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As she rifles through neat piles of iron-on patches, tarot-card decks, and baby-pink notebooks, Shirley Manson’s slowly graying undershave is visible beneath her fiery-red bun. “My [7-year-old] niece would love it here!” she declares, “here” being Junior High, a new feminist art gallery meets community space in East Hollywood. “Had I walked past on my own, I probably would have been too intimidated to come in.” It’s hard to imagine the 50-year-old Scottish front woman of ’90s post-grunge band Garbage being intimidated by anything, though the gallery’s augmented-reality exhibit skews more mill

The BET Awards, like black America, is never a monolithic affair. Every year the show, airing live from L.A., is the most talked-about event in black music which, by extension, often means its impact reverberates throughout the pop sphere. The New York Times' Jon Caramanica said as much last February, when he wrote that the Grammy's would do well to look to BET (Black Entertainment Television) — "which has three award-show franchises reverent of music and its performers" — for inspiration. The show's annual attempt to roller-coaster ride through the entire wave of popular urban music is what m

"I'm terrified as usual. Absolutely terrified," Radiohead leader Thom Yorke told the BBC ahead of the band's headlining performance at Glastonbury on Friday night. Yorke's nervousness translated into a typically transcendent concert with a recording that actually does it justice, too. (Live recordings always tend to be a little light on the low end, but let us abandon nitpicks). Head here and start at 28:25 to hear the beginning of the band's set. The show was, in many ways, a very long victory lap, marking Radiohead's return to Glastonbury 20 years after a now-legendary performance that follo