossoms in Prince’s solo version in various ways. It’s there in his lively piano lines, redolent of gospel music and then turning toward jazz, and in his soul-soaked vocal. It grows more complex as he sings his own background vocal parts, mapping out how the song would sound with women’s voices in the mix. And it’s in the echoes of the Beatles’ “Rain” that humidify the chorus: the gentlest hint of psychedelic grandeur.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All that in a solo track recorded in Prince’s home studio? Of course. After all, Prince is everything.\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=Hear+Prince%27s+Intimate+Home+Recording+Of+The+Song+%2717+Days%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Prince, With Just a Piano and a Sniffle, Interprets 'Mary Don't You Weep'",
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"content": "\u003cp>Today, what would have been his 60th birthday, the people in charge of \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a>‘s storied vault of unreleased recordings have announced a forthcoming album taken from a cassette he recorded at his home studio (Paisley Park did not yet exist), simply titled \u003cem>Piano & A Microphone 1983\u003c/em>. The record includes a cover of \u003ca href=\"https://www.npr.org/artists/14857713/joni-mitchell\" target=\"_blank\" rel=\"noopener\">Joni Mitchell\u003c/a>‘s “A Case of You” and prototype sessions of “Purple Rain” and “Strange Relationship.”\u003c/p>\n\u003cp>Also on \u003cem>Piano & A Microphone\u003c/em> is a recording of Prince skeletally, beautifully interpreting the spiritual “Mary Don’t You Weep.” Over tumbling blues piano, Prince, veering from his crystalline falsetto to that always-surprising baritone, breaks away from the original.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Atrack%3A2oyxDkR5iLTwuP9h6lDkM5\" width=\"800\" height=\"100\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>Maybe it’s sacrilegious to suggest, but Prince’s interpretation here seems fueled, in part, by his sadness over contracting a mid-winter cold. Hear the pronounced sniffles at the 3:29 mark, or his pronouncing of “moan” as “boan” throughout.\u003c/p>\n\u003cp>\u003cem>“Guess you know me well / I don’t like no snow / No winter / No cold / But Mary! Girl you know I like your — ssh!”\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As well, the memory of Martha — probably the same female totem as from \u003ca href=\"https://open.spotify.com/track/2cXdUg5c57C4b2qLCqHAOX?si=WMpVb1ZpSr-kkQ7JfW9VfA\" target=\"_blank\" rel=\"noopener\">“Insatiable”\u003c/a> — and her comfort eggs, a dietary staple of the famously picky eater:\u003c/p>\n\u003cp>\u003cem>“Martha / Girl / You cook the greatest omelettes in the world.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Try to imagine anyone else recording alone in a cold and bright white Minnesota winter, sniffling — and producing \u003cem>this\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%2C+With+Just+A+Piano+And+A+Sniffle%2C+Interprets+%27Mary+Don%27t+You+Weep%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As well, the memory of Martha — probably the same female totem as from \u003ca href=\"https://open.spotify.com/track/2cXdUg5c57C4b2qLCqHAOX?si=WMpVb1ZpSr-kkQ7JfW9VfA\" target=\"_blank\" rel=\"noopener\">“Insatiable”\u003c/a> — and her comfort eggs, a dietary staple of the famously picky eater:\u003c/p>\n\u003cp>\u003cem>“Martha / Girl / You cook the greatest omelettes in the world.”\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Try to imagine anyone else recording alone in a cold and bright white Minnesota winter, sniffling — and producing \u003cem>this\u003c/em>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prince%2C+With+Just+A+Piano+And+A+Sniffle%2C+Interprets+%27Mary+Don%27t+You+Weep%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This week we’re talking about a ballet beyond words, a play about the 1950s “red scare,” an unstoppable jazz pianist and more. Joining me in the studio is Suzie Racho, producer-director for The California Report Magazine, and founding producer of The Do List.\u003c/p>\n\u003cp>Listen to the show above, and click through the links below for more details on this week’s picks!\u003c/p>\n\u003cp>\u003cstrong>May 31–June 2\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833843/a-dance-for-the-deaf-at-oakland-ballets-scene-heard\" rel=\"noopener\" target=\"_blank\">Oakland Ballet’s Scene & Heard at the Odell Johnson Performing Arts Center at Laney College\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 4\u003c/strong>: \u003ca href=\"http://www.slimspresents.com/event/remembering-david-wiegand/\" rel=\"noopener\" target=\"_blank\">A tribute to David Wiegand at the Great American Music Hall in San Francisco\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 6\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833850/you-cant-stop-jazz-legend-ahmad-jamal\" rel=\"noopener\" target=\"_blank\">Jazz Pianist Ahmad Jamal at Davies Symphony Hall\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>June 6-July 1\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833853/mccarthy-eras-damage-brought-onstage-in-silicon-valley\" rel=\"noopener\" target=\"_blank\">\u003cem>FINKS\u003c/em> at the Mountain View Center for the Performing Arts\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>June 7-July 7\u003c/strong>: \u003ca href=\"https://www.kqed.org/arts/13833817/prince-before-the-fame-shown-in-new-photo-exhibition\" rel=\"noopener\" target=\"_blank\">\u003cem>Prince Pre Fame\u003c/em> photography show at the Family Affair gallery in Lower Haight\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>June 8-9\u003c/strong>: \u003ca href=\"https://sonoma.huichica.com/\" rel=\"noopener\" target=\"_blank\">The Huichica Music Festival at Gundlach Bundschu winery in Sonoma\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cp>Prince recorded his debut album \u003cem>For You\u003c/em> over 40 years ago at the Record Plant in Sausalito. By all accounts, he clashed with the producer hired by the record label throughout the recording and mixing—establishing himself as one with a dedicated musical vision right out of the gate. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B0Rqc5uQJ_k\u003c/p>\n\u003cp>Now, the photographer hired by the record label exhibits a small exhibit of photographs of Prince, some never before seen, at a new gallery called Family Affair in the Lower Haight. These images of Prince, at just 19 years old, reveal so much about him as an artist and personality. He’s determined, he’s dripping with style, but he hasn’t yet been touched by fame, and it shows.\u003c/p>\n\u003cp>The photographer, Robert Whitman, gave us a glimpse into what it was like to document the unknown Minneapolis musician in 1977.\u003c/p>\n\u003cp>“He was very very shy,” Whitman said. “I was pretty wild and crazy at the time. We just wanted to make some cool pictures together. When we were shooting on the street I was screaming and, you know, he’s kind of shy and he didn’t want the whole world to know what he’s up to. But everybody on the street stopped and looked, and he was annoyed, but I got a lot of interesting expressions from him. And then at one point he just turned around and gave me the finger.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Always an original, Prince ultimately decided to use his own photographer for the album—but these images of him are some of our favorites.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Prince: Pre-Fame\u003c/em> is up at Family Affair gallery on Haight Street, right next to Groove Merchant records, with a grand opening on Thursday, June 7 (Prince’s birthday) and running through July 7. \u003ca href=\"https://www.eventbrite.com/e/prince-pre-fame-gallery-opening-tickets-46543054529\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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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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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"info": "Chris Thile steps to the mic as the host of Live from Here (formerly A Prairie Home Companion), a live public radio variety show. Download Chris’s Song of the Week plus other highlights from the broadcast. Produced by American Public Media.",
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"marketplace": {
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"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.",
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"id": "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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"order": 13
},
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"order": 12
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"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",
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"our-body-politic": {
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"title": "Our Body Politic",
"info": "Presented by KQED, KCRW and KPCC, and created and hosted by award-winning journalist Farai Chideya, Our Body Politic is unapologetically centered on reporting on not just how women of color experience the major political events of today, but how they’re impacting those very issues.",
"airtime": "SAT 6pm-7pm, SUN 1am-2am",
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},
"link": "/radio/program/our-body-politic",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5zaW1wbGVjYXN0LmNvbS9feGFQaHMxcw",
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"order": 15
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"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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